History of Art 101, 102, 103 and 108, while covering different areas, are all considered equivalent introductions to the History of art. These three introductory survey courses consider not only art objects as aesthetic experiences but also the interaction which exists between the artist and society. The lecture and discussion sections explore various historical, social, religious, and intellectual phenomena which are reflected in the style and content of works of art. Attention is also given to the creative act and to the problems of vision and perception which both the artist and his public must face. The three courses are numbered sequentially but they do not form a sequence.

Although it would be logical to move from History of Art 101 to History of Art 102, either History of Art 101 or 102 along with History of Art 103 and 108 serve as a satisfactory introduction to the history of art.

Course requirements and texts vary with individual instructors, but an effort is always made to introduce students to works of art in the collections of the university as well as in the museums of Detroit and Toledo. Most of the upper division courses in history of art require one of these three introductory courses as a prerequisite. The introductory courses are directed toward students interested in the general history of culture and are especially valuable cognates for students in the fields of history, philosophy, literature, and musicology as well as the creative arts. Photographic material is available for study in the Fine Arts Study Room in the Modern Languages Building. Examinations usually include short essays and slides which are to be identified, compared, and discussed.

Open to All Undergraduates; Not Open to Graduate Students.

101. Near Eastern and European Art from the Stone Age to the End of the Middle Ages. (4). (HU).

This course offers an introduction to major monuments and periods of art from antiquity through the Middle Ages. Its purpose is not only to acquaint students with key works of Egyptian, Greek, Roman, Byzantine, Islamic, Romanesque and Gothic architecture, sculpture and painting, but also to help them develop a vocabulary for the description and analysis of works of art, and to provide them with a basic understanding of the methods and aims of art historical study. Lectures will be supplemented by weekly discussion sections, several of them to be held in the Kelsey Museum and in the Museum of Art. Readings will be drawn from a general art historical survey and other texts; written work will consist of two short papers, a midterm and a final examination. This course, with H.A. 102, is meant to provide a foundation in the history of art; it is a prerequisite for many higher-level courses in the department. Cost:3 WL:4 (Sears)

102. Western Art from the End of the Middle Ages to the Present. No credit granted to those who have completed 104 and 105, or 150. Two credits granted if only 104 or 105 has been completed. (4). (HU).

A chronological survey of the visual arts created within Western traditions over nearly seven centuries. The great formal and expressive range, and the rich contextual variety of architecture, sculpture, painting, graphics and decorative arts which have been produced within this period necessitate a highly selective presentation in lecture format (to meet three times weekly). Also, a weekly discussion session encourages students to exercise visual analysis skills and to further explore various ideas and issues intimately tied to works of art: the artists who made them, the patrons who commissioned them, the social-historical forces affecting production, changing criteria of interpretation, their materials and techniques. Course work will consist of weekly readings in the survey text (F. Hartt), a short paper, a midterm and a final examination. No prerequisites. Cost:3 WL:4 (Hennessey)

103. Arts of Asia. (4). (HU).

This course will take a topical approach to the arts of Asia rather than attempt a broad survey. One segment will trace the transmission of Buddhist arts (particularly architecture, painting, and sculpture) across northern Asia from the tradition's origins in India across China and into Japan. The Ming/Qing capital of Beijing and the Tokugawa capital of Edo (modern Tokyo) will be analyzed as symbols of political power. The course will also examine the social values inscribed in secular painting and graphic arts such as Chinese landscape painting, Indian miniatures, and Japanese wood block prints. Course work will include two short essays, a midterm and a final exam. No prerequisites. Freshmen and sophomores especially welcome. (Reynolds)

108/CAAS 108. Introduction to African Art. (3). (Excl).

This is a general introduction to the arts of sub-Saharan Africa. It surveys some recent (19th and 20th century) art forms of the continent and concludes with a critical look at African art in Euro-American society. The approach is both historical and ethnographic, reviewing significant developments in art production while exploring some dominant themes in African art. A selective use of visual material slides, films, art objects help to illustrate the relationship between art production and environment. It also shows how art functions in the cycle of life in diverse African cultures ranging from decentralized to large complex polities. Texts: A Short History of African Art by Werner Gillon and African Art in the Cycle of Life by R.Sieber and R.Walker. The principle of continuous assessment will apply and will combine records of attendance at lectures and sessions, slide tests, and two short written assignments. (Quarcoopome)

112/Art 112. History of Photography. (3). (HU).

This lecture course will explore the history of photography of the 19th and 20th centuries through a comparative study of photographs, photographers, and theories about the nature of photography. The goal is to create an understanding of the themes and issues, concepts and context associated with the image making from American and international perspectives. One intent is that at the end of the study the student should be aware of some of the diverse concerns in present day photography and be able to identify its origins and influences. The class should interest students from a wide range of disciplines. Students will supplement lecture and readings by participation in small discussions focused on special theoretical topics. Grades will be based on a term project, discussion participation, and two essay slide exams. (Baird)

113/Art 113. Introduction to the Visual Arts. This course is for non art majors only. (3). (Excl).

Visual arts are a part of the human experience in all cultures and all time periods. The ability to appreciate, to understand, and to assess the quality of visual art can enrich a person's life and broaden one's thinking. This course will introduce students having no formal art or art historical background to the major forms of visual expression through human history from the Stone Age to the present. We will examine works of art in various media such as painting, drawing, printmaking, photography, sculpture, architecture, graphics, and industrial design. Students will learn how artists use the language of form to communicate information, to express emotion, to explore the world of nature and the world of the mind. Students will learn the basic techniques of the various media. Students will learn how the art of a time and place defines and expands the boundaries of that culture. Assigned readings and visits to museums and galleries will help students become critical consumers of the visual culture as they learn to see, appreciate, and assess art forms. Requirements include periodic quizzes, a final exam, and a term paper. Students will also make some ungraded drawings and paintings as analytical tools. Cost:3 WL:3 (Kapetan)

211/University Courses 182/Women's Studies 211. Gender and Popular Culture. (3). (HU).

See UC 182. (Simons)

221/Class. Arch. 221. Introduction to Greek Archaeology. (4). (HU).

See Classical Archaeology 221. (Herbert)

250/MARC 250. Italian Renaissance Art. Hist. of Art 101 or 102 or permission of instructor. (3). (HU).

By way of introducing immediately the underlying concepts of the Renaissance and their eloquent translation into visual form, the course begins with an in-depth analysis of Masaccio's frescoes in the Brancacci Chapel. Then, following a brief unit on the philosophical and artistic background to Masaccio's achievement, the course - emphasizing the painting and sculpture of Florence and Rome - will trace the development of the Early Renaissance to the genesis, perfection, and eventual disruption of the High Renaissance. The works of Masaccio, Ghiberti, Donatello, Piero della Francesca, Botticelli, Verrocchio, Leonardo da Vinci, Raphael, and Michelangelo will be featured. A complete syllabus, the text (F. Hartt, Italian Renaissance Art, latest edition), a small set of prints, and photo study facilities will complement the lectures, and students will be evaluated on the bases of a short, non-research paper and midterm and final examinations. Cost:2 WL:4 (Bissell)

271. European Painting of the Nineteenth Century. Hist. of Art 101 or 102; or permission of instructor. (3). (HU).

This course concentrates upon the history of 19th century European painting. Greatest emphasis is given to French painting, but considerable attention is devoted to German, English, and Spanish painting of the first half of the century. Major artists discussed include Goya, Constable, Turner, Gericault, Delacroix, Courbet, Manet, Monet, Degas, Van Gogh, Gaugin, and Cezanne. The principal movements considered are Neoclassicism, Romanticism, Realism, Impressionism, Post-Impressionism, and Symbolism. The lectures seek, within a chronological context, to interweave issues of form and content and to identify reflections of major historical, social, and intellectual currents within the paintings of the time. Some of the main themes are: the relationship between tradition and innovation in approaches to form and content; the relationship between the artist and nature; and the relationship between the artist and the public. These themes are discussed with the general thesis that the 19th century witnessed dynamic forces of change released by the French Revolution and the urban and industrial revolutions. These forces helped to shape the paintings, and it is the examination of the changing forms of painting and of conflicting attitudes towards the past and the present that are of special concern in the study of the artists. The class periods consist of slide-lectures. Two examinations and a paper are required. Cost:2 WL:2 (Isaacson)

285(386). Introduction to the Art and Architecture of the Islamic World. (3). (HU).

This course introduces the arts of the Middle East and North Africa from the seventh to the seventeenth century, including architecture, painting, and the decorative arts. The course is divided into large epoches within which various typological, stylistic, and thematic issues are treated as unified entities. Throughout an attempt has been made to limit the number of monuments and objects by selecting the best and most representative examples for the questions under discussion. It is hoped that this course will provide a general understanding of the historical evolution and regional variation of Islamic art and perhaps a deeper appreciation of its major themes. Requirements: 2 short papers (3-4 pp.), midterm, and final. Cost:3 WL:4 (Tabbaa)

305/MARC 323. The Themes and Symbols of Western Art. (3). (Excl). May be repeated for a total of 12 credits.

By means of lectures and class discussions, this course will explore the origins and development of major themes of pre-modern Western art, including Greek and Roman myths, the Old Testament, the Life and Passion of Christ, the Lives of the Saints, the Apocalypse, and the legends of such ancient and medieval heroines and heroes as Venus, Hercules, Samson, Salome, Arthur, Guinevere and Lancelot. It will also serve as an introduction to the role of symbolism, allegory and metaphor in Western Art. The course will deal primarily with the art of the Ancient and Medieval worlds. Students will read selections of original texts from these periods. The course is designed not only for History of Art concentrators but for students of literature and history as well. There will be a final examination and two or three short writing projects which will introduce students to iconographical research in both secondary and original sources. Students will deal not only with well-documented works of art, but also with originals in nearby museums which have been little researched before. (Forsyth)

394. Special Topics. (3). (Excl). May be elected for credit more than once.
Section 001 Religious Iconography in African Art.
This course will focus on symbolism in African art selected from various cultures in sub-Saharan Africa. Lectures will survey various art forms and media with an emphasis on motifs and their meaning within the context of traditional African society. Students will learn how art functions as language, and as a repository for African history and culture. Course requisites will be determined during the first week of class. (Quarcoopome)

Section 002 Illusion and Artifice in Netherlandish Art, 1400-1700. This course explores the fascination with illusionism that characterizes Dutch and Flemish pictorial art of the fifteenth, sixteenth and seventeenth centuries. It will consider how and why eye-fooling artistry came to be so highly valued in the theory and practice of Netherlandish art both as a measure of supreme pictorial skill and of painting's representational power. Topics to be discussed include the cultural significance of the legendary invention of oil painting by Jan van Eyck, the use of grisaille technique to "counterfeit" sculpture and architecture in Netherlandish painting, illusionistic painting as court performance, varieties of trompe-l'oleil easel painting, the Dutch perspective box and other experiments with perspective and optics in Dutch painting, Vermeer and the camera obscura. Grades will be based on preparation of weekly reading assignments, attendance at and participation in all seminar meetings, a short oral presentation and two papers. Limited to 15 students. An introductory art history course and permission of the instructor is required. (Brusati)

Open to Upperclass Students and Graduate Students

404/CAAS 404. The Art of Africa. (3). (Excl).

The course will survey art and architecture in West Africa. Art, dating from the fifth to the late twentieth centuries, of various media and type such as wood sculpture and furniture and textiles will be examined in regards to placement, presentation, and use such as shrines, masquerades and rituals. The course will examine the role and status of the artist, the relevance of art and aesthetics, symbolism, and the influence of Islam and western cultures on art within the context of traditional ethnic communities. Two exams and one term paper are required. The course will be presented in a lecture format, however, class discussions are expected. There will be assigned readings from publications on reserve in the fine arts library. A course syllabus will include lecture topics, bibliography, a glossary and object study list. (Patton)

409. Survey of East Asian Ceramics. (3). (Excl).

The ceramic traditions of East Asia extend over 6000 years of development and change, a few thousand of which will not be covered in this class. After a brief glance at prehistoric pottery in China and Japan, we will explore the great ceramic traditions which gave the world Song celadons, Ming blue and white wares, and Qing porcelains. Western versions of these models of perfection are still created today. In contrast to China, the concepts we have of Japanese aesthetics are founded, to a considerable degree, on the "rustic" tea bowls, floral plates, and inventive ceramic shapes of Japanese potters. Finally, Korean and Southeast Asian ceramics will be considered in relation to Japan and China. Some knowledge of East Asian art history or culture would be helpful in this course, as would some experience with ceramics itself. There will be two short papers, and weekly assignments which will determine the grade for the course. Cost:3 WL:4 (Mannikka)

421/Class. Arch. 421. Art and Archaeology of the Ancient Near East. One previous art history, anthropology, or classical archaeology course recommended. (3). (HU).

Slide-lecture survey: arts of ancient Mesopotamia and Iran (early urbanism of c. 3000 B.C. to the conquest of the Persian empire by Alexander in 331 B.C.) as a major social-historical source. Explorations of aesthetics, symbolic values, narrative patterns, imperial programs, art in the service of cult performance, archaeological context, and the relative roles of artists and patrons/consumers will encourage non-traditional as well as traditional ways of questioning the material. Grade evaluation: midterm, final exam, 8-10 page research paper, and participation in class discussions. Readings will be assigned from a course pack (Accucopy on Maynard St.), from texts available for purchase (e.g., D. Collon, Near Eastern Seals. University of California Press/British Museum 1990; J. Oates, Babylon. Thames and Hudson 1986 (revised ed.) 1986; J. Reade, Mesopotamia. Harvard University Press/British Museum 1991) and from numerous studies and photographic volumes on reserve in the Fine Arts Library, Tappan Hall. Cost:2 WL:4. (Root)

439/Class. Arch. 439. Greek Vase Painting. (3). (HU).

See Classical Archaeology 439. (Herbert)

448. Medieval Manuscript Illumination. Hist. of Art 101 or permission of instructor. (3). (HU).

Manuscript illumination was a major art form during the Middle Ages: great numbers of handwritten books with magnificent decoration survive today in European and American libraries. This course offers a survey of illuminated manuscripts from the invention of the codex in late antiquity to the advent of the printed book in the early modem era. Attention will focus especially on the kinds of books which were copied and illustrated at different times and in different contexts, and the functions that they served. Topics include techniques of manufacture, circumstances of production and patterns of patronage; stylistic developments will be closely followed. The course not only provides a focused introduction to medieval art, but also offers a means of approaching medieval religious, cultural and intellectual history. Readings will be varied. Written work will consist of several short exercises, a longer paper, a midterm and final. Cost:3 WL:4 (Sears)

451. High Renaissance Art in Italy. Hist. of Art 102 or 250; or permission of instructor. (2). (Excl).

On this abridged offering (beginning October 26), the course will focus on the painting and sculpture of Michelangelo. Particular attention will be given to re-thinking the character of Michelangelo's painting in light of the recent cleaning of the Doni Madonna and the Sistine Ceiling frescos. Students will write two brief analytical essays addressing specific issues occasioned by recent scholarship. There will also be a final examination. Students who want to earn three credits for the course may elect to write a substantial research paper for which they will receive one credit under the instructor's independent study number. The text for the course is Howard Hibbard's Michelangelo. Cost:1 WL:4 (Smith)

477. French Impressionism. Hist. of Art 102. (3). (Excl).

This course presents a survey of Impressionist painting in France form the early 1860s to the late work of Monet extending into the 20th century. Among the major painters discussed are Manet, Monet, Renoir, Pissarro, Cezanne, Morisot, and Degas. Attention will be given to the formation of a new style of painting in the 1860s in the work of Monet and the young Impressionists; to the new emphasis upon open air painting, working directly in nature; to the formation of the Impressionist group and its independent exhibitions in the 1870s and 1880s; to the transformations of Impressionism in the work of Monet, Pissarro, Renoir, and Cezanne in the 1880s; and to such late developments as the series paintings of Monet beginning in the 1890s. Also considered will be the relationship between painting and photography; the role of art critics, dealers, and patrons; the social and interpersonal dynamics of the Impressionist group; the entry of women artists into the avante-garde; the interplay between city and country and between work and leisure in Impressionist iconography. A background in the history of art since the Renaissance is required, and previous course work in 18th, 19th, or 20th century art is desired. Classes will be mainly in the form of lectures, although there will be opportunity for class discussion as well. A paper and a midterm and final examination will be required. Students may be asked to buy one or two paperbacks; other reading will be in the form of a course pack and assignments from books available on reserve. Cost:2 WL:2 (Isaacson)

483. Asian Architecture. Hist. of Art 103 or permission of instructor. (3). (Excl).

This course will be devoted to a survey of all of the most significant religious and secular architectural monuments of India, Southeast Asia, China, and Japan-viewed in the context of their religious and social functions and analyzed according to their plans, materials, structural techniques, exterior and interior decoration, environmental settings, and stylistic evolution. The material is divided into two main categories, comprising the religious and the secular, within each of which the development of the various architectural types is separately traced, crossing national boundaries where appropriate. While History of Art 103 (Arts of Asia) is not strictly necessary as a prerequisite, this course or some other experience in the religions or cultures of Asia is recommended. A final exam and a term paper of approximately ten pages will constitute the main student requirements. Cost:1 WL:4 (Kane)

484. The Art of Cambodia and Indonesia. Hist. of Art 103 and 383. (3). (Excl).

A Cambodian or Indonesian temple was modelled after the cosmic Mt. Meru, home of the gods. Thus transformed into a kind of divine palace, the temple provided an idealized sphere for worship, which included architectural allusions to the calendar, cosmology, and history. Within the multiple chambers of these expansive structures, the graceful stone images of Buddhist and Brahmanical deities were considered to be a representation of the gods and the ancestors, combined. Enhancing the stone architecture and sculpture are the textiles, ceramics, and shadow puppets which form a part of the culture and temple life. The requirements for this class are the Arts of Asia (HA 103) and/or the Survey of SE Asian Art. Some knowledge of SE Asian culture and history would be helpful. There will be weekly assignments of 1-3 pages and two 7-10 page papers, in lieu of exams. Cost:3 WL:3 (Mannikka)

497(597). Chinese Painting: Yüan to the Present. Hist. of Art 392 or 494; or permission of instructor. (3). (Excl).

This course will concentrate on Chinese painting of the Yuan Dynasty (1279-1368) with an emphasis on its return to the past, its merging of painting and calligraphy, its search for personal expression, its refinement of literati theory of art, and its extensive influence on Ming and Ch'ing painting. Major painters and trends will be discussed in detail. Cost:1 WL:4 (Li)

520/Museum Practice 520. Fundamentals of Museum Practice. Junior standing, and permission of instructor. (3). (Excl).

An introduction to the museum's role in collecting, preserving, displaying, and interpreting original works of art. The course, taught by the Director and staff members of the Museum of Art, will present the organization and operation of art museums today. It will cover the historical development of private and public collecting in Europe and America and will explore the evolution of museums as organizations and buildings. Special attention will be paid to the philosophical, ethical, political, financial, and cultural issues facing museums today. In addition the class will explore: trends in museum architecture, the care handling of museum objects, computerized registration and record keeping, the organization of special exhibitions, theory and practice in museum education, curatorial responsibilities, museum administration, and fund raising. Combined lecture/seminar format. Open to juniors, seniors, and graduate students. Permission of the instructor is required. (Hennessey)

531/Class. Arch. 531/Anthro. 587. Aegean Art and Archaeology. Hist. of Art 221 or 222; or permission of instructor. (3). (Excl).

See Classical Archaeology 531. (Cherry)

536/Class. Arch. 536. Hellenistic and Roman Sculpture. Hist. of Art 101 Class. Arch. 222 or permission of instructor. (3). (Excl).

This course will follow the stylistic and iconographic developments in public and private sculpture from the late 4th century B.C. to the 4th century A.D. The theories underlying the reconstruction of these developments will be examined, and there will be discussions of new approaches to these problems. Lectures will consist mainly of slide presentations, although original sculptures will be examined whenever possible. There will be one midterm and a final examination. A research paper of approximately fifteen pages or a lecture is required for graduate students. Undergraduates may choose between a research paper and TWO short essays as their writing requirement. In general, the instructor emphasizes a critical approach to secondary sources on Hellenistic and Roman sculpture and encourages students to develop skills of analysis, both textual and visual. It is recommended that students have some previous exposure to Greek and Roman civilization. Foreign languages are not required for undergraduates, but it is expected that graduate students will read assignments in German, French, and/or Italian and will use foreign language sources in their research. Cost:2 WL:4 (Gazda)

562. Baroque Sculpture in Italy and Spain. Hist. of Art 102 or permission of instructor. (3). (Excl).

Beginning with introductory lectures on 16th-century sculptural traditions and on the stirrings of a new way of seeing and working, the course will pass to an intensive investigation of the art of Gianlorenzo Bernini. Bernini's sculpture will be studied both for what it reveals of the master's artistic genius and of the changing socio/political/religious climate in Papal Rome. The influence of Bernini's vision and the alternative to the Berninian manner i.e. Baroque Classicism will then be discussed. This will be followed by a unit on the extraordinary sculpture of 17th-century Spain. The course ends with suggestions as to the constants - i.e., the peculiarly Baroque features within so much diversity. The course will observe a lecture format and students will be evaluated on the bases of two examinations. A syllabus and a bibliography of reserve books will be provided. While the amount of assigned reading will be modest (text: Howard Hibbard, Bernini, Pelican PB), considerable additional reading will be recommended. In spite of the fact that the course bears a "500" number, undergraduates with history of art training should not hesitate to elect it. Cost:1 WL:4 (Bissell)

565. Early Modern Architecture in Italy, Austria, and Germany. (3). (Excl).

Commencing with the hypothesis that Alberti's church of S. Andrea in Mantua marks the beginning of early modern architecture in Europe, the course will proceed to focus on Rome as an urban center, both in terms of conscious city planning and individual monuments. Rome will be treated as an organism within which from the early 16th to the early 18th centuries operated such architects as Bramante, Raphael, Maderno, Bernini, and Borromini. Behind them are the patronage of the popes and cardinals, the tumultuous religious pressures of a Catholicism locked in battle with the Protestant Reformation, and the rise in the papal state of a new bureaucratic absolutism (the first in Europe). The focus will then shift northward to Turin where Guarani and Juvarra were employed by the dukes of Savoy to create another civic organism that revealed in vivid architectural and spatial language their right, both military and sacral, to aristocratic rule. The course will conclude with the expansion into Austria and southern Germany of architectural forms originating in Italy but carried to new heights of religious and imperial expression in areas newly prosperous after decades of war and invasion. The Hapsburg extension and adornment of Vienna will receive particular attention. Great architecture, especially in the early modern period, is inseparable from social forces and will be so treated, while at the same time every effort will be made to help the student comprehend the subtleties of the language of classical architecture. Textbook (by a former student in the course), readings, a short paper, hour exam, final exam. (Whitman)

580. Twentieth-Century Masters. Hist. of Art 102, 272, or permission of instructor. (3). (Excl).
Section 001 Modern Masters: Art and Dance in the Age of Diaghilev.
This interdisciplinary course will investigate works produced by artists working for Serge Diaghilev whose ballet company the Ballets Russes presented some of the most innovative and influential dance works of this century. Between 1909 and 1929 Diaghilev brought together some of the era's most interesting painters such as Picasso, Matisse, Derain, Rouault, and Laurencin with brilliant young composers and choreographers including Stravinsky, Prokofiev, de Falla, Balanchine, Massine, Nijinska and Nijinsky. The resulting dance works among them The Rite of Spring, Parade, The Three Cornered Hat, Petrouchka, Les Noces, The Prodigal Son, Afternoon of a Faun and The Firebird changed the nature of modern art and dance. This course is being held in conjunction with the revival of the Nijinsky-Bakst-Debussy ballet Afternoon of a Faun by the dance department and the exhibition of photographs of the dancer-choreographer Nijinsky at the University Art Museum. Students will be able to take advantage of activities conducted by visiting experts associated with these events. Cost:2 WL:4 (Genné)

589. Rajput Painting. Hist. of Art 103 or 493 or permission of instructor. (3). (Excl).

A study of the important schools of Rajput painting from the 15th through the 18th centuries. Concentration on stylistic origins and distinctions between the principal painting schools in Rajasthan and North India, and on the development of Mughal painting in the 16th and 17th centuries. Interpretation of the religious, iconographical, literary, and political components which constitute this cultural background. Attention will also be given to establishing criteria for judging the quality of individual works. This course is designed for upperclassmen and graduate students, and is of special interest to those concentrating in the field of Asian art. Required text M. Beach, Mughal and Rajput Painting (Cambridge). Students will be evaluated by means of short papers and one examination. Cost:3 WL:4 (Spink)

590. Special Topics Japanese Art. Hist. of Art 391 or permission of instructor. (3). (Excl).
Section 001- Wood Block Prints.
The class will examine wood block prints from the late 17th through the mid-19th centuries and their relationship to literature and popular culture. Topics will include the following interrelated topics: life in the "pleasure quarter" as depicted in prints, Kabuki theatre, the representation of sexuality and gender, censorship, and the parody of both contemporary life and literary and artistic traditions. The class will draw on recent scholarship on prints, on the literature of the period such as the novels of Saikaku, and on writings in cultural studies. Two class presentations and a research paper required. Class limited to 15 students. Prerequisite: History of Art 391, or a course in Edo painting, or permission of instructor.

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