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The Shaping of Art History Meditations on a Discipline

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The shop is also responsible for any discounts they wish to offer. Subscribe to our newsletter. How do works of fiction, nonfiction, film, and other arts encourage imaginative interventions in an era of increasing environmental risk? In the fall, students will alternate biweekly conferences with biweekly small-group activities.

In the spring, students will attend conferences on alternate weeks. Course conducted in French. Admission by placement test to be taken during interview week at the beginning of the fall semester or completion of Beginning French.

Fler böcker av Patricia A Emison

Students will also learn to begin to use linguistic concepts as tools for developing their analytic writing. Thus, in addition to newspapers, online resources, recent movies, and songs, we will also study masterpieces of the past in literature and in the arts.


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In addition to conferences, a weekly conversation session with a French language assistant e is required. Attendance at the weekly French lunch table and French film screenings are both highly encouraged. At every turn, we will consider interactions with the urban civilizations to the south and west—the early Aegean, Greece, Rome, and the early medieval Continent—to discover that Albion was an integral part of the political, religious, and economic forces that have shaped the art and history of Europe up to the present time.

In order to acquire the necessary knowledge of Italian grammar, idiomatic expressions, and vocabulary, a review of all grammar will be carried out throughout the year. As an introduction to modern Italian culture and literature, students will be introduced to a selection of short stories, poems, and passages from novels, as well as specific newspaper articles, music, and films in the original language. All material is accessible on MySLC. Conferences are held on a biweekly basis; topics might include the study of a particular author, literary text, film, or any other aspect of Italian society and culture that might be of interest to the student.

Conversation classes in small groups will be held twice a week with the language assistant; students will have the opportunity to reinforce what they have learned in class and hone their ability to communicate in Italian. When appropriate, students will be directed to specific internship opportunities in the New York City area, centered on Italian language and culture.

The late 16th and 17th centuries were a time of transition between traditional, feudal society—with its hierarchical ideas of order, of humanity, and of nature—and emerging modernity, with its secularizing humanism, its centralization of political and economic power, its development of increasingly dense and complex urban centers, and its commitments to the study and potential mastery of nature through empirical science.

With early modernity come all of the challenges to natural environment and its resources that we are so familiar with and challenged by: urban sprawl and environmental degradation, privatization of land, air and water pollution, deforestation and exhaustion of other resources, and diminishment of local species populations. Conference work may entail more extended work in any of these writers or literary modes or other authors who are engaged in theorizing and imagining nature—and may include study in history, philosophy, geography, politics, or theory.

Never have the life of a modern city and the interior lives of its inhabitants been so densely and sensitively chronicled. Conference work may entail more extended work in these major authors or other authors and texts roughly contemporary with them or subsequently responding to them, whose work extends and complicates the intertextual webs we will be weaving in class.

Music is central to most of our lives. How can we understand the experience of music? What does music express? If it expresses emotions, how do those emotions relate to the emotions we experience in everyday life? Can music without words express emotions with as much clarity as music with words? As a background to these questions, we will also be looking at issues concerning the nature and experience of art of general; and we will examine the views of writers such as Plato, Kant, Schopenhauer, Dewey, and Adorno and compare how they understand the role of art in society and in our own experience.

The musical repertory will include medieval and Renaissance music, music by Bach, songs by Schubert, and examples from the symphonic repertory by composers such as Haydn, Mozart, Beethoven, Schubert, Tchaikovsky, and Stravinsky. We will study those works using the techniques of formal analysis that are generally used in music-history classes but also attempt to draw out the many contextual threads: How are they embedded in a culture, and how do they reflect the temperament and orientation of the composers?

While most of our musical examples will be from the classical repertory, other styles will also occasionally be relevant. The goals of the class will be to understand how musical and philosophical thought can illuminate each other and to deepen our awareness of the range and power of music. No prior knowledge of music theory or history is required; we will introduce and define the terms we need as the class proceeds. The creative process is paradoxical.

It involves freedom and spontaneity yet requires expertise and hard work. The creative process is self-expressive yet tends to unfold most easily when the creator forgets about self. The creative process brings joy yet is fraught with fear, frustration, and even terror. The creative process is its own reward yet depends on social support and encouragement. In this class, we look at how various thinkers conceptualize the creative process—chiefly in the arts but in other domains, as well. We see how various psychological theorists describe the process, its source, its motivation, its roots in a particular domain or skill, its cultural context, and its developmental history in the life of the individual.

Different theorists emphasize different aspects of the process. To concretize theoretical approaches, we look at how various ideas can contribute to understanding specific creative people and their work. In particular, we will consider works written by or about Picasso, Woolf, Welty, Darwin, and some contemporary artists and writers. Though creativity is most frequently explored in individuals, we also consider group improvisation in music and theatre.

Some past conference projects have involved interviewing people engaged in creative work. Others consisted of library studies centering on the life and work of a particular creative person. Some students chose to do fieldwork at the Early Childhood Center and focus on an aspect of creative activity in young children.

The expressive arts bridge the gap between personal and collective experiences. Music, dance, literature, sculpture, and other creative pursuits allow artists a personal venue for intimate expression; but their products also have influence on thousands of others.


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Art evokes emotions, changes opinions, forges identities, and can be an anthem for social change. This class will explore how engagement with the arts influences who we are and how we relate to others.