Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Modernist : Artists and Intellectuals Subject Area/Course Number: Humanities 30

New Course OR Existing Course

Author(s): Mariel Morison, Jennifer Saito

Subject Area/Course No.: HUMAN-030 Units: 3

Course Title: Modernist Paris: Artists & Intellectuals Discipline(s): Humanities, Art, Drama, Music, English, Philosophy, History

Pre-Requisite(s): None Co-Requisite(s):

Advisories: Eligibility for ENGL-100

Catalog Description: An integrated interdisciplinary approach to intellectual and cultural history, using the products of —philosophy, literature, art, music, and film, and focusing on Paris as a nexus of creative thought in the period from the mid-19th century through the mid-20th. In this broad context, students will investigate the intellectual, artistic and philosophical foundations of Modernism in Western culture.

Schedule Description:

Pablo Picasso. . Ernest . . What do they have in common? All these artists and intellectuals converged on Paris in the early 20th century to contribute to Modernism, a radical, wide-reaching movement. Its ideas and aesthetics forever shifted the trajectory of art and still linger today. Whether it was through poetry, fiction, music, theater, film, dance, philosophy, photography, or painting, the Modernist’s quest for heresy and self-scrutiny shook foundations and changed culture. While Modernism developed in many locations, Paris in particular was the center of it all. Why was this? How did this all happen? And why should I care about this today? If you love Paris or relish the idea of an interdisciplinary study of radical art and ideas, then this class is for you!

Hrs/Mode of Instruction: Lecture: _54___ Scheduled Lab: ____ HBA Lab: ____ Composition: ____ Activity: ____ Total Hours _54___

Credit Credit Degree Applicable (DA) Grading Pass/No Pass (P/NP) Repeatability 0 Credit Non-Degree (NDA) Letter (LR) 1 Student Choice (SC) 2 3

Last date of Assessment: Fall 2018 Cohort #: _4____

Please apply for:

LMC General Education Requirement(s): Arts & Humanities

Transfer to: CSU UC IGETC Area __3B__ CSU GE Area__C2__ C-ID Number ______

Course is Baccalaureate Level: Yes No

Form Revised 5-18-2016 Page 1 of 10 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Modernist Paris: Artists and Intellectuals Subject Area/Course Number: Humanities 30

Signatures:

Department Chair Date

Librarian Date

Dean (Technical Review) Date

Curriculum Committee Chair Date

President/Designee Date

CCCCD Approval Date (Board or Chancellor's Office) Date

STAND ALONE COURSE: YES NO

Course approved by Curriculum Committee as Baccalaureate Level: YES NO

LMC GE Requirement Approved by the Curriculum Committee: ______

FOR OFFICE OF INSTRUCTION ONLY. DO NOT WRITE IN THE SECTION BELOW. Begin in Semester ______Catalog year 20____/20_____ Class Max: ______Dept. Code/Name:______T.O.P.s Code: ______Crossover course 1/ 2: ______ESL Class: ____Yes / No______DSPS Class: _Yes / No_____ Coop Work Exp: ___Yes / No_____

Class Code A Liberal Arts & Sciences SAM Code A Apprenticeship Remediation Level B Basic Skills B Developmental Preparatory B Advanced Occupational NBS Not Basic Skills C Adult/Secondary Basic Education C Clearly Occupational D Personal Development/Survival D Possibly Occupational E For Substantially Handicapped E* Non-Occupational F Parenting/Family Support G Community/Civic Development *Additional criteria needed H General and Cultural 1 One level below transfer I Career/Technical Education 2 Two levels below transfer J Workforce Preparation Enhanced 3 Three levels below transfer K Other non-credit enhanced Not eligible for enhanced

Form Revised 5-18-2016 Page 2 of 10 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Modernist Paris: Artists and Intellectuals Subject Area/Course Number: Humanities 30

Institutional Student Learning Outcomes: General Education SLOs: At the completion of the LMC general education program, a student will: 1. read critically and communicate effectively as a writer and speaker. 2. understand connections among disciplines and apply interdisciplinary approaches to problem solving. 3. think critically and creatively 4. consider the ethical implications inherent in knowledge, decision-making and action. 5. possess a worldview informed by diverse social, multicultural and global perspectives.

None

Program-Level Student Learning Outcomes (PSLOs): n/a

Course-Level Student Learning Outcomes (CSLOs):

1. Read critically and communicate effectively as a writer and speaker on cultural, philosophical, political and aesthetic trends and conflicts in Western society, particularly as exhibited in Paris, during the rise of Modernism and its eventual establishment as a privileged mode of cultural understanding and expression in the world at large. (GESLO 1, 2) 2. Demonstrate an interdisciplinary approach to problem by synthesizing textual resources, source documents, literary works, historical events, art works, and extant visual media of Modernist Paris to analyze connections between various artistic, social and philosophical schools of thought. (GESLO 2, 3) 3. Think critically and creatively about the intellectual, political, philosophical and aesthetic issues that gave rise to and defined Modernism as manifested in Paris and in its extension into the greater world. Critically delineate the effects of Modernism on our own era. (GESLO 2, 3) 4. Analyze the ethical and social origins and implications of intellectual/philosophical/aesthetic movements and manifestos of the Modernist era in Paris. Determine the extent to which such movements enacted or achieved their implied goals and influenced contemporary culture and society. Apply conclusions to the present and implications for the future. (GESLO 2, 3, 4) 5. Develop a coherent view of the 20th century world informed by the diverse perspectives of diverse ethnic/national groups, political groups, philosophical entities, and economic and social classes as represented in the Modernist revolution(s) of twentieth century Paris. (GESLO 5) Assessment Instruments:

Art Responses Essays Presentations/Debates Quizzes Exams (Midterm & Final) CSLO #1 X X X X X CSLO #2 X X X X X CSLO #3 X X X X X CSLO #4 X X X X X CSLO #5 X X X X X

Form Revised 5-18-2016 Page 3 of 10 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Modernist Paris: Artists and Intellectuals Subject Area/Course Number: Humanities 30

Rationale: Given the interdisciplinary nature of this course and its focus on making connections between art and ideas, a variety of assessment tools are required. Assessments may take on many forms such as essays, art responses, quizzes, exams and presentations/debates. Through the course of the semester students will receive both formative and summative assessments to evaluate their progress towards mastery of the student learning outcomes. All assessment will focus on critical engagement with the material in the course and student comprehension of the connections between artworks, ideas and social/historical trends in Modernist Paris. Students’ course work will be assessed by but are not limited to the following methods:

CSLO #1: Read critically and communicate effectively as a writer and speaker on cultural, philosophical, political and aesthetic trends and conflicts in Western society, particularly as exhibited in Paris, during the rise of Modernism and its eventual establishment as a privileged mode of cultural understanding and expression in the world at large.

Written Assignments: Through essays, quizzes and short Art Responses students will demonstrate an understanding of the intersections between philosophical, cultural, political and aesthetic trends in 19th and 20th century Paris. Written assignments may take a variety of forms with instructor discretion.

Oral Presentations/Debates: There will be at least one assessment tool which requires students, either as individuals or in groups, to present orally to the class. Oral presentations. may take a variety of forms with instructor discretion.

Sample Assignments

Impressionist Group Presentation: In groups of 3-4, students will give a 6-8 minute presentation wherein each member speaks for at least 2 minutes. The content of your presentation should be as follows: 1. Background information about your Impressionist. Include a couple of “fun facts” in addition to the usual biographical information. 2. Presentation of at least 4 key paintings of the artist. Your presentation should include: a. The painting’s title and date plus relevant contextual information. b. A short analysis of what’s interesting about the painting. This might discuss its subject matter, its technique, the color choices, etc. 3. A discussion of the artist’s legacy. If you had to make an argument about why this artist should be considered the “most important” Impressionist, what reasons would you cite? Art Response: On Youtube, find the recording of Gertrude Stein performing her poetic “portrait” of Picasso. Listen to it at least 3 full times. Write a 1-2 page reaction paper describing your emotional/aesthetic reaction to the poem. How did it make you feel? What characteristics of Picasso’s character are captured by her poem? Ultimately, do you think it is successful at giving insight to his personality? Why or why not?

Form Revised 5-18-2016 Page 4 of 10 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Modernist Paris: Artists and Intellectuals Subject Area/Course Number: Humanities 30

CSLO #2: Demonstrate an interdisciplinary approach to problem by synthesizing textual resources, source documents, literary works, historical events, art works, and extant visual media of Modernist Paris to analyze connections between various artistic, social and philosophical schools of thought.

Sample Assignment

A Belle Époque Tour of Paris: Design a tour of Paris which includes at least four stops that will illuminate a noted artist/work of art from the Belle Époque. You will present this tour in a 4-5 page paper which includes a map with the stops on your tour labeled. For each stop, you will write a detailed description of the location and why it is relevant.

Upon reading the entire paper, the reader should learn a variety of information about your topic:  Background information relating biographical/historical details and context for your topic. The reader should understand how your topic was a product of the Belle Époque’s zeitgeist.  A detailed explanation of what was new or rule-breaking or innovative about the artist/work of art/. This explanation should be based on your presentation/analysis of specific works of art related to your topic. For example, if was your topic, you might choose 3-4 key paintings of his to analyze.  Connections your topic had to other people/movements/works of art in the era. For example, Picasso designed costumes and sets for the Ballet Russes, he painted Gertrude Stein’s portrait and his best friend was the poet .  Why your topic is important. In the conclusion of your paper, write a paragraph or two meant to persuade the reader about the importance and legacy of your topic. Why is understanding Picasso’s Parisian works crucial for deeper understanding of 20th century art? What makes Picasso relevant today?

Art Response: Write a 1-2 page reaction paper which compares the nihilism in the conversation between Jake and Brett in the taxi regarding their failed romance in with the rise of as an artistic movement after . How do you think Jake and Brett would react if they attended a Dada show? Would they like the art? Why or why not?

CSLO #3: Think critically and creatively about the intellectual, political, philosophical and aesthetic issues that gave rise to and defined Modernism as manifested in Paris and in its extension into the greater world. Critically delineate the effects of Modernism on our own era.

Sample Assignments

Midterm Essay Prompt: Write a short essay (three to four 8.5” x 11” bluebook pages) which describes the transition from to Realism within a historical context. Be sure your essay covers

 Defining characteristics of each movement as they manifested themselves in the arts. Use examples from art works we’ve studied in class to illustrate your points;

Form Revised 5-18-2016 Page 5 of 10 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Modernist Paris: Artists and Intellectuals Subject Area/Course Number: Humanities 30

 Historical events that influenced the artistic style of each movement.

 The effects each movement still has on today’s artistic environment.

CSLO #4: Analyze the ethical and social origins and implications of intellectual/philosophical/aesthetic movements and manifestos of the Modernist era in Paris. Determine the extent to which such movements enacted or achieved their implied goals and influenced contemporary culture and society. Apply conclusions to the present and implications for the future.

Sample Assignments

Midterm Question: Write a short essay (three to four 8.5” x 11” bluebook pages) which links the political unrest of 19th century Paris and Marx’s Communist Manifesto to the paintings of Realists such as Gustave Courbet and Honoré Daumier and the short story A Simple Heart by .

Art Response: Read the article Fragments of the Universe written by British journalism Jonathan Jones. In it he makes a number of intense assertions regarding the aesthetic and political implications of including: 1. “Cubism claims not to be beautiful, but true.” 2. “Cubism is as spiritual as it is scientific.” Choose the one which resonates with you more. Explain what you think Jones means by this and whether you agree with his claim. What lasting effects of Cubism do you see in today’s visual art world?

CSLO #5: Develop a coherent view of the 20th century world informed by the diverse perspectives of diverse ethnic/national groups, political groups, philosophical entities, and economic and social classes as represented in the Modernist revolution(s) of twentieth century Paris. Sample Assignments

Hemingway Essay Prompt: Write a 3-4 page essay that addresses the following prompt. ’s reputation as a macho misogynist whose portrayals of women are offensive and out-of-date is wide-spread, but do closer readings of The Sun Also Rises and support this stereotype?

Write a comparative essay that compares Lady Brett Ashley with either Gertrude Stein or Zelda Fitzgerald as they are portrayed in A Moveable Feast. What positive and negative characteristics or behaviors are ascribed to them by Hemingway? In what ways are they portrayed as complex and nuanced humans, and/or reduced to one-dimensional stereotypes? What do the two women have in common and what distinguishes them? Do you feel they are, in general, respected or demeaned by their depictions? How would this behavior come across today?

And what role does time and maturity play in this? That is, given that The Sun Also Rises was the first of a man in his early twenties, whereas A Moveable Feast was the last book of a much older man, does it seem Hemingway’s opinions of women have changed or generally stayed the same? Ultimately, based on your analysis, do you think it’s fair to accuse Hemingway of sexism?

Form Revised 5-18-2016 Page 6 of 10 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Modernist Paris: Artists and Intellectuals Subject Area/Course Number: Humanities 30

Art Response: Write a 1-2 page reaction after watching videos of Josephine Baker and Beyonce’s performances of “the banana dance.” Was Josephine Baker’s infamous “banana dance” which she performed at Paris cabarets a capitulation to or an indictment of racist attitudes towards African sexuality? How about Beyonce’s version? Does 100 years make a difference in how it should be interpreted? Why or why not?

Method of Evaluation/Grading: This course will be organized chronologically, as each artistic/intellectual movement impacted subsequent ones. The material will be broken up into units at the discretion of the professor with each unit culminating in a major assignment or exam. In each unit, students will be given art response activities to initiate engagement and then be required to synthesize and interpret the art and ideas at the unit’s finale.

A sample break down of grade weight by approximate percentage could be:

2 Essays 30% (15% each) Midterm/Final Exams 40% Art Reactions, Quizzes, Presentations 30%

Upon completion of the course, a percentage of completed course work will be calculated using the assessment from the course. A letter grade will be assigned as follows:

90 – 100% = A 80 - 89% = B 70 - 79% = C 60 - 69% = D 0 - 59% = F

A student who earns an ‘A’ grade will have achieved mastery in the course-level learning outcomes, demonstrating exceptional ability to analyze a wide variety of Modernist art works within a philosophical, social and historical context.

A student who earns a ‘B’ grade will have achieved near mastery or mastery in some but not all of the course-level learning outcomes, demonstrating a strong ability to analyze a wide variety of Modernist art works within a philosophical, social and historical context.

A Student who earns a ‘C’ grade will have achieved a satisfactory completion of the course-level learning outcomes, demonstrating satisfactory ability to analyze a wide variety of Modernist art works within a philosophical, social and historical context.

A student who earns a ‘D’ grade will have achieved near satisfactory completion or satisfactory completion in some but not all of the course-level learning outcomes, demonstrating below standard ability to analyze a wide variety of Modernist art works within a philosophical, social and historical context.

A student who earns a ‘F’ grade will lack satisfactory completion of the course-level learning outcomes, demonstrating a deficiency in ability to analyze a wide variety of Modernist art works within a philosophical, social and historical context.

Form Revised 5-18-2016 Page 7 of 10 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Modernist Paris: Artists and Intellectuals Subject Area/Course Number: Humanities 30

Course Content:

I. An Introduction A. Orientation and general concepts 1. What are the “humanities”? 2. Why study them? 3. Course philosophy and standards B. Why Paris? 1. Getting to know Paris a. geography b. history of its humanities c. its language d. its people and society e. its “there-ness” f. The impact of Louis XIV on French art and culture 2. A 30-minute whirlwind tour of other important European and American cities in the era

C. Humanistic foundations briefly reviewed

1. European intellectual, literary, artistic, musical and philosophical traditions a. Romanticism, Realism b. Academic Art and the French Academy

D. Changes in the way people live in the late 19th and early 20th centuries 1. New modes of transportation and communication 2. Trends toward urbanization and industrialization 3. New scientific theories and discoveries 4. Shifts in political power and organization 5. New focus on the psychology of the individual 6. A century of revolutions and the rise of Socialism/Communism

E. Visual Arts in the late nineteenth century 1. The Impressionists 2. The Post-Impressionists 3. French sculpture a. Degas b. Rodin 4. 5. Photography in the nineteenth century a. its invention and technical advances b. photography as a new art form

F. Literature in the late nineteenth century 1. Poetry: in French poetry 2. Poetry: Romanticism in English, French and German poetry 3. Baudelaire 4. : a. and set the scene b. Gustave Flaubert, Colette, Emile Zola

G. Music and Movement in the late nineteenth century

Form Revised 5-18-2016 Page 8 of 10 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Modernist Paris: Artists and Intellectuals Subject Area/Course Number: Humanities 30

1. Grand opera 2. Classical music: the Late Romantic composers 3. Ballet H. Philosophy 1. Nietzsche 2. Bergson 3. Marx

II. Modernism in Paris A. The Visual Arts 1. Pablo Picasso and the Cubists 2. and the Fauves 3. and the Dadists and Futurists 4. Andre Breton and the Surrealists 5. Constantin Brancusi (and other sculptors) B. Photography 1. 2. Lee Miller 3. Henri Cartier-Bresson C. Literature 1. 1900-1918, literary trends in general 2. American expatriate writers between the wars a. Gertrude Stein b. Ernest Hemingway c. F. Scott Fitzgerald 3. British expatriate writers between the wars a. 4. French writers between the wars 5. Others D. Music and Dance 1. Composers: a. Debussy b. Ravel c. Stravinsky 2. Dancers a. Isadora Duncan and in b. Diaghilev and the Ballet Russes 3. Jazz and jazz clubs E. Cinema F. Philosophy and Intellectualism 1. Jean-Paul Sartre 2. Simone de Beauvior 3. Albert Camus G. The African-American Expatriate Community in Paris 1. James Baldwin 2. Richard Wright 3. Chester Himes 4. Oliver Harrington 5. Josephine Baker and her “rainbow tribe” H. After World War II 1. Changing times, changing places: the arts move to New York

Form Revised 5-18-2016 Page 9 of 10 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Modernist Paris: Artists and Intellectuals Subject Area/Course Number: Humanities 30

Lab By Arrangement Activities (If Applicable):

Instructional Methods: Lecture Lab Activity Problem-based Learning/Case Studies Collaborative Learning/Peer Review Demonstration/Modeling Role-Playing Discussion Computer Assisted Instruction Other Visits to museums, concerts, theater etc.

Textbooks: Sample books which may be chosen by the professor include

Peter Gay, Modernism: The Lure of Heresy, New York:W.W. Norton & Company, 2007.

Christopher Butler, Early Modernism: Literature, Music and Painting in Europe 1900-1916. London: Oxford University Press, 1994.

Gloria K. Fiero. The Humanistic Tradition: The Global Village of Twentieth Century, 3rd ed. New York: McGraw-Hill, 1998.

Literary works: TBD: Editions and translations vary.

Possibilities include Earnest Hemingway’s A Moveable Feast, The Sun Also Rises; Gertrude Stein’s Autobiography of Alice B. Toklas,Tender Buttons, ; F. Scott Fitzgerald’s Tender Is the Night; ’s Remembrance of Things Past; Gustave Flaubert’s Three Stories ’ Nightwood; Robert McAlmond and Kay Boyle’s Being Geniuses Together; Oliver Harrington’s Why I Left American and Other Essays; and Craig Lloyd’s biography, Eugene Bullard:Black Expatriate in Jazz-Age Paris; as well as selected poems by Baudelaire, Guillaume Apollinaire, , , , T.S. Eliot, H.D., Paul Valery, Stephanie Mallarme, , and others.

Form Revised 5-18-2016 Page 10 of 10