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.

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).

This course is a survey of European and American art from the late 14th century to the present, as well as an introduction to the techniques of art history. It will examine institutions such as patronage and the art market, the changing roles of artists in society, and the changing functions of art. Weekly discussion sections will be devoted to building skills in visual analysis and critical reading of art-historical literature. Requirements: informed participation in section meetings, regular reading assignments, three short papers, midterm and a final examination. Texts will include Gardner's Art Through the Ages, vol. 2 (9th editions); Baxandall, Painting and Experience in Fifteenth Century Italy; Barnett, A Short Guide to Writing About Art; and an anthology of articles. There are no prerequisites for this course. (Section 001 Zurier, Section 016 Willette)

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)

151. Art and Ideas East and West. (3). (HU).

In this course a comparative study is made of eastern and western cultural forms, ideas and values as these are reflected in examples of painting, sculpture, and architecture as well as in poetry, music and other forms of creative expression. This course also compares western and eastern attitudes toward significant cultural themes such as time, nature, death, God, love, and action. WL:4 (Spink)

212/Architecture 212. Understanding Architecture. Not open to students enrolled in Architecture. (3). (Excl).

A three-credit course, 'Understanding Architecture,' will become the principal introductory survey course in architecture. Taught by distinguished senior faculty, it will examine the architect's role in society and the role of architecture and urban design in shaping the built environment. An examination of many aspects of the man-made environment, using historical and contemporary examples, incorporating the user, viewer, and designer points of view. Upon completion of the course the student is expected to be able to (1) identify and distinguish buildings constructed in different times, places, and societies; (2) discuss how architecture is and has been viewed and interpreted by various individuals and cultures; (3) analyze urban forms and spaces in relation to the buildings which make them up and the people who use them; and (4) develop and describe a personal attitude toward and understanding of the man-made environment. The format includes lectures by the College of Architecture and Urban Planning faculty and periodic discussion periods. Several field exercises requiring the student to experience, analyze, interpret, and report on aspects of the built environment will be required. The course will be enhanced by adding recitation sections, which will be run by five graduate teaching assistants. They will meet with students once a week, leaving two hours per week for lectures. Recitation sections will focus on improving the students ability to venture into and sustain architectural discourse. The College of Architecture and Urban Planning's best graduate students will be recruited for these positions and will become mentors for pre-professional students. Cost:1 WL:4 (Hubbell/Marzolf)

214/CAAS 214. Introduction to African-American Art. Hist. of Art 102 or 108 or permission of instructor. (3). (Excl).

This lecture course surveys art produced by African descendants residing in the United States. The course is organized into major chronologies beginning in the mid-19th century and ending in the present, and examines art and artifacts made by slaves and free persons of color in the 19th century and painting, sculpture, photography and other media made by professional and non-professional artists in the late 19th century and the 20th century. Artists, artistic movements, and groups will be examined within the context of American history and culture, particularly that of African Americans. Also topics such as art academies and training, patronage and audience, Civil Rights, the African diaspora and the nature of representation will be interwoven in the description and analysis of works of art, artistic production and process, and aesthetic. Course requirements are a mid-term exam, a final exam and one short term paper. Exams consist of slide identification and one or more essays. Assigned readings from publications placed on reserve in the Undergraduate library augment those in the class text. WL:4 (Patton)

222/Class. Arch. 222. Introduction to Roman Archaeology. (4). (HU).

See Classical Archaeology 222. (Alcock)

260. European Painting and Sculpture of the Seventeenth Century. Hist. of Art 102 or permission of instructor. (3). (HU).

After an opening review of 16th-century artistic and ideological developments, the course considers the revolutionary achievements of Annibale Carracci and Caravaggio, who together are shown to have established the premises of the three major trends in 17th-century art: Baroque Classicism; the "Ecstatic" Baroque; Baroque Realism. Each of these sub-categories is then discussed in turn, following a lecture format and a complete syllabus, with examples drawn from the painting and sculpture of Italy, France, Spain, Flanders and Holland, and with attention given to the historical/cultural circumstances under which the works were produced. Simultaneously, the uniqueness of such major masters as Guido Reni, Poussin, Guercino, Rubens, Bernini, Velazquez, Martinez Montanes, Georges de La Tour, Vermeer, and Rembrandt will be revealed. It is hoped that a spectacle of astounding creative richness will emerge. But the course will end with an attempt to demonstrate that there is an underlying philosophical unity to 17th-century art, and it is also to this point that the textbook (John R. Martin, Baroque, N.Y., 1977, Harper and Row Icon paperback) addresses itself. Beyond the text, there will be a minimal amount of required reading, considerably more suggested reading, and continual study of the visual material in conjunction with the lecture notes. Students will be evaluated on the bases of the midterm and final examinations and a short paper. Cost:2 WL:3 (Bissell)

272. Arts of the Twentieth Century. Hist. of Art 101 or 102; or permission of instructor. (4). (HU).

In lecture, a survey of the major movements and personalities of 20th century Western painting and sculpture. Some attention will also be given to the arts of architecture and cinema. Weekly discussion sections will focus on individual aspects of the course material to develop skills in approaching 20th century visual art and related ideas including socio-political and philosophical issues. There will be two examinations, a midterm and a final. In addition, there will be a 10-15 page paper or project requirement. The required text is Arnason, HISTORY OF MODERN ART. Students are also strongly urged to purchase Chipp, THEORIES OF MODERN ART. The course is ideally suited as a sequel to Western art survey courses (either 101 or 102) and provides an excellent foundation for further specialized study in the visual arts of the 20th century. All major "isms" from Fauvism to Neo-Expressionism will be examined. A program of films associated with Cubism, Dada, Expressionism and Surrealism (5-10 films) is planned. Cost:3 WL:4 (Miesel)

284. Introduction to Asian Painting. . (3). (Excl).

Landscape and figure painting in China was at first inspired by myth and nature. As the centuries wore on, the "ink play" of a dark brush moving freely across white silk or paper became its own source of inspiration. Although Japan, at different stages in history, was an enthusiastic heir to Chinese traditions, distinct forms of narrative scrolls, golden screen paintings, and prints depicting the pleasure quarters of Tokyo captured more of the Japanese spirit than the scope of Chinese painting could allow. In India, miniature paintings of nobles, gods, and kings developed from a history of manuscript illustrations completely different from the Chinese and Japanese interests. These three painting traditions from China, Japan, and India, will form the core of the survey of Asian painting. There will be three hour exams and one paper. Books: Tarao Miyagawa, Chinese Painting and Terakazu Akiyama, Japanese Painting. Cost:4 WL:4 (Mannikka)

292. Introduction to Japanese Art and Culture. No credit granted to those who have completed or are enrolled in Hist. of Art 495. (3). (Excl).

This course will take an interdisciplinary approach to selected topics in the history of Japanese culture. The class will examine the introduction of Buddhism to Japan through the architecture, painting and sculpture of the 7th century monastery, Hôryûji. We will discuss life in the imperial court at its height, as represented by the Illustrated Tale of Genji. One segment will concentrate on the arts of the Tea ceremony, and another on the urban life of 18th century Edo (Tokyo) as reflected in its literature and woodblock prints. The course will conclude with the treatment of tradition in the graphic arts and architecture of recent decades. Two exams and two short essays will be required. No prerequisites; freshmen and sophomores are especially welcome. WL:3 (Reynolds)

341. The Gothic Age. Hist. of Art 101 or permission of instructor. (3). (HU).
Section 001 The Art of Medieval Paris.
During the thirteenth and fourteenth centuries Paris was preeminent in the arts. Artisans served a broad urban clientele: the city was the capital of the French kings, the seat of a bishop, the site of a newly founded university, an important center of trade. Parisian products exerted an influence in all parts of Europe. This course is conceived as an introduction to Gothic Art and its forms. Basic problems in the areas of artistic practice and patronage will be considered. The first part of the course will be devoted to a reconstruction of the medieval city and to the study of surviving architectural monuments (e.g., Notre-Dame, the Sainte-Chapelle). The second part will concern precious objects produced by Parisian artisans in all media (ivories, illuminated manuscripts, tapestries, etc.). There will be a midterm and a final and two short essays. ECB students will prepare an additional essay and rework all papers. Cost:1 WL:4 (Sears)

393. Junior Proseminar. History of Art concentrators. (3). (Excl).

This course is intended as a methodology seminar for junior concentrators in history of art. The junior proseminar for Winter 1993 will focus on the work of contemporary artists who work in various ways to make us experience the natural world freshly. A selection of traditional and contemporary readings will provide the methodological and theoretical context for our examination of the work of artists like Richard Long, Patricia Johanson, Doug Hollis, Alan Sonfist, Newton and Helen Harrison, and Andy Goldsworthy. Consideration of historical precedents will be an important part of the course. Each week, assigned readings chosen in connection with one aspect of the semester's topic will be discussed with an emphasis on the development of critical thinking. In addition, each student will prepare and present two short oral reports and one written term paper. Cost:2 WL:3 (Kirkpatrick)

394. Special Topics. (3). (Excl). May be elected for credit more than once.
Section 001 The Arts of Central Africa.
This course will interweave an introduction to the masquerading, ritual sculpture, architecture, and urban painting of Central Africa with analysis of certain key issues of interpretation. We will consider the relationship of music and art, the negotiation of invention with convention, the role of metaphor in visual and ritual language, and theories of aesthetics. We will also briefly examine the persisting image of the region in the Western imagination as the "heart of darkness." Classes will be structured with 1/3 lecture, 2/3 discussion of weekly reading assignments. There will be 2 exams, a museum exercise, and a paper. Required texts include: J. M. Chernoff, African Rhythm and African Sensibility; Roy Wagner, Invention of Culture; Wyatt MacGaffey, Religion & Society in Central Africa; Joseph Conrad, Heart of Darkness; reserved reading & course pack. No prerequisites. Cost:2 WL:4 (Strother)

Open to Upperclass Students and Graduate Students

402. Contemporary Modes of Interpretation in Art History. (3). (Excl).

Art History is not a single discipline with its own method but rather the meeting ground of many different techniques and interests having the visual image as a common point of reference. This course is designed as an overview of recent theoretical and critical approaches to the study of historical art, with special attention given to their philosophical underpinnings. We will begin by examining popular Anglo-American notions of art history (e.g., Kenneth Clark) and text from the German critical tradition (Wölfflin, Panofsky) before taking up a range of interpretive problems which have emerged since the linguistic turn in humanistic studies (e.g., the "death of the author," the rhetorical nature of representation, the omnipresence of ideology) with readings drawn mainly from poststructuralist versions of Marxist, Feminist, and Psychoanlaytic writings (Barthes, Foucault, Steiner, Pollock, etc.) and advanced approaches of a more traditional nature (e.g., Baxandall). (Willette)

403/Nat. Res. 403. History of Western Landscape Architecture. (3). (Excl).

This survey of the history of landscape architecture focuses primarily on Western developments from the Renaissance to about World War I. Gardens and designed landscapes are ephemeral things, and our knowledge of pre-Renaissance material is at best partial, coming primarily from archaeological work, literary sources and illustrations and paintings. The opening lectures will explore these materials and discuss some of the influences and inheritances from ancient and medieval times that shaped the Renaissance and subsequent developments. Several themes have influenced the emphases taken in the lectures. These are the development of Western European garden and urban traditions, their transferal to the United States and subsequent transformations in a new culture, and the development of new typologies and the emergence of a profession of landscape architecture in response to and as a part of the changes in culture and society. Requirements are 100+ pages of reading per lecture from the course pack or from The French Garden 1500-1800, The Genius of the Place, and The New Urban Landscape (books ordered for the course), 2 short (5-10 page) papers based on the reading; in class mid-term and final.

411. Interpretations of Landscape. Hist. of Art 102, 103 or permission of instructor. (3). (Excl).

This course will examine the role of the visual arts in what might be termed the "landscape culture" of China. Topics will include the religious and political contexts for representations of nature in various media, topographical painting, relationships between genres of Chinese literature and landscape painting, and garden building, especially in the city of Suzhou. Readings will include translations of Chinese poems, essays, and theoretical texts on landscape painting and gardening, as well as modern studies by scholars such as Richard Barnhart, Wen Fong, Lothar Ledderose, Frederick Mote, and others. Students enrolling in this course will be expected to have a basic knowledge of Chinese art. The requirements for the course will be a mid-term examination, two short written exercises, and a term paper. WL:4 (Harrist)

415/Women's Studies 415. Studies in Gender and the Arts. One course in Women's Studies or History of Art. (3). (Excl). May be repeated for a total of nine credits.
Section 001 Gendered Spaces in Renaissance Italy.
A "building boom" took place during the Italian Renaissance when large constructions were built to house patriarchal dynasties and cities were changed by a new ordering of space. This course will examine the interior spaces and exterior forms of certain examples of Renaissance architecture, as well as paintings which show action in interior and artifacts like ceramics (maiolica) and costume. Our chief focus will be the city of Florence where an obsession with building and decorating produced palaces for families like the Medici, Rucellai and Strozzi. We will discuss such issues as the social history of the Renaissance family and the courtly mileau, the changing form of palaces facades and courtyards, the patterns of domesticity, the use of servants and slaves, celebrations of marriage, and the growth in industries producing objects of consumption for interior decoration like furniture and maiolica. Written work will comprise a midterm and a final essay. (Simons)

435/Class. Arch. 435. The Art and Archaeology of Asia Minor. Hist. of Art 101 or permission of instructor. (3). (Excl).

See Classical Archaeology 435. (Pedley)

436/Class. Arch. 436. Hellenistic and Roman Architecture. Hist. of Art 101 or 221 or 222; or permission of instructor. (3). (HU).

See Classical Archaeology 436. (Cormack)

452. Northern European Art of the Fifteenth and Sixteenth Centuries. Hist. of Art 101 or 102; or permission of instructor. (3). (Excl).

This course focuses on the pictorial art of the Netherlands and Germany, beginning with late fourteenth century manuscript painting and concluding with the work of Pieter Bruegel and his contemporaries in the mid-sixteenth century. Lectures and readings look at the achievements of such canonical artists as Jan van Eyck, Rogier van der Weyden, Hans Memlinc, Albrecht Dürer and Lucas van Leyden, and will consider their art in relation to the historical circumstances of its production, its market and audiences, the functions it served and the visual culture of which it was a part. Special attention will be given to analysing the descriptive skill and representational craft for which this art was so highly valued. Classes combine lecture and discussion of weekly readings and topics. Grading is based on participation, two short papers, a mid-term and a final examination. History of Art 102, or a course in the art of this period, or permission of instructor is required. Cost:4 WL:4 (Brusati)

462. Baroque Art in Italy. Hist. of Art 102 or 260 or permission of instructor. (3). (Excl).

The course pretends to identify the most significant achievements in the development of Italian Baroque PAINTING, from the late-16th-century stirrings of a new way of seeing and working to the spectacular ceiling frescoes of the late 17th-century. It focuses on such artists as Caravaggio, Annibale Carracci, Guido Reni, Guercino, and Pietro da Cortona, and upon the cities of Rome and Bologna. The religious subject matter, history, mythology, portraits, landscapes, genre, still-life will be studies for what it reveals of individual creative genius of socio/political/religious aspirations, and of shared features which together might be said to constitute a concept of the Baroque. A balance will be sought between monographic accounts of major masters and a running narrative involving the interactions of these masters (a sense of the actual flow of artistic activity). The course will observe essentially a lecture format, and evaluations will be based on two examinations. A syllabus and bibliography will be provided. White the amount of assigned reading will be modest, considerable additional reading will be expected. Undergraduates with some history of art training should not hesitate to elect the course. Cost:1 WL:3 (Bissell)

476. Realism in European Art, c.1840-1870. Hist. of Art 102. (3). (Excl).

The course will provide a survey of French art from Romanticism to Realism, from the period when Romanticism had just reached its peak, c. 1830, to the emergence of several forms of realism in the 1860s. Among the major artists discussed will be Ingres, Delacroix, Corot, Millet, Courbet, Manet and the young Monet and Degas. Attention will be given to competing directions under the July Monarchy (1830-48); to the formation of a Realist movement in France about 1848 and to the contribution of Courbet, in particular; to developments in landscape painting, from the Barbizon School to the developments in plein air painting of the 1860s; to Manet and his contribution to the creation of Modernism. These artists and movements will be discussed in relation to social and political transformations during the period, especially to the relationship between country and city and to the rebuilding of Paris under Napoleon III and Baron Haussmann during the Second Empire (1852-70). 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 term paper or short papers, a midterm, and final exam will be required. Students will be asked to buy one or two paperbacks; other readings will be in the form of a course pack and assignments from books available on reserve. Cost:2 WL:4 (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)

487/Chinese 475/Asian Studies 475/RC Hums. 475/Philosophy 475. The Arts and Letters of China. (4). (HU).

See Chinese 475. (Y. Feuerwerker)

488. The Decorative Arts in Islamic Countries. Hist. of Art 101; or permission of instructor. (3). (Excl).

The high level of craftsmanship and design in Islamic decorative arts often brought otherwise mundane objects to the level of fine art. This course presents a survey of the various media used by the craftsmen and artists of Islamic countries from the 8th through the 17th centuries, including ceramics, metalwork, woodwork, ivory, glass, and textiles. Emphasis is placed on the high points of artistic achievement (e.g., lustre and polychrome ceramics, inlaid metalwork, and figural ivory. Technique, classification, and connoisseurship will be emphasized, but some important objects will be studied from the viewpoint of iconography. The students will have the opportunity to study objects in University collections and to visit the Islamic collection at the Detroit Institute of Arts. 3 short (5-6 pp) papers; final exam. (Tabbaa)

499/Amer. Cult. 499. The Arts in American Life. Seniors concentrating in American Culture, seniors in any Honors curriculum, or graduate students with permission. (3). (Excl). May be elected for credit more than once with permission of instructor.
Section 001: National Identity in American Art.
This course will consider the old question, "What's American about American art?" by asking "When and why have people cared what's American about American art?" We will focus on a series of moments from Colonial portraiture to the formation of abstract expressionism which artists, critics, historians, or their public have claimed were uniquely American. By studying related issues in political, social, and cultural history, we will examine how Americans have sought to define a national identity through art. The class will combine lectures, discussion, and brief presentations by groups of students. Class size is limited to 25 students. Recommended background: There are no fixed prerequisites for this course but students will be expected to have taken prior courses in art history, American culture, and/or American history. Requirements: About 100 pages of reading each week in textbooks, a packet of photocopied articles, and books on reserve in the Fine Arts Library. Class participation is essential. Each student will participate in a group report in class and prepare several short papers. Undergraduates will write a take-home final exam; graduate students will write a research paper. Cost:3 WL:4 (Zurier)

525. Graphic Arts from 1660 to the Present. Hist. of Art 102 and permission of instructor. (3). (Excl).

This course, designed primarily for graduate students in the History of Art, in the Museum Training Program, and in the Art School, will deal with developments in the last few centuries, emphasizing connoisseurship as much as history. The class will examine prints with museum curators, dealers, and collectors, will be shown the fundamentals of lithography, etching, and other processes, will be introduced to the problems and techniques of conservation, and to aspects of collecting. Assignments will consist of readings, short papers and reports on prints in nearby collections. Because so much work will be done with actual prints, the enrollment will be limited. Cost:2 WL:4 (Spink)

543. Carolingian and Early German Art. Hist. of Art 101 or permission of instructor. (3). (Excl).

The beginnings of German art: indigenous sources, the classical tradition and the influence of Byzantium, from Charlemagne in the ninth century through Otto the Great and his eleventh-century successors. The course will focus upon major developments in manuscript illumination, small-scale sculpture, ecclesiastical and secular architecture, and the intellectual and political developments which lie behind the artistic phenomena of the era. Lecture-discussion sessions will be supplemented by visits to the Rare Book Room. In addition to a midterm quiz and a final examination, students may pursue independent work in a term paper. Assigned readings will make use of publications in the Fine Arts Library. Cost:1 WL:4 (Forsyth)

556. Renaissance Art in Italy. Hist. of Art 102 or 150, or permission of instructor. (3). (Excl).
Section 001 Michelangelo on Paper.
While the course has some ambitions to provide an overview of the artist's life and work, the title "Michelangelo on Paper" refers to two important particulars. First of all to Michelangelo as the subject, object, and producer of considerable quantities of writing: his own poetry and letters but equally importantly other people's writing about him or on his behalf, including contemporary biographies and large quantities of his conversation written down (or invented) by his friends. Second, "Michelangelo on Paper" refers to his production as a draughtsman, that is, to hundreds of works on paper ranging from microscopic doodles to grand finished presentation drawings that are among the artist's most important achievements. This course begins with the proposition that these two forms of "paper" expression are in some sense opposite or complementary. The biographies, autobiographical materials, and table talk all contribute to what some would now call the "construction" of the artist, which, in the case of Michelangelo, involves the invention (both by the artist himself and by his contemporaries) of the figure of supreme genius-brilliant, versatile, and tormented. The drawings, on the other hand, may be said to represent the most intimately "authentic version of the artist in the sense that they stand as the immediate or spontaneous form in which his imagination expressed itself. That division is far too neat, of course: there is much "authentic" truth in the written material and much "construction" in the drawings. But this course will attempt to draw its own overall picture of Michelangelo by approaching him from these opposing sides. Close attention to the biographies by Condivi and Vasari, selections from the artist's own letters and poems; some work with other contemporary accounts of his life and conversation. Careful focus on drawings from successful and unsuccessful larger projects along with some consideration of their final form in fresco or stone; concern, too, with presentation drawings for Tommaso Cavalieri and Vittoria Colonna. Readings of scholarly work on biography, on the culture of the Renaissance in Italy, on the earlier history of drawing, and on Michelangelo's production as a draughtsman. Italian helpful but not required. WL:4 (Barkan)

585. The "Islamic" City: Urban Form and Society. Hist. of Art 285 or any course in Islamic history or civilization. (3). (Excl).

For Winter Term, 1993, this course is jointly offered with RC Humanities 333.002. (Tabbaa)

596. Japanese Architecture Mid-19th Century to the Present. Hist. of Art 103, 495, or 591; or permission of instructor. (3). (Excl).

Japanese architecture and urban planning from the mid-19th century to the present. Topics include the establishment of a western-style architectural profession in the late 19th century, the emergence of a modernist movement in the 1920's and 1930's, biological metaphors and the romanticization of the technology in the theories and designs of the Metabolist Group, the special implications of postmodernism in the Japanese context, and the shifting significance of certain Japanese architectural traditions for modern architects. There will be an emphasis on the complex relationship between architectural practice and broader political and social change in Japan. WL:4 (Reynolds)

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