Showing 51-75 of 1321 courses

  • Arabic

    ARBC 301 – Advanced Arabic

    Students at this level have a broader range of vocabulary, more fluency in speaking, and more advanced skills in Arabic than students at the regular Intermediate Arabic level. The main objective of this course is to move students in a short period of time across the threshold of the high intermediate level of proficiency and provide opportunities and learning strategies towards the advanced level of proficiency. This level is characterized by extensive readings and discussions on a multitude of political, social, cultural, and literary topics. Listening activities focus on authentic materials of considerable length and content. At this level, students learn colloquial dialects mostly Levantine. The objective is to equip students with the necessary conversational skills that would enable them to engage in meaningful discourse with educated Arabs in a medium that is not considered artificial or unfamiliar in the Arab World.

  • Arabic

    ARBC 302 – Advanced Arabic

    Students at this level have a broader range of vocabulary, more fluency in speaking, and more advanced skills in Arabic than students at the regular Intermediate Arabic level. The main objective of this course is to move students in a short period of time across the threshold of the high intermediate level of proficiency and provide opportunities and learning strategies towards the advanced level of proficiency. This level is characterized by extensive readings and discussions on a multitude of political, social, cultural, and literary topics. Listening activities focus on authentic materials of considerable length and content. At this level, students learn colloquial dialects mostly Levantine. The objective is to equip students with the necessary conversational skills that would enable them to engage in meaningful discourse with educated Arabs in a medium that is not considered artificial or unfamiliar in the Arab World.

  • Arabic

    ARBC 398 – Experimental Course

    From time to time, departments design a new course to be offered either on a one-time basis or an experimental basis before deciding whether to make it a regular part of the curriculum. Refer to the course schedule for current listings.

  • Arabic

    ARBC 399 – Independent Study

    An opportunity to do independent work in a particular area not included in the regular courses.

  • Art History

    ARTH 098 – Experimental Course

    From time to time, departments design a new course to be offered either on a one-time basis or an experimental basis before deciding whether to make it a regular part of the curriculum. Refer to the course schedule for current listings.

  • Art History

    ARTH 099 – Selected Topics

    An opportunity to do independent work in a particular area not included in the regular courses.

  • Art History

    ARTH 110 – Introduction to Italian Renaissance Art

    This introductory course is meant to give students a survey of the arts in the Italian peninsula from the 13th century to the 18th century. The class will present a variety of works in diverse media made during what is commonly called the Renaissance. We will explore architecture, paintings, and sculptures by analyzing the historical, social, and cultural contexts in which they were produced. At the end of the course, students will be able to discuss early modern Italian art and to understand the particular concepts that drove artistic productions. Students will also learn the foundations of art historical methods and vocabulary; they will deploy these tools to analyze the works examined in class. Though the course is structured around lectures, students are strongly encouraged to bring their own comments and questions to class. No previous knowledge of art history is required.

  • Art History

    ARTH 120 – Introduction to American Art and Architecture

    An introduction to American art and architecture from the colonial period through the midtwentieth century, this course examines the role visual culture has played in the formation of national identity. Students will consider a wide range of media, seeking to understand how artists, architects, and designers negotiated the rise of urban culture, industrial prosperity, sectional conflict, and the changing politics of race and gender.

  • Art History

    ARTH 121 – Introduction to Modern Architecture

    In this introductory survey, we will study the evolution of Western architecture from the period of the Enlightenment to the twenty-first century. Examining the technological, political, and social contexts of key works throughout this period, we will consider the ways individual structures and the built environment have reflected modern Westerners’ greatest aspirations as well as their deepest anxieties.

  • Art History

    ARTH 198 – Experimental Course

    From time to time, departments design a new course to be offered either on a one-time basis or an experimental basis before deciding whether to make it a regular part of the curriculum. Refer to the course schedule for current listings.

  • Art History

    ARTH 199 – Selected Topics

    An opportunity to do independent work in a particular area not included in the regular courses.

  • Art History

    ARTH 212 – African Visual Cultures

    This course provides an introduction to the rich, diverse and inspiring world of African art. We will examine the varied ways that African art has shaped and been shaped by the histories and cultural values of different African peoples, both in the past and during the present day. This course will strengthen the student’s ability to critically assess the role of art in Africa for the people who produce and use it, and will provide an understanding of the role of African art in the West for the people who collect, exhibit, view and study it. Topics of study will include social, political, religious, philosophical, gendered and aesthetic practices.

  • Art History

    ARTH 230 – Introduction to Museum Studies

    This course introduces students to museum history and practice and to theoretical issues in museum studies. Students will explore the ways in which museums and like institutions represent people and cultures and will consider their missions, organizational structure and architecture, their role in the community and the contemporary challenges faced by museum practitioners.

  • Art History

    ARTH 240 – Art of the Avant-Gardes, 1900-1945: France, Germany, Italy and Russia

    This course examines the artistic avant-gardes in France, Germany, Italy and Russia, during the first half of the 20th century. We study individual artists and their associated movements (Fauvism, Cubism, Futurism, Constructivism, Dada, Surrealism, for example) through select themes: appropriations from and critical responses to mass culture and emerging new media, to visual traditions outside of Europe; representations of sexual, racial, and class identity; and the relationships between modernism, nationalism, war, and revolution. Critical analysis of individual works of art, as well as primary texts, especially those by artists and critics articulating ideological theories of art-making and its social and political roles, forms the basis of the course.

  • Art History

    ARTH 241 – Northern Renaissance Painting 1400-1550

    The effects of secular patronage on late Gothic painting in France and Flanders (Pucelle, the Limbourg brothers), followed by a thorough analysis of the realistic and mystical currents in northern culture and painting from Jan van Eyck to Hieronymus Bosch; a study of the spread of the Flemish style to Germany and France and the impact of humanism (Dürer, Grünewald, Brueghel).

  • Art History

    ARTH 242 – Patronage and the Artist in Early-Modern Italy

    This course explores the relationship between various patrons and artists in Italy from circa 1400 until circa 1650. We examine the influence held by patrons such as churches, monasteries, and court rulers on art production and, in turn, how artists affected patrons’ taste. In addition, the class addresses issues of gender and politics to understand the process of art production and art reception in early-modern Italy. From fresco cycles, to museum collections, sacred decorations, and self-portraits, this course pays close attention to individual styles while contextualizing the works within their political, social, religious and economic settings.

  • Art History

    ARTH 243 – Early Modern Spaces

    This course examines various spaces in Italy and France from circa 1400 until circa 1700. The students look at private residences such as palazzi and castles in terms of architecture, patronage, and domestic productions. The class determines the parameters of an established gendered space and the components of a socially constructed space. In addition, the course addresses the impact of urban public structures on politics and culture, as well as the drive behind the establishment of villas outside of city centers. From the gardens of Bomarzo to studioli and to the Chäteau de Chenonceau, this class pays close attention to aesthetic decisions contextualized within political, religious, economic and social settings.

  • Art History

    ARTH 244 – Baroque Art

    This course surveys a selection of the arts in Italy from the middle of the sixteenth century to circa 1750. The works of major artists such as Caravaggio, Bernini, Gentileschi, Borromini, and the Carracci brothers are examined and contextualized within their political, social, religious and economic settings. A special emphasis is put on Rome, though Florence and Venice are discussed in relation to courtly productions and to the Grand Tour. Close attention to individual styles is emphasized in lectures, readings and class discussion. The class also looks at the intersections of art and science, and the ways in which the interest in the marvelous and the curious took visual forms during a time when questioning the supremacy of divine creation was prevalent.

  • Art History

    ARTH 245 – Postwar and Contemporary Art: 1945-2000

    This course surveys the diversity of art making since 1945 through a thematic approach. We study postwar modernism—Abstract Expressionism, Art Informel, Neo-Dada, Pop, Minimalism, Conceptual art—in conjunction with more recent work, from a more global context, that challenges its discourses. By focusing on select concepts—body, gender and identity, consumerism, natural environment, cultural hybridity, historical memory, e.g— we
consider critical and creative relationships across periods, cultures, and media (painting and sculpture, photography, performance, installation, film and video). Analysis of individual works, museum visits, web resources, and writings by artists, art historians, and critics form the basis of the course.
(Previously ARTH 340)

  • Art History

    ARTH 250 – Modernism and Mass Culture in France, 1848-1914

    This course studies the early movements of European modern art—Realism, Impressionism, Post-Impressionism, Cubism—with a focus on their interactions with mass culture. Beginning in the mid-19th century with Courbet and the impact of popular printmaking on his art, we study how other non-elite forms (lithographic posters, commercial photography, newspapers) shaped the subsequent development of modernist art, chiefly in France. In the second half of the course, we consider how new forms of leisure and commercial entertainment in Paris (café-concert, music hall, etc) impacted artists including Manet, Degas, and Seurat. We end in the early 20th century, with a consideration of cubist collage by Picasso and Braque and their adoption of the ephemera of mass culture: newspapers, song sheets, and department store advertisements. Why, if modernism can be traced through its appropriations from the commodity culture of capitalism, has it also been described as a critical alternative to it?

  • Art History

    ARTH 253 – Castles and Cathedrals

    This course is a study of Gothic architecture and art from the 12th to the 14th century throughout Europe, but primarily in Medieval France, where the movement was “born.” Special attention at the outset of the class will be given to the art of the Romanesque period (11th-12th) for comparative analysis. Thus, we will move from Romanesque monastic pilgrimage sites (their architecture and sculpture), to the great cathedrals of Gothic France (their architecture, sculpture, and stained glass), to the castles of northern Europe (their construction, design, and life in a medieval castle), and to the Gothic art of the 14th century when two natural disasters occurred: The Little Ice Age and The Black Death. Social, political, and economic factors involved in the production of these works of art and architecture will be essential to our understanding of this art. Issues of materials, techniques of production, function, patronage, spectator/audience, historical context, and imbedded meanings for the art (its iconography) will be among the most important areas of inquiry.

  • Art History

    ARTH 255 – Art and Ritual of the Ancient Americas

    A historical and cultural examination of the architecture, sculpture and allied arts of the ancient Andes and Mesoamerica. Spanning the first millennium B.C.E. to the time of the Spanish Conquest, this course considers the role of the arts in the establishment and maintenance of pre-Columbian political/religious authority.

Previously Pre-Columbian Art and Architecture

  • Art History

    ARTH 257 – Photography and Knowledge (1830-1930)

    This course is a social history of photography which examines how the medium shaped categories of subjectivity in the 19th century (class, gender, race, nationality, for example). We study how photographic representations were a means to archive and classify fields of knowledge. The development of photography in this period intersected with the burgeoning sciences of ethnography and anthropology, and it was used in both topographical and expeditionary surveys. Faith in photography as a document made it a powerful witness to war, urban development, colonial expansion and social inequalities. While we study the work of photography’s more well-known practitioners from Europe and North America, our approach will not emphasize the aesthetic innovations of self-consciously artistic photography. Rather, we examine both professional and domestic photography as a means to produce knowledge about the world.

  • Art History

    ARTH 260 – American Art and Architecture: Colonial to 1865

    An examination of the visual arts in North America from the 17th century to the era of the Civil War, considering their role in the formation of national identity. In addition to class readings and lectures, students will study original works and extant structures in Boston, Providence and Newport.

  • Art History

    ARTH 261 – Anatomies 1400-1600: Sexual, Forbidden and Monstrous

    This course looks at the ways in which the body was understood and visualized in the early modern period. Focusing mostly on France and Italy, the class addresses topics such as: the perceived imperfections of the female body; the mystery held by reproductive organs and their function; the theological and physical challenges posed by human dissections; the production of illustrated anatomical treatises; the implication of artists and anatomists in exploring monstrous bodies; and the intellectual and physical fascination with hermaphrodites.

(Previously ARTH 311)