Title | Instructor | Location | Time | All taxonomy terms | Description | Section Description | Cross Listings | Fulfills | Registration Notes | Syllabus | Syllabus URL | Course Syllabus URL | ||
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ARTH 070-401 | LATINA/O LITERATURE | STERNAD PONCE DE LEON, JENNIFER | FISHER-BENNETT HALL 141 | TR 0300PM-0430PM | A survey of cultural productions by Latinas/os (i.e. people of Latin American descent who have been raised in the U.S.) that usually will focus on the twentieth century, but might at times examine earlier periods instead. The course will take a culturally and historically informed approach to a wide range of novels, poems, plays, and films, and will sometimes include visual art and music. Writers and artists might include Americo Paredes, Piri Thomas, Cherrie Moraga, Sandra Cisneros, Julia Alvarez, Junot Diaz, Cristina Garcia, El Teatro Campesino, John Leguizamo, Carmen Lomas Garza, the Hernandez Brothers, and Los Tigres del Norte. |
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CULTURAL DIVERSITY IN US; CULTURAL DIVERSITY IN THE US |
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ARTH 100-401 | The Social Life of Things: Art, Objects, and the Cultural Politics of Phila | LEVY, AARON | COLLEGE HALL 311A | T 0130PM-0430PM | Topic varies. Fall 2016 Spiegel-Wilks Seminar in Contemporary Art: A city is more than just a collection of places. It is a living archive of stories, memories and histories. Whose stories do we hear? Whose stories should we preserve? Are all stories equal? In this course, students will be introduced to a variety of unique historical sites and civic institutions that make visible anew Philadelphia and its cultural history. From the first classroom of the university, which was located at the American Philosophical Society, to the Johnson House Underground Railroad Station and House Museum on Germantown Avenue, this course will highlight the social life of the city, approaching the city itself as a living museum. What can the artworks, objects and institutions we experience each week teach us about the society in which we live? To answer this question, we will meet with artists, archivists, curators and scholars who will illuminate for us the social life of their collections. Through this course, students will be introduced to the study of the history of art. Our discussions will focus on changing aesthetics, the cultural politics of collecting, aspects of display and contextualization, the institution of the museum, and the increasingly blurred boundaries between ethnography, anthropology, and art history. |
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FRESHMAN SEMINAR; FRESHMAN SEMINAR |
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ARTH 101-001 | PREHISTORY - RENAISSANCE: INTRO TO WESTERN ART | GUERIN, SARAH | ANNENBERG SCHOOL 111 | MW 1000AM-1100AM | This is a double introduction: to looking at the visual arts; and, to the ancient and medieval cities and empires of three continents - ancient Egypt, the Middle East and Iran, the Minoan and Mycenaean Bronze Age, the Greek and Roman Mediterranean, and the early Islamic, early Byzantine and western Medieval world. Using images, contemporary texts, and art in our city, we examine the changing forms of art, architecture and landscape architecture, and the roles of visual culture for political, social and religious activity. |
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Arts & Letters Sector (all classes) |
SECTION ACTIVITY CO-REQUISITE REQUIRED; CROSS CULTURAL ANALYSIS; ARTS & LETTERS SECTOR; CROSS-CULTURAL ANALYSIS |
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ARTH 101-601 | Introduction to Western Art & Civilization: Prehistory to Renaissance | MEIBERG, LINDA | MEYERSON HALL B6 | TR 0530PM-0700PM | This is a double introduction: to looking at the visual arts; and, to the ancient and medieval cities and empires of three continents - ancient Egypt, the Middle East and Iran, the Minoan and Mycenaean Bronze Age, the Greek and Roman Mediterranean, and the early Islamic, early Byzantine and western Medieval world. Using images, contemporary texts, and art in our city, we examine the changing forms of art, architecture and landscape architecture, and the roles of visual culture for political, social and religious activity. |
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Arts & Letters Sector (all classes) |
CROSS CULTURAL ANALYSIS; ARTS & LETTERS SECTOR; CROSS-CULTURAL ANALYSIS |
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ARTH 106-001 | ARCHITECT AND HISTORY | HASELBERGER, LOTHAR | STITELER HALL B26 | MWF 0100PM-0200PM | Human experience is shaped by the built environment. This course introduces students to the interrelated fields of architecture, art history, and engineering and explores great architectural monuments from the ancient to the modern period, from India across the Mediterranean and Europe to the US. The focus will be on understanding these works in their structure and function, both as products of individual ingenuity and reflections of Zeitgeist. Questioning these monuments from a present-day perspective across the cultures will be an important ingredient, as will be podium discussions, guest lectures, excursions, and all kinds of visualizations, from digital walk-throughs to practical design exercises. Regularly taught in fall term, this course fulfills Sector IV, Humanities and Social Science, and it satisfies History of Art 100-level course requirements. This course cannot be taken on a pass/fail level. There is only ONE recitation in this course, attached directly to Friday's class at 2-3 p.m., in order to provide sufficient time for practica and field trips. |
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Hum & Soc Sci Sector (new curriculum only) |
SECTION ACTIVITY CO-REQUISITE REQUIRED; HUMANITIES & SOCIAL SCIENCE SECTOR; SENIOR ASSOCIATES |
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ARTH 107-401 | TELEVISION AND NEW MEDIA | MUKHERJEE, RAHUL | FISHER-BENNETT HALL 401 | MW 0200PM-0330PM | As a complex cultural product, television lends itself to a variety of critical approaches that build-on, parallel, or depart from film studies. This introductory course in television studies begins with an overview of the medium's history and explores how technical and industrial changes correspond to developing conventions of genre, programming, and aesthetics. Along the way, we analyze key concepts and theoretical debates that shaped the field. In particular, we will focus on approaches to textual analysis in combination with industry research, and critical engagements with the political, social and cultural dimensions of television as popular culture. |
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ARTH 108-401 | WORLD FILM HIST TO 1945 | MAZAJ, META | FISHER-BENNETT HALL 401 | TR 1200PM-0130PM | This course surveys the history of world film from cinema's precursors to 1945. We will develop methods for analyzing film while examining the growth of film as an art, an industry, a technology, and a political instrument. Topics include the emergence of film technology and early film audiences, the rise of narrative film and birth of Hollywood, national film industries and movements, African-American independent film, the emergence of the genre film (the western, film noir, and romantic comedies), ethnographic and documentary film, animated films, censorship, the MPPDA and Hays Code, and the introduction of sound. We will conclude with the transformation of several film industries into propaganda tools during World War II (including the Nazi, Soviet, and US film industries). In addition to contemporary theories that investigate the development of cinema and visual culture during the first half of the 20th century, we will read key texts that contributed to the emergence of film theory. There are no prerequisites. Students are required to attend screenings or watch films on their own. |
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Arts & Letters Sector (all classes) |
ARTS & LETTERS SECTOR |
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ARTH 109-401 | WORLD FILM HIST '45-PRES | CORRIGAN, TIMOTHY | FISHER-BENNETT HALL 401 | TR 0900AM-1030AM | Focusing on movies made after 1945, this course allows students to learn and to sharpen methods, terminologies, and tools needed for the critical analysis of film. Beginning with the cinematic revolution signaled by the Italian Neo-Realism (of Rossellini and De Sica), we will follow the evolution of postwar cinema through the French New Wave (of Godard, Resnais, and Varda), American movies of the 1950s and 1960s (including the New Hollywood cinema of Coppola and Scorsese), and the various other new wave movements of the 1960s, 1970s and 1980s (such as the New German Cinema). We will then selectively examine some of the most important films of the last two decades, including those of U.S. independent film movement and movies from Iran, China, and elsewhere in an expanding global cinema culture. There will be precise attention paid to formal and stylistic techniques in editing, mise-en-scene, and sound, as well as to the narrative, non-narrative, and generic organizations of film. At the same time, those formal features will be closely linked to historical and cultural distinctions and changes, ranging from the Paramount Decision of 1948 to the digital convergences that are defining screen culture today. There are no perquisites. Requirements will include readings in film history and film analysis, an analytical essay, a research paper, a final exam, and active participation. Fulfills the Arts and Letters Sector (All Classes). |
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Arts & Letters Sector (all classes) |
ARTS & LETTERS SECTOR |
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ARTH 141-401 | POLICY,MUSEUMS&CUL HERIT | LEVENTHAL, RICHARD | UNIVERSITY MUSEUM 345 | TR 1030AM-1200PM | This course will focus upon and examine the ethics of international heritage and the role that Museums play in the preservation of identity and cultural heritage. The mission of this course will be to inform and educate students about the role of Museums within the 21st century. What is the role and position of antiquities and important cultural objects in Museums? How should Museums acquire these objects and when should they be returned to countries and cultural groups? Examples from current issues will be included in the reading and discussions along with objects and issues within the Penn Museum. |
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ARTH 225-401 | GREEK ART AND ARTIFACT | KUTTNER, ANN | JAFFE BUILDING B17 | TR 1030AM-1200PM | This course surveys Greek art and artifacts from Sicily to the Black Sea from the 10th century BCE to the 2rd century BCE, including the age of Alexander and the Hellenistic Kingdoms. Public sculpture and painting on and around grand buildings and gardens, domestic luxury arts of jewelry, cups and vases, mosaic floors, and cult artefacts are discussed. Also considered are the ways in which heroic epic, religious and political themes are used to engaged viewer's emotions and served both domestic and the public aims. We discuss how art and space was considered, along with ideas of invention and progress, the role of monuments, makers and patrons in Greek society. |
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ARTH 227-401 | Introduction to Mediterranean Archaeology | SUTTON, ROBERT | CLAUDIA COHEN HALL 337 | MW 1100AM-1200PM | Many of the world's great ancient civilizations flourished on the shores of the Mediterranean Sea: the Egyptians, the Minoans and Mycenaeans, the Greeks and Romans, just to name a few. In this course, we focus on the ways that archaeologists recover and interpret the material traces of the past, working alongside natural scientists, historians and art historians, epigraphers and philologists, and many others. |
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History & Tradition Sector (all classes) |
SECTION ACTIVITY CO-REQUISITE REQUIRED; CROSS CULTURAL ANALYSIS; HISTORY & TRADITION SECTOR; CROSS-CULTURAL ANALYSIS |
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ARTH 230-401 | THE MATERIAL WORLD IN ARCHAEOLOGICAL SCIENCE |
BOILEAU, MARIE-CLAUDE JANSEN, JAN DIBBLE, HAROLD |
UNIVERSITY MUSEUM 190 | TR 1030AM-1200PM | By focusing on the scientific analysis of inorganic archaeological materials, this course will explore processes of creation in the past. ANTH 221 will take place in the new Center for the Analysis of Archaeological Materials (CAAM) and will be team taught in three modules: analysis of lithics, analysis of ceramics and analysis of metals. Each module will combine laboratory and classroom exercises to give students hands-on experience with archaeological materials. We will examine how the transformation of materials into objects provides key information about past human behaviors and the socio-economic contexts of production, distribution, exchange and use. Discussion topics will include invention and adoption of new technologies, change and innovation, use of fire, and craft specialization. |
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CONTACT DEPT or INSTRUCTOR FOR CLASSRM INFO |
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ARTH 233-401 | EAST MED ARCHITECTURE | OUSTERHOUT, ROBERT | JAFFE BUILDING 113 | TR 0900AM-1030AM | This lecture course examines major architectural developments in the eastern Mediterranean between the 4th and 14th centuries CE. The focus is on the Byzantine Empire, with its capital at Constantinople. Lectures also devoted to related developments in the Caucasus (Armenia and Georgia), early Russia, the Balkans (Bulgaria and Serbia), Sicily and under the Normans, the Crusader states. Parallel developments in early Islamic architecture are used for comparative purposes. The course examines evidence for religious and secular buildings, as well as urbanism and settlement patterns. |
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ARTH 235-401 | INTRO VIS CULT ISLAM WLD | HOLOD, RENATA | JAFFE BUILDING B17 | TR 1200PM-0130PM | A one-semester survey of Islamic art and architecture which examines visual culture as it functions within the larger sphere of Islamic culture in general. Particular attention will be given to relationships between visual culture and literature, using specific case studies, sites or objects which may be related to various branches of Islamic literature, including historical, didactic, philosophical writings, poetry and religious texts. All primary sources are available in English translation. |
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Hum & Soc Sci Sector (new curriculum only) |
CROSS CULTURAL ANALYSIS; HUMANITIES & SOCIAL SCIENCE SECTOR; CROSS-CULTURAL ANALYSIS |
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ARTH 262-401 | NETHERLANDISH ART | SILVER, LARRY | JAFFE BUILDING 113 | TR 1030AM-1200PM | Dutch and Flemish painting in the 15th and 16th centuries with special emphasis on the contributions of Robert Campin, Jan van Eyck and Roger van der Weyden, Bosch, and Bruegel. Also included are topics on the development of prints as well as the dialogue with Italian art. |
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CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS |
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ARTH 271-401 | MODERN ARCH, 1700-1900 | BROWNLEE, DAVID | JAFFE BUILDING 113 | MWF 1100AM-1200PM | The history of western architecture, ca. 1700-1900, when architecture was transformed to serve a world that had been reshaped by political and industrial revolutions. Topics to be considered include the Rococo, the English Garden, Palladianism, Romanticism, neo-classicism, the picturesque, the Greek and Gothic Revivals, and the search for a new style. |
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SECTION ACTIVITY CO-REQUISITE REQUIRED |
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ARTH 273-401 | HISTORY OF PHOTOGRAPHY | PETERSEN, STEPHEN | MUSIC BUILDING 101 | MW 0200PM-0330PM | 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 "fine art", photography and the critique of art history, and photography and censorship. |
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ARTH 278-401 | AMERICAN ART | LEJA, MICHAEL | CLAIRE M. FAGIN HALL (NURSING 218 | TR 1200PM-0130PM | This course surveys the most important and interesting art produced in the United States (or by American artists living abroad) up through the 1950s. This period encompasses the history of both early and modern art in the U.S., from its first appearances to its rise to prominence and institutionalization. While tracking this history, the course examines art's relation to historical processes of modernization (industrialization, the development of transportation and communications, the spread of corporate organization in business, urbanization, technological development, the rise of mass media and mass markets, etc.) and to the economic polarization, social fragmentation, political conflict, and the cultural changes these developments entailed. In these circumstances, art is drawn simultaneously toward truth and fraud, realism and artifice, science and spirituality, commodification and ephemerality, nationalism and cosmopolitanism, individualism and collectivity, the past and the future, professionalization and popularity, celebrating modern life and criticizing it. |
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CULTURAL DIVERSITY IN US; CULTURAL DIVERSITY IN THE US |
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ARTH 286-401 | MDRN ART:PICASSO-POLLOCK | POGGI, CHRISTINE | JAFFE BUILDING B17 | MW 1200PM-0100PM | Early twentieth-century art in Europe is marked by a number of exciting transformations. This period witnessed the rise of abstraction in painting and sculpture, as well as the inventions of collage, photomontage, constructed sculpture, the ready made and found object, and performance art. Encounters with the arts of Africa, Oceania and other traditions unfamiliar in the West spurred innovations in media, technique, and subject matter. Artists began to respond to the challenge of photography, to organize themselves into movements, and in some cases, to challenge the norms of art through "anti-art." A new gallery system replaced traditional forms of exhibiting and selling art, and artists took on new roles as publicists, manifesto writers, and exhibition organizers. This course examines these developments, with attention to formal innovations as well as cultural and political contexts. |
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SECTION ACTIVITY CO-REQUISITE REQUIRED |
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ARTH 289-401 | TOPICS FILM STUDIES: HISTORICAL FILMS | MAZAJ, META | FISHER-BENNETT HALL 244 | TR 0300PM-0430PM | This course is an exploration of multiple forces that explain the growth, global spread and institutionalization of international film festivals. The global boom in film industry has resulted in an incredible proliferation of film festivals taking place all around the world, and festivals have become one of the biggest growth industries. A dizzying convergence site of cinephilia, media spectacle, business agendas and geopolitical purposes, film festivals offer a fruitful ground on which to investigate the contemporary global cinema network. Film festivals will be approached as a site where numerous lines of the world cinema map come together, from culture and commerce, experimentation and entertainment, political interests and global business patterns. To analyze the network of film festivals, we will address a wide range of issues, including historical and geopolitical forces that shape the development of festivals, festivals as an alternative marketplace, festivals as a media event, programming/agenda setting, prizes, cinephilia, and city marketing. Individual case studies of international film festivals-Cannes, Berlin, Venice, Rotterdam, Karlovy Vary, Toronto, Sundance among others-will enable us to address all these diverse issues but also to establish a theoretical framework with which to approach the study of film festivals. For students planning to attend the Penn-in-Cannes program, this course provides an excellent foundation that will prepare you for the on-site experience of the King of all festivals. |
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ARTH 296-601 | Introduction to Contemporary Art: 1945-Present | PINAR, EKIN | CANCELED | 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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ARTH 300-301 | UNDERGRAD METHODS SEM: Undergraduate Methods Seminar | POGGI, CHRISTINE | JAFFE BUILDING 104 | R 0430PM-0730PM | Topic varies. |
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PERMISSION NEEDED FROM INSTRUCTOR |
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ARTH 301-601 | ART & GENDER IN REN ITAL | PASTORE, CHRISTOPHER | JAFFE BUILDING 104 | W 0530PM-0830PM | Topic varies. Spring 2017: Architecture, wrote Walter Gropius in 1935, grows "from the house to...the street; from the street to the town; and finally to the still vaster implications of regional and national planning." An unusual claim for today, but think of a modernist architect and the image of Le Corbusier's hand mid-flight over a model of his radical plans for Paris comes easily to mind. This seminar will excavate and critically examine modern architecture's quest for control over the urban fabric. While we will review some key urban proposals, advanced primarily between the 1920s and the 1950s in Europe and America (among these will be projects by Le Corbusier, Walter Gropius, Frank Lloyd Wright, Louis Kahn, and the Smithsons), our main concern will be to trace how architects attempted to redefine and expand their professional role so as to encompass planning at all scales. We will set the theories of modern "masters" against the daily work of average practitioners, and pay close attention to turf wars among architecture, planning, and engineering as specialized disciplines. We will also consider how conceptual links between urban design and social engineering were invented and challenged in the context of broader developments in social, political, and economic history. |
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ARTH 325-401 | Classical Myth in the Western Tradition | KUTTNER, ANN | JAFFE BUILDING 113 | W 0200PM-0500PM | Topic varies. Greco-Roman antiquity did not name a category called "mythology" that conflated, as we do now, their religion with stories about gods, heroes, and the peoples of their own imagined deep past. But even if this notion of Classical mythology is post-antique, that's interesting in itself; we are free to look at the response to such myths in the art of cultures post-dating Mediterranean antiquity, worshipping different gods, yet still fascinated by the legacy of Greece and Rome. That rich body of material was sometimes even directly inspired by ancient images and texts. We will look in this seminar at how a range of post-Classical artists and viewers from Late Antiquity to the contemporary moment have creatively exploited Greco-Roman "myth" to think about themselves and their own worlds; that will sometimes let us look, too, at the interplay between art and text. The resources of the Philadelphia Museum of Art will be utilized. No prerequisites; it's recommended that students have completed their sophomore year. Of especial interest to students in ArtH, ClSt, RelSt, Hist, VisSt, Anthro, Fine Arts, and the literature departments. |
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ARTH 327-601 | Art of the Sacred and Profane in the Ancient Greek World | CHALIKIAS, KONSTANTINOS | JAFFE BUILDING B17 | M 0600PM-0900PM |
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ARTH 329-401 | TOPICS IN ROMAN ART/ARCH: The Topography of Ancient Rome | LANCASTER, LYNNE | JAFFE BUILDING 113 | M 0330PM-0630PM | Topic varies. Fall 2016: In this seminar we will examine key episodes in the development of architecture and urban design in ancient Rome. We will proceed chronologically so that changes to the city and its physical remains can be seen in the broader political, economic, and social context. We will also examine the effect that the landscape and geology had on building materials and architectural expression and how this changed as trade networks focused on Rome expanded during the imperial period. Whenever possible we will take advantage of materials in collection of the University of Pennsylvania Museum. |
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ARTH 387-401 | TOPICS IN ANIMATION: THE ANIMATION OF DISNEY | SIMENSKY, LINDA | FISHER-BENNETT HALL 231 | M 0430PM-0730PM | This topic course explores multiple and different aspects of Animation. Specific course topics vary from year to year. See the Cinema Studies website at <http://cinemastudies.sas.upenn.edu/> for a description of the current offerings. Fall 2016: No organization has exerted as much influence on popular culture and the art form of animation as The Walt Disney Company. For decades, Disney films were the standard by which all other animated films were measured. This course will examine the biography and philosophy of founder Walt Disney, as well as The Walt Disney Company's impact on animation art, storytelling and technology, the entertainment industry, and American popular culture. We will consider Disney's most influential early films, look at the 1960s when Disney's importance in popular culture began to erode, and analyze the films that led to the Disney renaissance of the late 1980s/early 1990s. We will also assess the subsequent purchase of Pixar Animation Studios and the overall impact Pixar has had on Disney. |
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ARTH 389-402 | TOPICS FILM STUDIES: HOLLYWOOD 1939 | POLAN, DANA | FISHER-BENNETT HALL 24 | M 0200PM-0500PM | This topic course explores aspects of Cinema Studies intensively. Specific course topics vary from year to year. See the Cinema Studies website at <http://cinemastudies.sas.upenn.edu/> for a description of the current offerings. |
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ARTH 391-401 | TOPICS IN CINEMA & MEDIA: LIFE IMITATES ART: THEORIES AND FORMS OF AVANT-GARDE CINEMA | TRENTIN, FILIPPO | FISHER-BENNETT HALL 323 | TR 0430PM-0600PM | Specific course topics vary from year to year. See the Cinema Studies website at <http://cinemastudies.sas.upenn.edu/> for a description of the current offerings. |
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ARTH 501-401 | Presenting the Past: The Middle East Galleries at Penn Museum |
HOLOD, RENATA PITTMAN, HOLLY |
UNIVERSITY MUSEUM 330 | R 0130PM-0430PM | Curatorial seminars expose students to the complexity of studying and working with objects in the context of public display. With the guidance of faculty and museum professionals, students learn what it means to curate an exhibition, create catalogues and gallery text, and/or develop programming for exhibitions of art and visual/material culture. Fall 2016: The Penn Museum has undertaken a major renovation and reinstallation of its world renown collection of archaeological, historical and ethnographic materials from the Middle East. This seminar will prepare special study units on several aspects of the collection which will be presented through web-based technology. The themes that will be investigated in this seminar will be organized around the Human Body, focusing on housing the body, feeding the body and clothing the body. Drawing directly on objects in the collections students will develop guided explorations to aspects of those themes. |
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ARTH 505-640 | MLA PROSEMINAR: FAKE! | SHAW, GWENDOLYN | JAFFE BUILDING 113 | R 0430PM-0730PM | Topic varies. |
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ARTH 506-401 | ELECTRONIC LIT SEMINAR: ENVIRONMENTAL MEDIA | MUKHERJEE, RAHUL | FISHER-BENNETT HALL 222 | M 0600PM-0900PM | This course is designed to introduce advanced undergraduate and graduate students to the range of new opportunities for literary research afforded by recent technological innovation. See the English Department's website at www.english.upenn.edu for a description of the current offerings. |
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ARTH 511-401 | TOPICS IN INDIAN ART: SEEING IN SOUTH ASIA | MEISTER, MICHAEL | JAFFE BUILDING B17 | W 0200PM-0500PM | Topic varies. Fall 2016: Important as texts have been to South Asia's history, perceptions of the physical world dominate experience within South Asian cultures. Seeing and being seen, vocalizing and hearing, contribute to the construction of meaning. This pro-seminar will approach South Asia's perceptual world as expressed and tested by art, and methods to frame art as a source of knowledge. |
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ARTH 520-401 | TOPICS IN AEG BRONZE AGE: Minoan and Cycladic Wall Paintings in Context | SHANK, ELIZABETH | JAFFE BUILDING 104 | T 0430PM-0730PM | Topic varies. Fall 2016: Minoan and Cycladic Wall Paintings are considered a hallmark of the Aegean Bronze Age Civilization. Often, these paintings are discussed in terms of their iconography but in isolation of their archaeological contexts. In this class, we will examine both with the goal of determining what types of paintings are used in houses, palaces, defensive structures, and buildings of undetermined function, as well as examining their pictorial programs and iconographic interpretations. With the recent study of Minoan-style wall paintings in Egypt and the Ancient Near East, the question of the spread of Minoan and Cycladic techniques and motifs must also be considered, along with the archaeological contexts at these non-Aegean sites. We will have class discussions of assigned readings. |
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ARTH 560-401 | TOPICS IN AESTHETICS: Hannah Arendt | WEISSBERG, LILIANE | VAN PELT LIBRARY 627 | T 0300PM-0500PM |
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ARTH 560-402 | TOPICS IN AESTHETICS: Ekphrasis | MACLEOD, CATRIONA | WILLIAMS HALL 438 | W 0200PM-0400PM |
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ARTH 561-401 | TOPCIS IN N. RENAISSANCE: 16th Century Northern Paintings and Graphics | SILVER, LARRY | CANCELED | Topic varies. Spring 2017: This seminar will focus on the history and interpretation of Dutch and Flemish painting, particularly the seeming "realism" of landscape, still-life, and genre scenes as well as some of the major figures of the period for their distinctive contributions (including Rubens and Rembrandt, but not dominated by them): Jan Brueghel, Frans Hals, Jan Steen, Jacob van Ruisdael, David Teniers, Jan Vermeer, and others. Who were the consumers of such works? How did the burgeoning market for inexpensive art in the form of paintings on canvas and prints affect production and types of art? How can we understand these works in their original urban, middle-class setting? Prerequisites: at least Art History 102 and its equivalent; non-majors should seek instructor approval. Requirements: short analysis paper of work on view at the Philadelphia Museum of Art (5-7 pages); full-scale term paper, requiring library research. |
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ARTH 571-301 | MODERN ARCH THEORY | BROWNLEE, DAVID | JAFFE BUILDING 104 | W 0200PM-0500PM | A survey of architectural theory from the mid-eighteenth century to the present. The discussion of original writings will be emphasized. |
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ARTH 586-640 | Art, Architecture, and Ideology under Totalitarian Regimes | HIRSH, JENNIFER | JAFFE BUILDING 104 | M 0600PM-0840PM | Topic varies. |
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ARTH 625-401 | GREEK ART AND ARTIFACT | KUTTNER, ANN | JAFFE BUILDING B17 | TR 1030AM-1200PM | This course surveys Greek art and artifacts from Sicily to the Black Sea from the 10th century BCE to the 2rd century BCE, including the age of Alexander and the Hellenistic Kingdoms. Public sculpture and painting on and around grand buildings and gardens, domestic luxury arts of jewelry, cups and vases, mosaic floors, and cult artefacts are discussed. Also considered are the ways in which heroic epic, religious and political themes are used to engaged viewer's emotions and served both domestic and the public aims. We discuss how art and space was considered, along with ideas of invention and progress, the role of monuments, makers and patrons in Greek society. |
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ARTH 633-401 | EAST MED ARCHITECTURE | OUSTERHOUT, ROBERT | JAFFE BUILDING 113 | TR 0900AM-1030AM | This lecture course examines major architectural developments in the eastern Mediterranean between the 4th and 14th centuries CE. The focus is on the Byzantine Empire, with its capital at Constantinople. Lectures also devoted to related developments in the Caucasus (Armenia and Georgia), early Russia, the Balkans (Bulgaria and Serbia), Sicily and under the Normans, the Crusader states. Parallel developments in early Islamic architecture are used for comparative purposes. The course examines evidence for religious and secular buildings, as well as urbanism and settlement patterns. |
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ARTH 635-401 | INTRO VIS CULT ISLAM WLD | HOLOD, RENATA | JAFFE BUILDING B17 | TR 1200PM-0130PM | A one-semester survey of Islamic art and architecture which examines visual culture as it functions within the larger sphere of Islamic culture in general. Particular attention will be given to relationships between visual culture and literature, using specific case studies, sites or objects which may be related to various branches of Islamic literature, including historical, didactic, philosophical writings, poetry and religious texts. All primary sources are available in English translation. |
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CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS |
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ARTH 662-401 | NETHERLANDISH ART | SILVER, LARRY | JAFFE BUILDING 113 | TR 1030AM-1200PM | Dutch and Flemish painting in the 15th and 16th centuries with special emphasis on the contributions of Robert Campin, Jan van Eyck and Roger van der Weyden, Bosch, and Bruegel. |
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CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS |
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ARTH 671-401 | MODERN ARCH, 1700-1900 | BROWNLEE, DAVID | JAFFE BUILDING 113 | MWF 1100AM-1200PM | The history of western architecture, ca. 1700-1900, when architecture was transformed to serve a world that had been reshaped by political and industrial revolutions. Topics to be considered include the Rococo, the English Garden, Palladianism, Romanticism, neo-classicism, the picturesque, the Greek and Gothic Revivals, and the search for a new style. |
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ARTH 673-401 | HISTORY OF PHOTOGRAPHY | PETERSEN, STEPHEN | MUSIC BUILDING 101 | MW 0200PM-0330PM | 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 "fine art", photography and the critique of art history, and photography and censorship. |
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ARTH 678-401 | AMERICAN ART | LEJA, MICHAEL | CLAIRE M. FAGIN HALL (NURSING 218 | TR 1200PM-0130PM | This course surveys the most important and interesting art produced in the United States (or by American artists living abroad) up through the 1950s. This period encompasses the history of both early and modern art in the U.S., from its first appearances to its rise to prominence and institutionalization. While tracking this history, the course examines art's relation to historical processes of modernization (industrialization, the development of transportation and communications, the spread of corporate organization in business, urbanization, technological development, the rise of mass media and mass markets, etc.) and to the economic polarization, social fragmentation, political conflict, and the cultural changes these developments entailed. In these circumstances, art is drawn simultaneously toward truth and fraud, realism and artifice, science and spirituality, commodification and ephemerality, nationalism and cosmopolitanism, individualism and collectivity, the past and the future, professionalization and popularity, celebrating modern life and criticizing it. |
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CULTURAL DIVERSITY IN US; CULTURAL DIVERSITY IN THE US |
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ARTH 686-401 | MDRN ART:PICASSO-POLLOCK | POGGI, CHRISTINE | JAFFE BUILDING B17 | MW 1200PM-0100PM | Early twentieth-century art in Europe is marked by a number of exciting transformations. This period witnessed the rise of abstraction in painting and sculpture, as well as the inventions of collage, photomontage, constructed sculpture, the ready made and found object, and performance art. Encounters with the arts of Africa, Oceania and other traditions unfamiliar in the West spurred innovations in media, technique, and subject matter. Artists began to respond to the challenge of photography, to organize themselves into movements, and in some cases, to challenge the norms of art through "anti-art." A new gallery system replaced traditional forms of exhibiting and selling art, and artists took on new roles as publicists, manifesto writers, and exhibition organizers. This course examines these developments, with attention to formal innovations as well as cultural and political contexts. This course requires permission from the instructor. |
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PERMISSION NEEDED FROM INSTRUCTOR |
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ARTH 696-601 | CONTEMPORARY ART | PINAR, EKIN | CANCELED | 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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UNDERGRADUATES NEED PERMISSION |
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ARTH 702-301 | TOPICS IN METHODS: ART AND IDEAS |
LEJA, MICHAEL SHAW, GWENDOLYN |
FISHER-BENNETT HALL 224 | F 1200PM-0200PM | Fall 2016: Art entails and provokes thinking, but how do we as art historians establish relationships between particular works or groups of works and specific ideas? Scholars have sought to connect art with recondite philosophy (e.g. American landscape painting and Transcendentalism, Abstract Expressionism and Existentialism), misguided beliefs (eugenic theory and design, or ideologies of various kinds), and commonplace mental practices (cognitive styles). As this list indicates, the problem of linking artifacts and ideas is a nexus at which several varieties of art historical practice converge. This seminar will examine closely and critically some diverse case studies drawn mostly from classic and recent scholarship on American art. Our interests will be both methodological (what kinds of connections between art and thinking are possible? which styles of interpretation draw the connections most effectively?) and historical (how have art in the U.S. and its histories engaged ideas?). |
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PERMISSION NEEDED FROM INSTRUCTOR |
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ARTH 706-401 | ARCHAEOLOGY HELLENISTIC: Archaeology of the Hellenistic Period in Italy, Greece, and Asia Minor | ROSE, CHARLES | FISHER-BENNETT HALL 406 | W 0200PM-0500PM | A survey of the archaeology of the Hellenistic period (331-31 BCE) across the Mediterranean, with a focus on Rome, Magna Graecia, Greece, and western Asia Minor. The course will stress the interactions among cities and kingdoms during the Roman Republic and Greek Hellenistic periods, especially the second century B.C. Students will work with relevant objects in the Penn Museum's Mediterranean Section. |
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ARTH 731-401 | TOPICS IN ROMAN ART/ARCH: Roman Architecture, Technology, and Society | LANCASTER, LYNNE | FURNESS BUILDING DSR | T 0130PM-0430PM | Topic varies. Fall 2016: In this seminar we will examine Roman architecture as a nexus of multiple technologies and look at how these intersections can provide insights into the broader cultural context. We start by looking at how the study of Roman architecture has been treated in the past and then move on to examining the development of the history of technology as a discipline in an effort to understand why architecture has played such a minor role in conversations about Roman technology. Then we look at new approaches to building technology focusing particularly on post-colonial interpretations of practices in the Roman provinces. Student projects will focus on individual industries involved in construction such as timber, marble, fired brick/tiles, mudbrick/rammed earth, glass, metals, etc. so that together we build an overview of the technologies involved in the building industry in the Roman empire and of how and why they differed from region to region. |
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ARTH 765-401 | TOPICS IN NORTH BAROQUE: Art in the Era of Skepticism | SILVER, LARRY | JAFFE BUILDING 104 | M 0200PM-0500PM | Topic varies. This seminar will consider major themes in Northern art of the 16th and 17th centuries, essentially from Bruegel to Vermeer. The premise is that the Reformation altered certainties in knowledge and even in perception, especially in the wake of wars, newly discovered lands, changing science and collecting of Wonders. Among new imagery topics would include: melancholy, vanitas, witchcraft, travel images, and the status of the emblem as well as allegory. Students will select a topic for semester-long investigation and co-present a class with the instructor. No prerequisites; graduate students only. |
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ARTH 794-401 | TPCS IN CONTEMPORARY ART: PHOTO PAINTING | SILVERMAN, KAJA | JAFFE BUILDING 104 | T 0130PM-0430PM | Topic varies. Fall 2016: By 1842--three years after the official invention of photography--photographers had already begun hand-coloring their daguerreotypes, and a century and a half later Richter started smearing and spattering paint onto small photographs, and exhibiting them along with his abstract and figurative paintings. By the mid-1850's, many artists were also painting from photographs, sometimes by projecting them onto their canvases, and treating these projections as preparatory drawings. They called the resulting images "photo paintings." And although it became increasingly "disreputable" to work in this way as the century progressed, Eugene Delacroix, Gustave Courbet, Edouard Manet, Henri Fantin-Latour, Edgar Degas and Edouard Vuillard all made paintings that are in one way or another "photographic." Some of them also saw photography as the gateway to a new kind of figurative painting. Abstraction hardened the distinction between art and photography, and brought these medium-crossings to an end. However, photo painting resurfaced in the 1950s and 1960s, and although it initially seemed ironic, it has outlived the movements that made this reading possible. As we can now see, photo-painting is a far more complex and multi-faceted way of generating images than those generally associated with Pop, Institutional Critique and Appropriation. We will begin this seminar with the two most important practitioners of nineteenth century photo painting, Edouard Manet and Edgar Degas. We will then direct our attention to a group of twentieth and twenty-first century photo-painters: Richard Artschwager, Marlene Dumas, Richard Hamilton, Gerhard Richter, Wilhelm Sasnal, and Luc Tuymans. |
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PERMISSION NEEDED FROM INSTRUCTOR |