The Bachelor of Arts concentration in art history is intended
to furnish students with a broad knowledge of Western and non-Western art and
to provide an opportunity for the complementary, intensive study of an area
of special interest. It is recommended for students who wish to develop their
abilities of visual analysis and criticism; to acquire some sense of the major
developments in the arts from ancient times to the present; and to understand
the visual arts as aspects of social, cultural, and intellectual history. So
conceived, the study of art is an element of a general, liberal arts education;
the skills of analytical thinking, logical argument, and clear verbal expression
necessary to the program are basic to most fields. Although the program in art
history has no explicit preprofessional orientation, it does prepare interested
students for advanced study at the graduate level and, eventually, for work
in academic, museum, and gallery settings.
General Requirements for All Concentrators
1. Concentrators are required to take Art History 15000-15100-15200.
They should do so as early as possible in their program, ideally by their sophomore
2. They must write at least two research papers of intermediate
length (fifteen to twenty pages) before starting their senior year, ordinarily
in conjunction with 20000-level courses taken in art history. It is the student's
responsibility to make the appropriate arrangements with the instructor.
3. They should develop a special field of interest (see
4. Within the special field, they should write a senior
paper (see following section). They should also participate in the senior seminar.
5. They must use an approved course in drama, music, or
visual arts to meet the general education requirement in the dramatic, musical,
and visual arts; art history courses may not be used to satisfy general education
Recommendations for Concentrators
6. Concentrators are encouraged to take graduate seminars
after obtaining the permission of the instructor first. (Such seminars are also
open to nonconcentrators with the same proviso.)
7. They are urged to pursue upper-level language courses.
If such a course is relevant to the student's special field, he or she may petition
the director of undergraduate studies to have it count toward their electives
for the art history program.
8. Those planning to continue their study of art history
at the graduate level are advised to meet the general education language requirement
in French or German, or in Italian for those with primary interest in the art
of Italy. The prospective graduate student should achieve language competency
equal to at least two years of college study.
Two Tracks. In structuring their programs, concentrators
may choose one of two orientations (tracks): one offering a broad coverage of
the history of art, the other a close study of a specific area or topic.
Track I. In addition to Art History 15000-15100-15200
and Art History 29800 (Senior Seminar), Track I students take eight upper-level
courses within the department. Students are encouraged to distribute the eight
courses widely throughout Western and non-Western art and are specifically required
to take at least one course in Western art before 1400, one course in Western
art after 1400, and one course in non-Western art. Within the eight departmental
courses, students must develop a special field consisting of three courses whose
relevance to one another must be clearly established. The field may be defined
by chronological period, medium, national culture, genre, methodological concerns,
or a suitable combination. Because they reflect the interests of individual
concentrators, such fields range widely in topic, approach, and scope. Reading
courses with art history faculty may be used to pursue specific questions within
a field. The topic for the senior paper normally develops from the special field
and allows for further study of the area through independent research and writing.
Track II. In addition to Art History 15000-15100-15200
and Art History 29800 (Senior Seminar), Track II students take eight courses:
three courses inside and two courses outside the art history department make
up the special field; three additional courses in art history are taken at the
student's discretion. Because the last three courses are intended to give an
overall sense of the discipline, each Track II student is encouraged to select
them from widely differing periods and approaches in the history of art.
The special field may take many different forms. It may be
civilization defined by chronological period, nation-state, cultural institution,
or a suitable combination. Extra-departmental courses in history and literature
would be particularly relevant to such a program. Another special field might
be conceptual in character (e.g., art and the history of science, urban history,
and geography) and draw upon a variety of extra-departmental courses in the
Humanities and Social Sciences Collegiate Divisions. A field could combine historical,
critical, and theoretical perspectives (e.g., visual arts in the twentieth century)
and involve courses in art history, drama, music, film, and popular culture.
Finally, art history and studio courses (e.g., Committee on the Visual Arts)
may be combined in special fields exploring their interrelations (e.g., abstraction
and conceptualism in modern art). As with Track I, the senior paper normally
develops within the special field.
Special Field. Whether a student is following Track
I or Track II, the proposal for the special field, in the form of a written
petition, must be received by the director of undergraduate studies and approved
by a faculty committee no later than the end of a student's junior year. Students
should consult the director for guidelines on the organization and preparation
of the proposal. It is strongly recommended that students complete at least
two courses in their special field by the end of their junior year.
Senior Paper. It is the student's responsibility, by
the end of the junior year, to have found a member of the faculty who agrees
to act as the faculty research adviser. Together, they agree on a topic for
the student's senior paper, preferably before the start of the autumn quarter
of the senior year. The topic must be registered no later than the fourth week
of that quarter on a departmental form available from the director of undergraduate
The senior paper is developed during the course of the senior
seminar (Art History 29800). This is offered during autumn quarter and is required
of all concentrators. Most commonly, students take the seminar in the autumn
quarter before graduating in spring quarter; those graduating in the autumn
or winter quarters should take the course in the previous academic year. In
the closing sessions of the seminar, students discuss their plans and initial
research for the senior paper. They continue their research on the paper during
the following quarters, meeting at intervals with their faculty research adviser.
Students may elect to take Preparation for the Senior Paper (Art History 29900)
in autumn or winter quarter to afford additional time for research or writing.
The first draft of the paper is due by the first week of the quarter of graduation;
the final version is due the sixth week of that quarter. Both are to be submitted
in duplicate: one copy to the research adviser and the second to the director
of undergraduate studies. Because individual projects vary from student to student,
no specific requirements for the senior paper have been set. Essays tend to
range in length from twenty to forty pages, but there is no minimum or maximum
Summary of Requirements
10100. Introduction to Art. For nonconcentrators,
this course meets the general education requirement in the dramatic,
musical, and visual arts. Students must attend the first class to
confirm enrollment. 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 important, the 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. Staff. Autumn,
15000-15100-15200. Art of the West. For
nonconcentrators, any course in this sequence meets the general
education requirement in the dramatic, musical, and visual arts.
May be taken in sequence or individually. Students must attend the
first class to confirm enrollment. The major monuments and masterpieces
of painting, sculpture, and architecture are studied as examples
of humankind's creative impulses 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 trace the development of a unique and
continuous tradition of visual imagery throughout Western civilization.
15000. The Ancient and Medieval World. This
course examines the nature of artistic production from the prehistoric
animal images in the caves of southern Europe to the handmade, gilded
books that circulated at French and English courts some fifteen
thousand years later. Particular attention is given to the transformation
of the natural landscape into imposing built environments around
the Mediterranean, including Africa and the Near East, and to the
role art played as image-maker for political and religious institutions.
At the conclusion of the class we consider the ways every age reworks
its past, selecting from an available array of visual production
the material that gives shape to its sense of itself. M. Camille.
15100. Renaissance to Rococo. The major
achievements of European artists in painting, sculpture, and architecture
from about 1400 to 1775 are discussed chronologically. While broad
style groupings (e.g., Renaissance, Mannerism, Baroque, and Rococo)
are an important organizing principle, an effort is made to concentrate
on fewer artists and masterpieces rather than a uniform survey.
Attention is also given to the invention and development of distinctive
artistic types and their association with particular moments in
history. Where possible, study of the imagery is supplemented with
contemporary written documents (e.g., contracts, letters, and theoretical
texts). C. Cohen. Winter.
15200. The Modern Age. This course considers
selected works of painting, sculpture, and architecture from 1750
to the present, concentrating on how they can be understood in relation
to development of the modern art world and changing conceptions
of what the experience of art should be. Developments considered
are the roles of subjectivity and nationalism in the rise of nineteenth-century
landscape painting, the early twentieth-century conception of an
artistic avant-garde, and the notion of functionalism in architectural
design. Emphasis is placed on the close examination of works in
the area. R. Heller. Spring.
16100. Art of Asia: China (=ARTH 16100, CHIN
16100, EALC 16100). For nonconcentrators, this course meets
the general education requirement in the dramatic, musical, and
visual arts. This course is an introduction to the arts of China
focusing 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. This course considers
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, and to better
understand Chinese culture through the objects it produced. H.
17000-18900. Art in Context. For nonconcentrators,
this course meets the general education requirement in the dramatic,
musical, and visual arts. Students must attend the first class to
confirm enrollment. Courses in this series investigate basic
methods of art historical analysis and apply them to significant
works of art studied within definite contexts. Works of art are
placed in their intellectual, historical, cultural, or more purely
artistic settings in an effort to indicate the origins of their
specific achievements. An informed appreciation of the particular
solutions offered by single works and the careers of individual
artists emerges from the detailed study of classic problems within
Western and non-Western art.
17200. Gargoyles at the University of Chicago.
This course examines the history of medieval gargoyles as stone
sculptures in Europe and their rebirth in the nineteenth century.
We then turn our focus to their use in the unique architecture found
on the University of Chicago campus. M. Camille. Winter.
17500. Hellenistic and Early Roman Art 323-331
B.C.E. PQ: Knowledge of Greek and Latin not required. The
conquests of Alexander the Great transformed the ancient world forever,
inaugurating a period of fertile contact and exchange between various
cultures. Meanwhile in the Western Mediterranean, the expansion
of the Roman Republic and the ensuing wars with Carthage inaugurated
changes no less far reaching. We discuss the new uses of public
and private art in this period, devoting special attention to the
negotiation of political and social ideologies. Topics include the
development of portraiture, the articulation of sexuality, the iconography
of royal power, the construction and use of "alien" imageries and
styles, the rise of classicizing and archaizing styles, and the
use of Greek art in India and Rome. R. Neer. Autumn.
17600. Vermeer of Delft. The seventeenth
century Dutch "sphinx of Delft" has attracted and puzzled his many
admirers in almost equal part. Focusing upon the discrete group
of 35 paintings in his accepted oeuvre, this course addresses why
his works still function as a battlefield for some of the fundamental
questions in art history. Topics covered include the question of
egionalism, the concept of genius, the impact of science, the evolution
of taste, and the popularization of art. M. Mochizuki. Winter.
17900. Twentieth-Century Art in the Art Institute.
This course introduces students to the methods and issues of
art history through close consideration of selected works at the
Art Institute of Chicago. Museum visits required. M. Ward.
18200. Montage and Collage: Modern Form in Film.
This course discusses the idea of montage as a basic stylistic
choice and device in the twentieth century in film (primarily) and
the other arts (secondarily). Montage is first approached as a theory
of artistic form that arose in cinema, primarily in the work of
Sergei Eisenstein. Eisenstein's writings and his film are primary
texts. But ideas about montage in other filmmakers (e.g., Griffith,
Epstein, Dulac, Vertov, Pudovkin, Kubelka, Resnais, Anger, and Godard)
are also considered. The idea of montage as a basic form of modernism
in other arts is also discussed, drawing on photo-montagists such
as Hoch and Heartfield, constructivist aesthetics in Tatlin and
Rodchenko, and the dream-like radical juxtaposition of surrealist
collage work. Screenings required. T. Gunning. Spring.
18300. Visual Style in Still and Moving Images
(=ARTH 18300, COVA 26000). This course surveys elements of styles
and techniques common to the visual arts. We examine light and color,
framing and editing, and action and narration, as well as blocking,
interior design, and mise-en-scène as used by artists,
photographers, and filmmakers in the late nineteenth and early twentieth
centuries. Y. Tsivian. Autumn.
18500. Electric Shadows: Introduction to Chinese
Film. This course surveys the development of Chinese film (its
audiences and purposes). We examine its silent film era with elite
tea house audiences and continue through its propagandistic uses
in the middle of the twentieth century for more popular audiences.
We also discuss the development of Chinese film in the 1980s and
1990s as a technically accomplished and often stunningly beautiful
medium capable of speaking meaningfully to both popular and elite
audiences. J. Purtle. Spring.
The following 19000-level course is an upper-level
undergraduate course that does not meet the general education requirement
in the dramatic, musical, and visual arts unless 4 or 5 has been
scored on the AP art history test. There are no prerequisites.
19000. Introduction to Film I (=ARTH 19000,
CMST 10100, COVA 25400, ENGL 10800, GSHU 20000). This course
introduces basic concepts of film analysis, which are discussed
through examples from different national cinemas, genres, and directorial
oeuvres. Along with questions of film technique and style,
we consider the notion of the cinema as an institution that comprises
an industrial system of production, social and aesthetic norms and
codes, and particular modes of reception. Films discussed include
works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir,
Sternberg, and Welles. J. Sewart. Autumn.
The following 20000-level courses have as a prerequisite
any 10000-level art history or visual arts course, or consent of
instructor. These courses do not meet the general education requirement
in the dramatic, musical, and visual arts unless 4 or 5 has been
scored on the AP art history test.
20200/30200. The Greek Revolution Revisited:
Rethinking Naturalism (=ARTH 20200/30200, CLAS 28900/38900). PQ:
Any 10000-level ARTH or COVA course, or consent of instructor. This
seminar explores one of the most influential phenomena in the history
of Western art: the development of naturalistic representation in
the painting and sculpture of Classical Greece. Despite the undeniable
importance of Greek naturalism as (for good or ill) a stylistic
paradigm, it has been the subject of little critical investigation
in recent decades. This seminar interrogates (but not necessarily
rejects) the concept of naturalistic depiction, and it examines
the possibility that Greek naturalism was a local, historical phenomenon
and not a miraculous, empiricist discovery. Texts in English. R.
21400/31400. Byzantine Manuscript Illumination.
PQ: Any 10000-level ARTH or COVA course, or consent of instructor.
In the Eastern Middle Ages, like the Western, the embellishment
of manuscripts was a major endeavor and, as such, can inform us
about diverse issues (i.e., the relation of words and images, the
nature of narrative, the social and religious value of images, reading
and seeing, speaking and hearing, craft production and patronage,
and monastic and secular values). This course considers illumination
from late antiquity to the late Middle Ages. R. Nelson. Autumn.
21800/31800. Monstrosity in Medieval Art. PQ:
Any 10000-level ARTH or COVA course, or consent of instructor. This
course explores all aspects of monstrosity, deformity, and fantastic
creaturely combination that is typical of medieval representational
art from the eighth through the fifteenth centuries. From Celtic
sculpture and book painting, through its obvious manifestations
in Romanesque sculpture (as well as folklore themes in gothic art
of the cathedrals and altarpieces), another emphasis is that of
magic. The Christian theology of monstrosity in the form of demons
and the devil is that of magic. The Christian ideology of monstrosity
in the form of demons and the devil is also discussed, as well as
the whole problem of the ugly as an aesthetic category. M. Camille.
22100/32100 The Medieval Monastery: Architecture,
Art, and Activity. PQ: Any 10000-level ARTH or COVA course,
or consent of instructor. This course studies select sites,
varied forms of artistic production, and diverse issues. Topics
include the creation of an ideal architectural plan for the abbey
at St. Gall in Switzerland around 820, the liturgical innovations
of Cluniac and Cistercian church planning, the animation of the
cloister with programs of devotional and distracting imagery, the
function of the scriptorium and school, the emergence of female
houses, and the late flowering and private patronage of Dominican
and Carthusian communities with their frescoes and altartables around
1400. L. Seidel. Spring.
22700/32700. High Renaissance Painting in Florence
and Rome. PQ: Any 10000-level ARTH or COVA course, or consent
of instructor. This course concentrates on the artists who have
been considered the culminating figures of the culminating moment
of the Renaissance in Florence and Rome: Leonardo, Michelangelo,
and Raphael. The accomplishments of these three artists and the
parameters of the artistic culture of the High Renaissance are explored
and contextualized by briefly discussing other major artists (e.g.,
Fra Bartolommeo and Andea del Sarto). We also introduce the complex
question of the critical change of style and cultural direction
in Florence and Rome around 1520 (which we usually call Mannerism).
Special attention is given to the writings and drawings of the major
artists as a means of interpreting their creative intentions. C.
22900/32900. Colloquium: The Body in Renaissance
Art. PQ: One prior art history class. This discussion course
addresses the visual arts (i.e., painting, drawing, prints, and
sculpture) of renaissance Europe as a site for meditation on the
uneasy relationship between the bodies and souls of both artists
and viewers. We focus our discussion on primary texts and images,
supplemented by the work of art historians and contemporary theorists.
Topics include Renaissance psychology and art criticism; Neoplatonic
and Aristotelian theories of the soul, vision, and desire; style
and "imagination"; portraiture; the passions; witchcraft and demonology;
humoral psychology, particularly in relation to theories of melancholy;
allegory and idolatry; anatomy and physiology; and the role of prints
and drawings in expressing intention. Artists considered in detail
include Leonardo da Vinci, Michelangelo, Rosso Fiorentino, Durer,
and Titian. Students may choose to write a research paper or a series
of shorter written and oral assignments. R. Zorach. Autumn.
23100/33100. Gardens in Italy, France, and England,
1600-1800. PQ: Any 10000-level ARTH or COVA course, or consent
of instructor. This course examines the role of gardens and
landscape architecture in relation to painting, sculpture, and architecture
during the early modern period. Cultural, political, and economic
considerations also inform our consideration of these particularly
privileged sites, the patrons and artists who created them, and
the functions they served for their audiences. K. Rorschach.
24700/34700. Dutch Art of the Golden Age.
PQ: One prior art history class. The glorious art of the seventeenth
century Netherlands is a bridge between the art of the ancient world
and the art of the modern era. It includes the work of artists (e.g.,
Rembrandt, Vermeer, and Hals) who produced masterpieces for a new
Republic that still continue to astonish, amuse, and instruct today.
This course provides an overview of the artistic production of this
period, focusing on the leading artists, the cities where they worked,
and the new types of painting they created. M. Mochizuki. Autumn
25000/35000. European Romanticism. PQ:
Any 10000-level ARTH or COVA course, or consent of instructor.
This course examines major artistic and theoretical trends in European
art from ca. 1780-1830. B. Stafford. Winter.
25800/35800. Visual Culture (=ARTH 25800/35800,
CMST 27800/37800, COVA 25400, ENGL 12600/32600, MAPH 34300).
PQ: Any 10000-level ARTH or COVA course, or consent of instructor.
This course explores the fundamental questions in the interdisciplinary
study of visual culture: What are the cultural (and, by the same
token, natural) components in the structure of visual experience?
What is seeing? What is a spectator? What is the difference between
visual and verbal representation? How do visual media exert power,
elicit desire and pleasure, and construct the boundaries of subjective
and social experience in the private and public sphere? How do questions
of politics, gender, sexuality, and ethnicity inflect the construction
of visual semiosis? W. J. T. Mitchell. Winter.
26000/36000. Art and Film in the Weimar Republic
(=ARTH 26000/36000, CMST 22100/32100, COVA 26300, GRMN 23100/33100).
This course explores the visual culture of Weimar, Germany,
with particular focus on the fine arts and more popular imagery,
the intersections with Weimar Cinema, and their interactions with
the contemporary social and political milieus. We consider such
art and film movements as expressionism, dada, and neo-objectivity;
artists' groups encompassing the Bauhaus, the November Group, and
the Association of Revolutionary Visual Artists of Germany; artists
ranging from George Grosz and Otto Dix to Kurt Schwitters and Wassily
Kandinsky; and films including The Cabinet of Dr. Caligari, Metropolis,
M, and Kuhle Wampe. Screenings required. R. Heller.
26200/36200. Cinema and Magic (=ARTH 26200/36200,
CMST 25600/35600, COVA 25800). PQ: CMST 10100 or equivalent.
This course traces relations between motion pictures and traditions
of magic, both as a theatrical entertainment and as a belief system.
The invention of cinema's roots in the magic lantern and other "philosophical
toys" that trick the senses into seeing visual illusions are explored.
The early trick films of Melies and others are discussed. The relation
between cinema and hypnosis is also explored. We consider the appeal
of magic systems of thought (i.e., spiritualism, theosophy, and
ritual magic) for avant-garde movement and their relation to experimental
films by Epstein, Artaud, Deren, Anger, Smith, Fischinger, and others.
T. Gunning. Spring.
26500/36500. The Sites of Twentieth-Century
Art (=ARTH 26500/36500, COVA 26400). PQ: Any 10000-level
ARTH or COVA course. This course examines how the modes of distribution
and the destinations (both real and imaginary) of twentieth-century
art have affected the production and reception of cultural objects.
We examine in detail a series of examples drawn from both European
and American art to address such concerns as the following: the
interdependence of modernism and the museum, the decorative painting
and the domestic interior, the fears of and hopes for the mechanical
reproduction of art, the archive as a site of radical resistence
(the situationalists), public space and performance gesture, and
"site-specificity" in contemporary sculpture. M. Ward. Winter.
27300. Indecent Exposure: Defamation and the
Propriety of Exhibiting in the Twentieth Century. PQ: Any
100-level ARTH or COVA course. This course considers the problematics
of public display by examining a series of exhibitions that have
been decried as defamatory. By contrasting controversial exhibitions
in recent American history with more explicit examples of public
defamation in pre-World War II Europe, we aim to critically evaluate
the changing ethics of the museum in the last century. Our survey
begins with the most infamous episodes of State-sponsored defamation
in modern Europečincluding the "Degenerate Art" exhibitions in Nazi
Germany (1933-39) and the antireligious museums of the former Soviet
Union (1924-36). We then turn to more recent debates concerning
such exhibitions as "Harlem on My Mind" (1969) at the Met and the
proposed display of the Enola Gay at the Smithsonian (1994). Among
the questions we seek to address: How has the evolving communal
role of the museum helped spur these debates, and how do these debates
in turn continue to shape contemporary museum policy? What do such
controversial episodes in our history tell us about the limits of
free speech and representation in our country today? What do they
tell us about our capacity to represent others? What is, and what
has been, the responsibility of the museum to its public in the
last century? We close by asking what power, if any, American museums
might have today in both encouraging tolerance and facilitating
inquiry by displaying the history of defamation. A. Jolles. Winter.
27900. The Architectural Profession: Present,
Past, and Future. This course examines architecture from the
vantage point of the work-life of architects and how it has changed
over time. We focus on the modern period, from the formation of
a modern profession in the nineteenth century to the challenges
architects face in the twenty-first century, especially electronic
ones. Through case studies of particular architects and building
projects, we discuss the history of such topics as: office work-life;
how architects have managed their compound status as technical experts,
artists, and businessmen; architectural education; architectural
publishing and photography; patronage; and popular understandings
of architecture, including images circulated through films. K.
28000. Materiality, Objecthood, Connoisseurship,
and Collecting: Museum Seminar in Chinese Art (=ARTH 2800, CHIN
27900). PQ: Any 10000-level ARTH or COVA course or consent
of instructor. This course presents a history of Chinese art
through hands-on study of a series of so-called prime objects that
follow the development of visual and material production in China
from the neolithic to the present. First-hand study of objects in
the collections of the Smart Museum, the Field Museum of Natural
History, and the Art Institute of Chicago are combined with theoretical
examinations of issues of materiality, objecthood, connoisseurship,
and collecting, as based on Chinese primary sources and contemporary
theoretical writings on these subjects. Texts in English. Visits
to local collections required. J. Purtle. Spring.
28300/38300. Chinese Scroll Painting: Medium
and Representation (=ARTH 23100, EALC 23100). PQ: COVA 10100
or 10200, or 10000-level ARTH course, or consent of instructor.
This course studies the development of traditional Chinese painting
from the tenth to the nineteenth centuries, with a special emphasis
on how different painting formats (e.g., handscroll, screen, and
album) affect image-making, the viewing experience, and the social
roles of painting. H. Wu. Spring.
28500/38500. History of International Cinema
I: Silent Era (=ARTH 28500/38500, CMST 28500/48500, COVA 26500,
ENGL 29300/48700, MAPH 33600). This is the first part of
a two-quarter course. The two parts may be taken individually, but
taking them in sequence is helpful. The aim of this course is
to introduce students to what was singular about the art and craft
of silent film. Its general outline is chronological. We also discuss
main national schools and international trends of filmmaking.
Y. Tsivian. Autumn.
28600/38600. History of International Cinema
II: Sound Era to 1960 (=ARTH 28600/38600, CMST 28600/48600, COVA
26600, ENGL 29600/48900, MAPH 33700). PQ: ARTH 28500/38500
or consent of instructor. This is the second part of the international
survey history for film covering the sound era up to 1960. The crystallization
of the classical Hollywood film in terms of style and genre, as
well as industry organization, is a key issue. But international
alternatives to Hollywood are also discussed, from the unique forms
of Japanese cinema to movements such as Italian Neo-Realism and
the beginnings of the New Wave in France. Texts include Thompson
Bordwell, Film History and Introduction, and works by Bazin,
Belton, Sitney, Godard, and others. Screenings include films by
Hitchcock, Welles, Rossellini, Bresson, Ozu, Antonioni, and Renoir.
T. Gunning. Winter.
28700/38700. The Art of Confrontation: Chinese
Visual Culture in the Twentieth Century (=ARTH 28700/38700, CHIN
28700/38700). PQ: Any 10000-level ARTH or COVA course, or
consent of instructor. This course is a survey of Chinese visual
culture of the twentieth century that is focused on the theme of
confrontation. In the twentieth century, traditional modes of Chinese
visual culture confronted Western styles and techniques of visual
expression, ideas of Modernism and modernity, competing political
economic ideologies, developments in China's distant and recent
history, colonialism, disparate regional Chinese identities (i.e.,
China, Hong Kong, and Taiwan), technological change, and the globalization
of the art market. This course explores these confrontations through
a variety of media and methodological approaches. J. Purtle.
28900/38900. Charlie Chaplin: The Man, the Artist,
and the Cultural Hero (=ARTH 28900/38900, CMST 26400/36400, COVA
25900). Three aspects stressed in the course title define the
approach to (and explain the significance of) this key figure in
the history of film and twentieth-century culture. As a man, Chaplin
was a frequent target of large-scale political and sexual scandals.
As an actor-director, he was responsible not only for the Tramp
figure but also for such genres as social comedy and comedy melodrama.
As a myth, Chaplin's figure was key to a number of twentieth-century
art movements (e.g., Expressionist poetry, Cubist painting, and
Soviet Constructivist art). Y. Tsivian. Winter.
29700. Reading Course. PQ: Consent of
instructor and director of undergraduate studies. Students are required
to submit the College Reading and Research Form. Must be taken for
a letter grade. With adviser's approval, concentrators may use this
course to satisfy requirements for the concentration, a special
field, or electives. This course is designed for students in
art history or advanced students in other concentrations whose program
requirements are best met by study under a faculty member's individual
supervision. The subject, course of study, and requirements are
arranged with the instructor. Staff. Autumn, Winter, Spring.
29800. Senior Seminar: Problems and Methods
in Art History. PQ: Required of fourth-year art history concentrators,
who present aspects of their senior papers in oral reports; open
to nonconcentrators with consent of instructor. This seminar
prepares senior concentrators to write their senior papers. Each
week, students read one or two articles by a particular critic or
historian, and appraise the reading in short papers. Class discussion
addresses the merits and faults of the weekly texts, and students
read from their appraisals. Topics include analytic philosophy,
iconology, semiotics, queer theory, anthropological models, critical
theory, feminism, and (naturally) the students' own particular interests.
Throughout, we focus on the practical value of the readings: on
their usefulness as models for thinking and writing about art. R.
29900. Preparation for the Senior Paper. PQ:
Consent of instructor and director of undergraduate studies. Students
are required to submit the College Reading and Research Form. May
be taken for a Pass grade with consent of instructor. This
course provides guided research on the topic of the senior paper.
The program of study and schedule of meetings are to be arranged
with the student's senior paper adviser. Staff. Autumn, Winter,