This class offers a close study of a number of major artists in the Impressionist movement-- Manet, Degas, Monet, Pissarro, Morisot, Cezanne, Cassatt, Renoir-- in order to understand their consistent referrals to earlier traditions of art (such as 17th-century Dutch landscape, or 18th-century French aesthetics of the sketch) as well as their laborious technical procedures that created impressions of "spontaneity" and "instantaneity." The class looks at a variety of media, including painting, prints, drawing, and sculpture, culminating at a visit to a 5 College Museum to stu

Constitutional law on equality, which is referred to as equal protection, is negotiated through legal cases and public opinion. Drama and drama criticism provide opportunities to engage equality through performance and discussion in a public setting outside of the courts. Because it is distinctively expressive and characteristically engaging, drama and criticism offer an important sphere of commentary. The class will engage in at least one performance and visit the set of another.

Impressionist painting has been traditionally defined as a literal transcription of the artist's visual perceptions: The Impressionists sought to give a totally objective transcription of the everyday world, and capture their immediate, momentary impressions with the greatest possible fidelity? (Hugh Honour and John Fleming, A World History of Art). Recent scholarship has demonstrated that this is not an accurate description.

Changing treatment of central themes, issues, and problems in art history. Topics change; offerings usually available in Modern and Islamic. Prerequisite: upper-level survey course on theme to be examined, or consent of instructor.

Ancient Rome was filled with portrait statues, which have been called "the other population" of this capital city. What social purposes did they serve and how did they speak to Roman audiences?

In this seminar, we will explore Roman portrait sculpture, both private and public, in contexts as varied as imperial baths, lower-class tombs, elite gardens and religious sanctuaries, to investigate the way portraits served as catalysts for the imagination and memory, at the same time that they broadcast social and even political status.

Not available at this time.

This course examines several of the central questions facing contemporary Jewry by reflecting on the role of history, text, and memory in the shaping of Jewish identity and politics. Topics include Judaism's role in civilization; contested Jewish Identities; political and religious debate concerning Israel; the Holocaust as icon of Jewish identity; pluralism and the paradoxes of unity; and bioethical dilemmas. Satisfies the Integrative Experience requirement for BA-Judaic majors.

The emergence of modern Jewish identity and culture, focusing on the socio-economic, political, and intellectual forces which led to improved treatment of Jews. Topics include: Hasidim, Enlightenment, and the impact of the French Revolution. Analysis of the implications of modernity for the Jewish community and family, the synagogue, secular Judaism, and Jewish-Gentile relations. (Gen.Ed. HS, G)

Changing treatment of central themes, issues and problems in art history. Topics often cut across traditional geographic or chronological boundaries. Although topics change from semester to semester, offerings are usually available every year in Modern, Islamic, and American art and architecture. Prerequisite: upper-level survey course bearing on the particular theme, or consent of instructor.

Changing treatment of central themes, issues and problems in art history. Topics often cut across traditional geographic or chronological boundaries. Although topics change from semester to semester, offerings are usually available every year in Modern, Islamic, and American art and architecture. Prerequisite: upper-level survey course bearing on the particular theme, or consent of instructor.