DOCSLIB.ORG

Courses of Instruction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Courses of Instruction Courses of Instruction Course Enrollment Courses numbered 200-299 are sometimes open to qualified undergraduate students who have received permission of the instructor and the director of graduate studies. Undergraduate students are not permitted in any courses above 300. Double numbers separated by a hyphen indicate that credit is contingent upon completion of both courses. Double numbers separated by a comma indicate that although the course is a year-long course, credit may be received for either course or both courses. The following symbols, suffixed to course numbers, identify the small group learning experiences: S, seminar; P, preceptorial; T, tutorial; D, discussion section. The L suffix indicates that the course includes laboratory experience. C-L: denotes a course that is cross-listed or a program under which a course is listed. African and African-American Studies (AAAS) Professor Gaspar, Director (408B Old Chemistry Building); Professors Holloway, Payne, and Powell; Associate Professor Lubiano; Assistant Professor Daniels; Assis- tant Professor of the Practice el Hamel; Research Professor Giddings The African and African-American Studies Program (AAASP) offers a certificate in African and African-American studies. Students enrolled in doctoral programs and in the Master of Arts in Liberal Studies (MALS) program are eligible and may work concurrently with their departments to satisfy the requirements for a certificate in African and African-American studies. The curricular format is a trifold course of study that includes coursework, teaching, and research. The award of a graduate certificate is carried on the student’s official transcript upon completion of the program. Students enrolled in the graduate program are eligible to apply for AAASP-sponsored teaching assistantships for an undergraduate course in their department or for the program’s introductory course for undergraduates. Graduate study leading to the certificate in African and African-American studies encourages research and scholarship in all dimensions of the African and African- American experience. The graduate program is designed to provide access for students and scholars to a broad range of information and research from the humanities and social sciences, and the arts and professions, while taking advantage of the university’s distinctive resources in each of these areas of study. Approximately seventy-five faculty in nearly 34 university departments and programs participate in AAASP and are available to mentor graduate students. Graduate students enrolled in the program are encouraged to participate in all African and African-American Studies Program events, to audit the series lecture and symposia, and to join with the faculty at the dinner colloquia. A brochure is available upon request giving detailed information about requirements for the graduate certificate. For further information regarding application and enrollment in the graduate certificate program in African and African-American studies, contact the program director’s office. 200S. Seminar in Asian and African Cultural Studies. 3 units. C-L: Asian and Afri- can Languages and Literature Studies 200S, Cultural Anthropology 288S, Literature 200S. 209S. Race, Class, and Gender in Modern British History. 3 units. C-L: History 209S. 216S. Gender, Race, and Class. 3 units. C-L: Cultural Anthropology 216S, Women's Studies. 235S. The Antebellum South. 3 units. C-L: History 235S. African and African-American Studies (AAAS) 65 241. Classical Islamic Theology and Ethics. 3 units. C-L: Religion 241, Medieval and Renaissance Studies 244. 254. Justice, Law, and Commerce in Islam. 3 units. C-L: Religion 254, Medieval and Renaissance Studies 254. 255. Anthropology as Public Discourse. 3 units. C-L: Cultural Anthropology 255. 269S. Harlem Renaissance. 3 units. C-L: Art History 269S. 270S. Topics in African Art. 3 units. C-L: Art History 270S. 278S. Black Political Participation. 3 units. C-L: Political Science 278S. 279S. Race, Racism, and Democracy. 3 units. C-L: Cultural Anthropology 279S. 292S. Slavery and Freedom in Africa, to 1960. 3 units. C-L: History 295S. 293. Special Topics in Literature and History. Instructor: Staff. 3 units. 309S. Seminar in African-American History, 1870s to the Present. Historiography and research on the black experience and race relations after the general emancipation, in the age of segregation, during the Civil Rights Movement, and in the post-civil rights era. Instructor: Gavins. 3 units. C-L: History 309S. 310S. Seminar in African-American History, 1870s to the Present. Historiography and research on the black experience and race relations after the general emancipation, in the age of segregation, during the Civil Rights Movement, and in the post-civil rights era. Instructor: Gavins. 3 units. 330S. Selected Topics in Brazilian History. Instructor: French. 3 units. C-L: History 330S. 391. Special Topics. Topics vary from semester to semester. Instructor: Staff. 3 units. 399. Special Readings. Consent of instructor required. Instructor: Staff. 3 units. COURSES CURRENTLY UNSCHEDULED 261. Islam in the African-American Experience 264S. Poverty and Social Policy: Life Course Human Resource Development Art and Art History (ARTHIST) Professor Powell, Chair (112A East Duke Building); Associate Professor Van Miegroet, Director of Graduate Studies (111B East Duke); Professors Bruzelius, Leighten, and Wharton; Associate Professors Antliff, Rice, and Stiles; Assistant Professors Abe, and Weisenfeld; Professor Emeritus Markman; Adjunct Professor Mezzatesta; Adjunct Assistant Professors Schroder and Schroth The Department of Art and Art History offers graduate work leading to the Ph.D. degree in art history. The doctoral program in the history of art is competitive with the leading art history programs in the country. It is distinctive in its size and funding pattern, academic goals, and faculty interests. We are committed to full and equal funding of our students, despite their different and individualized curricula, teaching, or workloads during their residence at Duke. In addition, admission to the program is at present limited to three new students per year. We seek to maintain a critical mass of around ten students. The Ph.D. program in the history of art has connected itself proactively with the many interdisciplinary, theoretical, and international initiatives in the humanities at Duke. The doctoral program is distinguished by its flexibility and cross-disciplinarity. It requires a thorough grounding in the formal and iconographic aspects of artworks, monuments, and visual culture, as well as in their theoretical, historical, and socioeconomic contexts. Course work has been designed to prepare students for careers in art and architectural criticism, research and teaching in the academy, museum, and art gallery. Faculty in the program cover the broad range of periods of art history, as 66 Courses of Instruction well as including more contemporary topics, such as cyberculture and hypermedia. Concurrent with their work toward a Ph.D., students may satisfy the requirements for a certificate of museology. Students are required to have demonstrated their ability to read German and at least one other foreign language relevant to their chosen area of research before taking their preliminary examination. For further information on the program, prospective applicants may write to the director of graduate studies. For Seniors and Graduates 202S. Topics in Roman Art. Selected topics in the art and architecture of late repub- lican and imperial Rome. Subject varies from year to year. Consent of instructor required. Instructor: Staff. 3 units. C-L: Classical Studies 227S. 203A. Student-Curated Exhibition I. Preparation and execution of an exhibition in the Duke Museum of Art by a small group of Art History majors; selection of theme and works, planning, and execution of all aspects of the exhibition including the writing of text labels and catalogue. Two semester sequence. Prerequisites: status as Art History major and consent of instructor. Instructor: Staff. 3 units. 203B. Student-Curated Exhibition II. Continuation of Art History 203A. Prerequi- sites: status as Art History major and consent of instructor. Instructor: Staff. 3 units. 205S. Greek Architecture. 3 units. C-L: Classical Studies 233S. 217. Islam and Islamic Art in India. 3 units. C-L: Religion 217. 218S. Topics in Islamic Architecture and Art. Subject varies from year to year. Con- sent of instructor required. Instructor: Staff. 3 units. 227S. Roman Painting. 3 units. C-L: Classical Studies 236S. 236S. Topics in Romanesque and Gothic Art and Architecture. Analysis of an indi- vidual topic. Subject varies from year to year. Consent of instructor required. Instructor: Bruzelius. 3 units. C-L: Medieval and Renaissance Studies 237S. 237S. Greek Painting. 3 units. C-L: Classical Studies 232S. 238S. Greek Sculpture. 3 units. C-L: Classical Studies 231S. 241. History of Netherlandish Art and Visual Culture in a European Context. A contextual study of visual culture in the Greater Netherlands and its underlying histor- ical and socioeconomic assumptions from the late medieval to early modern period, through immediate contact with urban cultures, such as Amsterdam, Leiden, Utrecht, Brussels, Ghent, Bruges, and Antwerp. Includes daily visits to major museums, build- ings, and sites; hands-on research in various collections; discussion sessions with leading scholars in the field; and a critical introduction to various research
Load more

Recommended publications
  • Futurism-Anthology.Pdf
    FUTURISM FUTURISM AN ANTHOLOGY Edited by Lawrence Rainey Christine Poggi Laura Wittman Yale University Press New Haven & London Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the Kingsley Trust Association Publication Fund established by the Scroll and Key Society of Yale College. Frontispiece on page ii is a detail of fig. 35. Copyright © 2009 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Nancy Ovedovitz and set in Scala type by Tseng Information Systems, Inc. Printed in the United States of America by Sheridan Books. Library of Congress Cataloging-in-Publication Data Futurism : an anthology / edited by Lawrence Rainey, Christine Poggi, and Laura Wittman. p. cm. Includes bibliographical references and index. ISBN 978-0-300-08875-5 (cloth : alk. paper) 1. Futurism (Art) 2. Futurism (Literary movement) 3. Arts, Modern—20th century. I. Rainey, Lawrence S. II. Poggi, Christine, 1953– III. Wittman, Laura. NX456.5.F8F87 2009 700'.4114—dc22 2009007811 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments xiii Introduction: F. T. Marinetti and the Development of Futurism Lawrence Rainey 1 Part One Manifestos and Theoretical Writings Introduction to Part One Lawrence Rainey 43 The Founding and Manifesto of Futurism (1909) F.
    [Show full text]
  • Pushkin and the Futurists
    1 A Stowaway on the Steamship of Modernity: Pushkin and the Futurists James Rann UCL Submitted for the Degree of Doctor of Philosophy 2 Declaration I, James Rann, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Acknowledgements I owe a great debt of gratitude to my supervisor, Robin Aizlewood, who has been an inspirational discussion partner and an assiduous reader. Any errors in interpretation, argumentation or presentation are, however, my own. Many thanks must also go to numerous people who have read parts of this thesis, in various incarnations, and offered generous and insightful commentary. They include: Julian Graffy, Pamela Davidson, Seth Graham, Andreas Schönle, Alexandra Smith and Mark D. Steinberg. I am grateful to Chris Tapp for his willingness to lead me through certain aspects of Biblical exegesis, and to Robert Chandler and Robin Milner-Gulland for sharing their insights into Khlebnikov’s ‘Odinokii litsedei’ with me. I would also like to thank Julia, for her inspiration, kindness and support, and my parents, for everything. 4 Note on Conventions I have used the Library of Congress system of transliteration throughout, with the exception of the names of tsars and the cities Moscow and St Petersburg. References have been cited in accordance with the latest guidelines of the Modern Humanities Research Association. In the relevant chapters specific works have been referenced within the body of the text. They are as follows: Chapter One—Vladimir Markov, ed., Manifesty i programmy russkikh futuristov; Chapter Two—Velimir Khlebnikov, Sobranie sochinenii v shesti tomakh, ed.
    [Show full text]
  • An Italian Vision of a Scientific Utopia a Century Ago, Artists and Writers from Italy Imagined a World Governed by Science and Technology
    Vol 459|28 May 2009 BOOKS & ARTS An Italian vision of a scientific Utopia A century ago, artists and writers from Italy imagined a world governed by science and technology. But their vision of modernity also glorified violence and misogyny, finds Ziauddin Sardar. Inventing Futurism: The Art and Politics of Artificial Optimism by Christine Poggi Princeton University Press: 2009. 392 pp. £32.50, $45 A hundred years ago, a group of Italian visionary artists declared war on civilization. Rejecting the artwork, poetry, music and archi- tecture of the period, these ‘Futurists’ wanted to create the world anew. Science and technology formed the building blocks of their brave new world, which they expressed not just in art but in violence and naked nationalism. In Inventing Futurism, art historian Christine Poggi describes how the Futurist movement’s raw passion for technology was moulded by the atmosphere of political foreboding of the times. Like futurists working now in the fields of futures studies and foresight, these artists wanted to shape the future. But the goals of the two groups could not be more different. Futur- ists today forecast how science and technology will change our lives, and predict alternative paths. By applying the best lessons of history Futurist Umberto Boccioni conveys the dynamic forces behind city construction in The City Rises (1910). to build on what exists now, they aim to find policies to ensure futures that are more equi- world into sunlight with velocity and violence. industrial production. War would break out, table and just. By contrast, the Italian Futurists A mythical struggle had to be waged between fought by “small mechanics” whose flesh rejected everything that was old.
    [Show full text]
  • Knife Grinder Date: 1912-1913 Creator: Umberto Boccioni, Italian, 1882-1916 Title: Dynamism of a Soccer Player Work Type: Painting Date: 1913 Cubo-Futurism
    Creator: Malevich, Kazimir, Russian, 1878- 1935 Title: Knife Grinder Date: 1912-1913 Creator: Umberto Boccioni, Italian, 1882-1916 Title: Dynamism of a Soccer Player Work Type: Painting Date: 1913 Cubo-Futurism • A common theme I have been seeing in the different Cubo- Futurism Paintings is a wide variety of color and either solid formations or a high amount of single colors blended or layered without losing the original color. I sense of movement is also very big, the Knife Grinder shows the action of grinding by a repeated image of the hand, knife, or foot on paddle to show each moment of movement. The solid shapes and designs tho individually may not seem relevant to a human figure all come together to show the act of sharpening a knife. I Love this piece because of the strong colors and repeated imagery to show the act. • In the Dynamism of a soccer player the sense of movement is sort of around and into the center, I can imagine a great play of lights and crystal clarity of the ideas of the objects moving. I almost feel like this is showing not just one moment or one movement but perhaps an entire soccer game in the scope of the 2D canvas. Creator: Demuth, Charles, 1883-1935 Title: Aucassin and Nicolette Date: 1921 Creator: Charles Demuth Title: My Egypt Work Type: Paintings Date: 1927 Precisionism • Precisionism is the idea of making an artwork of another “artwork” as in a piece of architecture , or machinery. The artist renders the structure using very geometric and precise lines and they tend to keep an element of realism in their work.
    [Show full text]
  • Rise of Modernism
    AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet.
    [Show full text]
  • The Legacy of Modern Acting Theories In
    Rūta MažEIKIEnė Vytautas Magnus University, Lithuania ON ANTI-MIMETIC AcTING: THE LEGACY OF MODERN AcTING THEORIES 85 IN CONTEmpORARY PERFORMANCE1 II. T II. Key words: theatre, Lithuanian theatre, acting, emporary acting theory, anti-mimetic acting, avant-garde theatre, OBERIU, Oskaras Koršunovas. D The multiplicity of different acting forms and styles OBERIU5 were characterized not only by innova- imensions characteristic to contemporary theatre reveals the tive mise-en-scène but also by an eccentric manner dynamic change of traditional methods of acting as of acting, unconventional for the Lithuanian stage. well as the emergence of new ways of acting. With Although some theatre critics would consider this the appearance of new acting forms, the problem way of acting in relation to postmodernism, a closer IN of denomination, evaluation and interpretation of analysis reveals its bonds with the anti-mimetic C actor’s art is faced. It should be noted that in con- ways of acting developed in the modern theatre. ontemporary temporary theatre criticism it is a common practice Thus the aim of this article is to analyse the OBERIU to relate the new ways of acting to the realm of post- trilogy by Koršunovas in relation to the acting theo- modern aesthetics and analyze them as examples of ries of theatre modernists like Craig, Meyerhold and postmodern theatre language. However, contem- Witkiewicz and discuss the legacy of modern acting porary performance often includes non-traditional theories as reflected in contemporary theatre. and new forms of acting that have taken their root The OBERIU trilogy staged by Oskaras Koršunovas L in the field of modern theatre and especially in in the early nineties stood out against the background ithuanian the marginalized trend of anti-mimetic acting, of Lithuanian drama theatre of the time as an example described in the theories of theatre modernists such of innovative directing style and also as an embodi- as Edward Gordon Craig, Vsevolod Meyerhold or ment of a non-traditional understanding of theatre.
    [Show full text]
  • Écrits Sur Bergson
    Écrits sur Bergson 1890 Georges Lechalas. “Le Nombre et le temps dans leur rapport avec l’espace, à propos de Les Données immédiates. ” Annales de Philosophie Chrétienne, N.S. 23 (1890): 516-40. Print. Eng. trans. “Number and Time in Relation to Space, as Concerns Time and Free Will .” 1893 Maurice Blondel. L’action. Essai d’une critique de la vie et d’une science de la pratique . Paris: Alcan, 1893, 495. (Bibliographie de Philosophie Contemporaine) Eng. trans. Action . This item is republished in 1950, Presses Universitaires de France. 1894 Jean Weber. “Une étude réaliste de l’acte et ses conséquences morales.” Revue de métaphysique et de morale . 2.6, 1894, 331-62. Eng. trans. “A Realist Study of the Act and its Moral Consequences.” 1897 Gustave Belot. “Un Nouveau Spiritualisme.” Revue Philosophique de la France et de l’Etranger , 44.8 (August 1897): 183-99. The author sees a danger of materialism in Matter and Memory. Print. Eng. trans. “A New Spiritualism.” Victor Delbos. “Matière et mémoire, étude critique.” Revue de Métaphysique et de Morale , 5 (1897): 353- 89. Print. Eng. trans. “ Matter and Memory , A Critical Study.” Frédéric Rauh. “La Conscience du devenir.” Revue de Métaphysique et de Morale , 4 (1897): 659-81; 5 (1898): 38-60. Print. Eng. trans. “The Awareness of Becoming.” L. William Stern. “Die psychische Präsenzzeit.” Zeitschrift für Psychologie und Physiologie der Sinnesorgane 13 (1897): 326-49. The author strongly criticizes the concept of the point-like present moment. Print. Eng. trans. “The Psychological Present.” 1901 Émile Boutroux. “Letter to Xavier Léon. July 26, 1901” in Lettere a Xavier Léon e ad altri.
    [Show full text]
  • NATALIA-GONCHAROVA EN.Pdf
    INDEX Press release Fact Sheet Photo Sheet Exhibition Walkthrough A CLOSER LOOK Goncharova and Italy: Controversy, Inspiration, Friendship by Ludovica Sebregondi ‘A spritual autobiography’: Goncharova’s exhibition of 1913 by Evgenia Iliukhina Activities in the exhibition and beyond List of the works Natalia Goncharova A woman of the avant-garde with Gauguin, Matisse and Picasso Florence, Palazzo Strozzi, 28.09.2019–12.01.2020 #NataliaGoncharova This autumn Palazzo Strozzi will present a major retrospective of the leading woman artist of the twentieth- century avant-garde, Natalia Goncharova. Natalia Goncharova will offer visitors a unique opportunity to encounter Natalia Goncharova’s multi-faceted artistic output. A pioneering and radical figure, Goncharova’s work will be presented alongside masterpieces by the celebrated artists who served her either as inspiration or as direct interlocutors, such as Paul Gauguin, Henri Matisse, Pablo Picasso, Giacomo Balla and Umberto Boccioni. Natalia Goncharova who was born in the province of Tula in 1881, died in Paris in 1962 was the first women artist of the Russian avant-garde to reach fame internationally. She exhibited in the most important European avant-garde exhibitions of the era, including the Blaue Reiter Munich, the Deutsche Erste Herbstsalon at the Galerie Der Sturm in Berlin and at the post-impressionist exhibition in London. At the forefront of the avant- garde, Goncharova scandalised audiences at home in Moscow when she paraded, in the most elegant area of the city with her face and body painted. Defying public morality, she was also the first woman to exhibit paintings depicting female nudes in Russia, for which she was accused and tried in Russian courts.
    [Show full text]
  • Kesarevo Kesarju Scritti in Onore Di Cesare G
    BIBLIOTECA DI STUDI SLAVISTICI – 23 – COMITATO SCIENTIFICO Giovanna Brogi Bercoff (Direttore), Stefano Bianchini, Marcello Garzaniti (Presidente AIS), Persida Lazarević, Giovanna Moracci, Monica Perotto COMITATO DI REDAZIONE Alberto Alberti, Giovanna Brogi Bercoff, Maria Chiara Ferro, Marcello Garzaniti, Nicoletta Marcialis, Giovanna Moracci, Donatella Possamai, Giovanna Siedina, Andrea Trovesi Kesarevo Kesarju Scritti in onore di Cesare G. De Michelis a cura di Marina Ciccarini Nicoletta Marcialis Giorgio Ziffer Firenze University Press 2014 Kesarevo Kesarju. Scritti in onore di Cesare G. De Michelis / a cura di Marina Ciccarini, Nicoletta Marcialis, Giorgio Ziffer - Firenze : Firenze University Press, 2014. (Biblioteca di Studi slavistici ; 23) http://digital.casalini.it/9788866555728 ISBN 978-88-6655-572-8 (online) ISBN 978-88-6655-570-4 (print) La collana Biblioteca di Studi Slavistici è curata dalla redazione di Studi Slavistici, rivista di pro- prietà dell’Associazione Italiana degli Slavisti (<http://fupress.com/riviste/studi-slavistici/17>). Editing e progetto grafico: Alberto Alberti. Questo volume è stato realizzato con i contributi del Dipartimento di Studi Umanistici dell’Ateneo di Roma “Tor Vergata”. In copertina: Russia. Lev Nikolaevič Tolstoj indica al popolo russo il sole dell’avvenire (Tavola di Paolo Antonio Paschetto per “Bilychnis. Rivista di studi religiosi”, VI, 1917, 3, p. 209). Certificazione scientifica delle Opere Tutti i volumi pubblicati sono soggetti a un processo di referaggio esterno di cui sono responsabili il Consiglio editoriale della FUP e i Consigli scientifici delle singole collane. Le opere pubblicate nel catalogo della FUP sono valutate e approvate dal Consiglio editoriale della casa editrice. Per una descrizione più analitica del processo di referaggio si rimanda ai documenti ufficiali pubblicati sul catalogo on-line della casa editrice (www.fupress.com).
    [Show full text]
  • UCLA UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Resistant Postmodernisms: Writing Postcommunism in Armenia and Russia Permalink https://escholarship.org/uc/item/32m003t0 Author Douzjian, Myrna Angel Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Resistant Postmodernisms: Writing Postcommunism in Armenia and Russia A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature by Myrna Angel Douzjian 2013 @ Copyright by Myrna Angel Douzjian 2013 ABSTRACT OF THE DISSERTATION Resistant Postmodernisms: Writing Postcommunism in Armenia and Russia by Myrna Angel Douzjian Doctor of Philosophy in Comparative Literature University of California, Los Angeles, 2013 Professor David W. MacFadyen, Co-Chair Professor Kathleen L. Komar, Co-Chair Many postcolonial scholars have questioned the ethics of postmodern cultural production. Critics have labeled postmodernism a conceptual dead end – a disempowering aesthetic that does not offer a theory of agency in response to the workings of empire. This dissertation enters the conversation about the political alignment of postmodernism through a comparative study of postcommunist writing in Armenia and Russia, where the debates about the implications and usefulness of postmodernism have been equally charged. This project introduces the directions in which postcommunist postmodernisms developed in Armenia and
    [Show full text]
  • Minimalism and Cubism Introduction
    MINIMALISM AND CUBISM INTRODUCTION Minimalism and Cubism are two genres of art that can be said to have grown from the seeds of abstract art. The works produced in both are far from imitation of reality, although deriving ideas from it. Both cubism and minimalism were a change from the traditional views of art in the time they were founded. Cubism brought a new interpretation of 2D imitationalism paintings by emphasising more on the skeleton of real-world forms rather than focusing on the subject from one viewpoint, whereas minimalism took a step further by making an entire change to the use of conventional materials testing the boundaries of what can be considered as art. Realism The change from Realism to Cubism is evident in the way the subjects are painted. In the Realism artwork we see a more realistic version of the Cubism human subjects, whereas the cubism artwork portrays a more shattered mirror version of the subject. Le Repas des Pauvres Alphonse Legros 1877 Minimalism From cubism we see the use of straight edges developed into the minimalistic artwork. Violin and Palette Georges Braque The use of colour too developed 1909 from monochromatic to colourful. There is also tends to be a lack of real world subjects in this genre. Hyena Stomp Frank Stella 1962 CUBISM It began in the early 1900s after Picasso’s creation of “Les Demoiselles d’Avignon” in 1907. The genre mainly consisted of paintings that followed a monochromatic palette to keep the viewer’s focus on the structure of the subject in the work In contrast to the growing movements at the time such as fauvism, expressionism, etc.
    [Show full text]
  • The Graphic Work of Umberto Boccioni by Joshua C
    The graphic work of Umberto Boccioni By Joshua C. Taylor Author Taylor, Joshua C. (Joshua Charles), 1917-1981 Date 1961 Publisher The Museum of Modern Art: Distributed by Doubleday Exhibition URL www.moma.org/calendar/exhibitions/3414 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art Wmm, vym/tora THEGRAPHIC WORK OF UMBERTO BOCCIONI byJoshua C. Taylor TheMuseum of ModernArt, NewYork THE t-" :CU_ OF F' Received: THEGRAPHIC WORK OF UMBERTO BOCCIONI byJoshua C. Taylor TheMuseum of ModernArt, New York Distributedby Doubleday& Company,Inc., GardenCity, NewYork /*? "y (s> ^ . / M«fl TRUSTEES OF THE MUSEUM OF MODERN ART William A. M. Burden, Chairman of the Board; Henry Allen Moe, William S. Paley, Vice-Chairmen ; Mrs. John D. Rockefeller, 3rd, President; fames Thrall Soby, Ralph F. Colin, Vice-Presi dents, Alfred H. Barr , Jr., Mrs. Robert Woods Bliss, Gardner Cowles, *Mrs. W. Murray Crane, Rene d'Harnoncourt, Mrs. C. Douglas Dillon, Mrs. Edsel B. Ford, *A. Conger Goodyear , *Mrs. Simon Guggenheim, Wallace K. Harrison, Mrs. Walter Hoch- schild, *James W. Husted, Philip C. Johnson, Mrs. Albert D. Lasker, Mrs. Henry R. Luce, Ranald H. Macdonald, Mrs. Samuel A. Marx, Porter A. McCray, Mrs. G. Macculloch Miller, Mrs. Bliss Parkinson, Mrs. Charles S. Payson, *Duncan Phillips, David Rockefeller, Nelson A. Rockefeller, *Paul J. Sachs, fames Hopkins Smith, Jr., Mrs. Donald B. Straus, G. David T hompson , *Fdward M. M. Warburg, Monroe Wheeler, John Hay Whitney * Honorary Trustee for Life © 1961 by The Museum of Modern Art, 11 West 33 Street, New York 19 Library of Congress Catalogue Card Number 61-16521 While this catalogue cannot pretend to list all of Boccioni's existing graphic worffi, it does include a large part of them, sufficient to draw a reasonably precise notion of his develop ment and the chronology of his stylistically varied oeuvre.
    [Show full text]