skip to content

Bulletin Archive

This archived information is dated to the 2008-09 academic year only and may no longer be current.

For currently applicable policies and information, see the current Stanford Bulletin.

Graduate courses in Art History

Primarily for graduate students; undergraduates may enroll with consent of instructor.

ARTHIST 301. Archaic Greek Art

(Same as ARTHIST 101, CLASSART 101, CLASSART 201.) The development of Greek art and culture from protogeometric beginnings to the Persian Wars, 1000-480 B.C.E. The genesis of a native Greek style; the orientalizing phase during which contact with the Near East and Egypt transformed Greek art; and the synthesis of East and West in the 6th century B.C.E.

4 units, Aut (Maxmin, J)

ARTHIST 302. Classical and 4th-Century Greek Art

(Same as ARTHIST 102, CLASSART 102.) The formation of the classical ideal in 5th-century Athenian art, and its transformation and diffusion in the 5th and 4th centuries against changing Greek history, politics, and religion.

4 units, Win (Maxmin, J)

ARTHIST 305. Introduction to Medieval Art

(Same as ARTHIST 105.) Chronological survey of Byzantine, Islamic, and Western Medieval art and architecture from the early Christian period to the Gothic age. Broad art-historical developments and more detailed examinations of individual monuments and works of art. Topics include devotional art, court and monastic culture, relics and the cult of saints, pilgrimage and crusades, and the rise of cities and cathedrals.

4 units, Win (Pentcheva, B)

ARTHIST 306. Byzantine Art and Architecture, 300-1453 C.E.

(Same as ARTHIST 106.) Art-historical developments, and monuments and works of art. Topics include: the transition from naturalism to abstraction; imperial art and court culture; pilgrimage and cult of saints; and secular art and luxury objects.

4 units, not given this year

ARTHIST 307. Age of Cathedrals

(Same as ARTHIST 107.) Gothic art and architecture in W. Europe, 1150-1500. The structuring of a modern visual discourse within the ideological framework of a new monarchical church and state, emerging towns and universities, the rise of literacy, the cultivation of self, and the consequent shifts in patterns of art patronage, practice, and reception in Chartres, Paris, Bourges, Strasbourg, Canterbury, London, Oxford, and Cambridge.

4 units, not given this year

ARTHIST 308. Virginity and Power: Mary in the Middle Ages

(Same as ARTHIST 108.) The most influential female figure in Christianity whose state cult was connected with the idea of empire. The production and control of images and relics of the Virgin and the development of urban processions and court ceremonies though which political power was legitimized in papal Rome, Byzantium, Carolingian and Ottonian Germany, Tuscany, Gothic France, and Russia.

4 units, not given this year

ARTHIST 311. Introduction to Italian Renaissance, 1420-1580

(Same as ARTHIST 111.) New techniques of pictorial illusionism and the influence of the humanist revival of antiquity in the reformulation of the pictorial arts in 15th-century Italy. How different Italian regions developed characteristic artistic cultures through mutual interaction and competition.

4 units, Aut (Hansen, M)

ARTHIST 314. Vision and Emblem: Netherlandish Painting from Van Eyck to Brueghel

(Same as ARTHIST 114.) How 15th-century pictorial illusionism transformed the devotional image and portraiture, calling for a new kind of engagement with the image on the part of the beholder. How 16th-century humanist knowledge influenced the creation of new pictorial subjects and representational forms. The reflection of religious crises triggered by the Reformation in art. GER:DB-Hum

4 units, not given this year

ARTHIST 316. European Baroque Sculpture

(Same as ARTHIST 116.) Characteristics of and innovations in sculpture in 17th-century Europe. The integration of sculpture with architecture in theatrical settings by Gian Lorenzo Bernini. Idealized images of statehood for mercantile republics, absolutist monarchs, and the papacy. Smaller works for private contemplation, ideas of classical versus modern style, and workshop practices. GER:DB-Hum

4 units, not given this year

ARTHIST 317. Picturing the Papacy: Renaissance to Neoclassicism

(Same as ARTHIST 117.) Campaigns of renovations aimed at restoring Rome to its former legendary splendor. How artists and architects created spectacular, large-scale representations of and for Christ's vicars on earth following the return of the papacy from Avignon in the early 15th century; how they negotiated papal nepotistic intentions from the 15th to the 18th century.

4 units, Spr (Hansen, M)

ARTHIST 320. Art and Culture of Northern Europe in the 17th Century

(Same as ARTHIST 120.) Painting and graphic arts by artists in Flanders and Holland from 1600 to 1680, a period of political and religious strife. Historical context; their relationship to developments in the rest of Europe and contributions to the problem of representation. Preferences for particular genres such as portraits, landscapes, and scenes of everyday life; the general problem of realism as manifested in the works studied.

4 units, Spr (Marrinan, M)

ARTHIST 321. 18th-Century Art in Europe, ca 1660-1780

(Same as ARTHIST 121.) Major developments in painting across Europe including the High Baroque illusionism of Bernini, the founding of the French Academy, and the revival of antiquity during the 1760s, with parallel developments in Venice, Naples, Madrid, Bavaria, and London. Shifts in themes and styles amidst the emergence of new viewing publics. Artists: the Tiepolos, Giordano, Batoni, and Mengs; Ricci, Pellegrini, and Thornhill; Watteau and Boucher; Chardin and Longhi; Reynolds and West; Hogarth and Greuze; Vien, Fragonard, and the first works by David. Additional discussion for graduate students.

4 units, not given this year

ARTHIST 322. The Age of Revolution

(Same as ARTHIST 122.) Painting in Europe during the French Revolution and the Napoleonic conquest. As political events altered social formations, practices in the visual arts were similarly affected by shifts in patronage, public, and the social function of image making. An attempt to align ruptures in the tradition of representation with the unfolding historical situation. The first manifestations of a romantic alternative to the canons of classical beauty and stylistic restraint.

4 units, not given this year

ARTHIST 324. The Age of Naturalism, ca 1830-1874

(Same as ARTHIST 124.) The origins, development, and triumph of naturalist painting in Europe. The creative tensions that emerged between traditional forms of history painting and the challenge of modern subjects drawn from contemporary life. Emphasis is on the development of open-air painting as an alternative to traditional studio practice, and to the rise of new imaging technologies, such as lithography and photography, as popular alternatives to the hand-wrought character and elitist appeal of high art.

4 units, not given this year

ARTHIST 326. Post-Naturalist Painting

(Same as ARTHIST 126.) How conceptual models from language, literature, new technologies, and scientific theory affected picture making following the collapse of the radical naturalism of the 1860s and 1870s. Bracketed in France by the first Impressionist exhibition (1874) and the first public acclamation of major canvases by Matisse and Picasso (1905), the related developments in England, Germany, Belgium, and Austria. Additional weekly discussion for graduate students. Recommended: some prior experience with 19th-century art.

4 units, Aut (Marrinan, M)

ARTHIST 332. American Art and Culture, 1528-1860

(Same as ARTHIST 132.) The visual arts and literature of the U.S. from the beginnings of European exploration to the Civil War. Focus is on questions of power and its relation to culture from early Spanish exploration to the rise of the middle classes. Cabeza de Vaca, Benjamin Franklin, John Singleton Copley, Phillis Wheatley, Charles Willson Peale, Emerson, Hudson River School, American Genre painters, Melville, Hawthorne and others.

4 units, not given this year

ARTHIST 333. American Art in the Gilded Age

(Same as ARTHIST 133.) Interdisciplinary. Art, literature, patronage, and cultural institutions of the late 19th century. Aestheticism, conspicuous consumption, the grand tour, and the expatriate experience. The period's great collectors, taste makers, and artists: Thomas Eakins, Winslow Homer, Mary Cassatt, James Whistler, John Singer Sargent, Albert Pinkham Ryder, William Harnett, and John Peto.

4 units, Aut (Marshall, J)

ARTHIST 341. The Invention of Modern Architecture

(Same as ARTHIST 141.) The creation and development of new architectural forms and theories, from the late 18th to the early 20th centuries, mainly in Europe but also in America. Emphasis is on the responses to new materials, technologies, and social conditions, and how they shaped the architecture of the present. Recommended as preparation for 142.

4 units, not given this year

ARTHIST 342. Varieties of Modern Architecture

(Same as ARTHIST 142.) The development of competing versions of modern and postmodern architecture and design in Europe and America, from the early 20th century to the present. Recommended: 141.

4 units, not given this year

ARTHIST 343A. American Architecture

(Same as ARTHIST 143A.) A historically based understanding of what defines American architecture. What makes American architecture American, beginning with indigenous structures of pre-Columbian America. Materials, structure, and form in the changing American context. How these ideas are being transformed in today's globalized world.

4 units, not given this year

ARTHIST 349. Art Between the Wars: Dada, De Stijl, Constructivism, Surrealism

(Same as ARTHIST 149.) Historical avant garde movements and anti-modernist tendencies such as socialist realism and Nazi art. Issues: artistic responses to wartime trauma; attempts to develop the progressive potential of technology and the political utility of art; and attempts to reorder relations between body and machine, art object and commodity, and private and public life. Artists: Richter, Heartfield, Tzara, Rodchenko, Tatlin, Bellmer, Man Ray, and Ernst. Readings: the modern subject, mass culture, the modernism/anti-modernism debates of the 30s, and the uses of art in totalitarian regimes. GER:DB-Hum

4 units, not given this year

ARTHIST 351. Transatlantic Modernism: Paris and New York in the Early 20th Century

(Same as ARTHIST 151.) Modernism in the American arts at home and abroad, emphasizing transatlantic expatriation, cultural politics, and creative alliances. Painters and sculptors are the focus. Literary figures who interacted with artists such as Gertrude Stein, William Carlos Williams, and Langston Hughes. Topics and artists: the Armory Show, Marcel Duchamp, Francis Picabia, Futurism, Fernand L├ęger, Alfred Stieglitz, Charles Demuth, Georgia O'Keefe, Gerald Murphy, the Harlem Renaissance, John Storrs, and Florine Stettheimer.

4 units, not given this year

ARTHIST 353A. American Art, 1900-1945

(Same as ARTHIST 153A.) Painting, sculpture, photography, and design. Focus is on the emergence of diverse cultural forms in the search for a modern, American form of artistic expression. Topics include: Robert Henri and the Ash Can school; the Armory Show and the influence of European modernism; Marcel Duchamp and plumbing; futurism, cubism, and the machine aesthetic; Stuart Davis and jazz; Dorothea Lange and documentary photography; Alfred Stieglitz and his Seven Americans; Thomas Hart Benton and regionalism; the arts of the WPA; and the role of artists in wartime propaganda.

4 units, not given this year

ARTHIST 355. American Art Since 1945

(Same as ARTHIST 155.) Major figures, movements, and concepts of American art with examples from Europe from WW II to the present. Topics: the ideology and aesthetics of high modernism, the relationship between art and popular culture, the death of painting, the question of postmodernism. Artists: Pollock, Newman, Stella, Johns, Warhol, Andre, Rainer, Smithson, Hesse, Serra, Kruger, Sherman.

4 units, Aut (Lee, P)

ARTHIST 358A. History of Photography

(Same as ARTHIST 158A.) From its invention in 1839 to the present. Emphasis is on the evolution of photography as a fine art. Photographs as a universal democratic art form to record familial events and express personal creativity. Development of photography as it relates to other art forms, journalism, architecture, portraiture, landscape, documentation, time, and personal expression. The technology of photography; photographic techniques.

4 units, Win (Dawson, R)

ARTHIST 359A. Photography in America

(Same as ARTHIST 159A.) The history of American photography as fine art and social tool. Topics include: defense of photography as a legitimate art form; role of portraits and photo albums in social self-fashioning; technological and market aspects of photography; politics of straight or documentary aesthetics; role of women; and how the idea of America has been shaped by photographs. Artists include Matthew Brady, Alfred Stieglitz, Edward Weston, Walker Evans, Dorothea Lange, Robert Frank, Garry Winogrand, William Eggleston, and Mary Ellen Mark. GER:DB-Hum

4 units, not given this year

ARTHIST 360A. Twentieth Century African American Art

(Same as ARTHIST 160A.) Paintings, sculptures, photography, and mixed media works. Styles, cultural and social histories, patronage, and critical reception. The problems of studying the production of artists of color as a separate field; alternatives to the category of African American art; and the outlook for new critical methodologies.

4 units, Spr (Staff)

ARTHIST 373. Issues in Contemporary Art

(Same as ARTHIST 173.) Major figures, themes, and movements of contemporary art from the 80s to the present. Readings on the neo-avant garde; postmodernism; art and identity politics; new media and technology; globalization and participatory aesthetics. Prerequisite: ARTHIST 155, or equivalent with consent of instructor.

4 units, Spr (Lee, P)

ARTHIST 382. Arts of China, 900-1500: Cultures in Competition

(Same as ARTHIST 182.) The era from the Five Dynasties and Song to the mid-Ming period was marked by competition in cultural arenas such as between Chinese and formerly nomadic regimes, or between official court art modes and scholar-official and literati groups. Topics include: innovations in architectural and ceramic technologies; developments in landscape painting and theory; the proliferation of art texts and discourses; the rise of educated artists; official arts and ideologies of the Song, Liao, Jin, Yuan, and Ming regimes; new roles for women as patrons and cultural participants; and Chan and popular Buddhist imagery.

4 units, not given this year

ARTHIST 382A. Imperial Eyes: Court Arts of Ming Dynasty China

(Same as ARTHIST 182A.) Coincides with a major loan exhibition of Ming court arts at the Asian Art Museum of San Francisco. How Ming dynasty emperors, aristocrats, eunuchs and officials used art patronage to assert political power and cultural values. Major Chinese court art forms and media, including painting, porcelain, textiles, furniture, and metalwork. Topics include styles and modes of signification, artists' careers and artist-patron relationships, court institutions, and the impact of court arts on the wider world. Field trips to the exhibition at the Asian Art Museum.

4 units, Sum (Vinograd, R)

ARTHIST 384. Aristocrats, Warriors, Sex Workers, and Barbarians: Lived Life in Early Modern Japanese Painting

(Same as ARTHIST 184.) The changes marking the transition from medieval to early modern Japanese society generated a revolution in visual culture. This paradigm shift as exemplified in subjects deemed fit for representation; how commoners joined elites in pictorializing their world, catalyzed by interactions with the Dutch.

4 units, not given this year

ARTHIST 385. Art in China's Modern Era

(Same as ARTHIST 185.) From the late Ming period to contemporary arts. Topics: urban arts and print culture; commodification of art; painting theories; self portrayals; court art, collection, and ideological programs; media and modernity in Shanghai; politics and art in the People's Republic; and contemporary avant garde and transnational movements.

4 units, Win (Vinograd, R)

ARTHIST 385B. Contemporary Chinese Art: Sites and Strategies

(Same as ARTHIST 185B.) Issues and developments in contemporary Chinese art over the past two decades. Questions of personal and national identity, politics and history, globalization and mass culture, consumerism and urban transformation, and the body, sexuality, and gender, as represented in formats including painting, photography, and installation and multimedia art. Museum visits.

4 units, Aut (Vinograd, R)

ARTHIST 387. Arts of War and Peace: Late Medieval and Early Modern Japan, 1500-1868

(Same as ARTHIST 187, JAPANGEN 87.) Narratives of conflict, pacification, orthodoxy, nostalgia, and novelty through visual culture during the change of episteme from late medieval to early modern, 16th through early 19th centuries. The rhetorical messages of castles, teahouses, gardens, ceramics, paintings, and prints; the influence of Dutch and Chinese visuality; transformation in the roles of art and artist; tensions between the old and the new leading to the modernization of Japan.

4 units, Win (Takeuchi, M)

ARTHIST 388A. The History of Modern and Contemporary Japanese and Chinese Architecture and Urbanism

(Same as ARTHIST 188A.) The recent rapid urbanization and architectural transformation of Asia; focus is on the architecture of Japan and China since the mid-19th century. History of forms, theories, and styles that serve as the foundation for today's buildings and cityscapes. How Eastern and Western ideas of modernism have merged or diverged and how these forces continue to shape the future of Japanese and Chinese architecture and urban form.

4 units, Spr (Beischer, T)

ARTHIST 391. Afro-Atlantic Religion, Art, and Philosophy

(Same as ARTHIST 191.) Afro-American graphic writing and other forms of visual communication including ancient rupestrian art and rock painting in Africa, and present-day forms in the Americas. The diversity of daily life, religion, social organization, politics, and culture with African origin in the diaspora. Focus is on major contemporary Afro-Atlantic religions including: Palo Monte and Abakua in Cuba; Gaga in the Dominican Republic; Revival, Obeah, and Kumina in Jamaica; Vodun in Haiti; and Candomble and Macumba in Brazil.

4 units, not given this year

ARTHIST 392. Introduction to African Art

(Same as ARTHIST 192.) Form, space, media, medium, and visual expression in African art. Rock art to contemporary art production. Majors works and art expression in terms of function and historical context.

4 units, not given this year

ARTHIST 393A. Caribbean and Latin American Art: Empire, Identity, and Society

(Same as ARTHIST 193A.) Visual culture from 1505 to 1889 and its relation to current debates on cultural identity, hybridity, syncretism, and creolization. Painting, travel books, and printmaking by artists including De Bry, Belisario, Rugendas, Debret, and Landaluce. Visual analysis of works at the Yale Center for the British Art and Stanford's Green Library.

4 units, not given this year

ARTHIST 395. Introduction to Black Atlantic Visual Traditions

(Same as ARTHIST 195.) African cultural expression in the Americas. How politics, religion, and culture influence the art of the Black Atlantic. Focus is on the period when cultures were brought from Africa to the Americas through the slave trade and came into contact and conflict with western colonial powers.

4 units, not given this year

ARTHIST 408A. Imperial Representation and Power in Late Antique Art and Architecture

New monumental imperial buildings created beginning in the tetrarchic period in Europe and the Middle East such as the basilica of Maxentius, Diolcetian's residence in Split, Constantine's palace in Trier, and Galerius' residences at Salonica and Gamzigrad. Decoration of these buildings with marble revetment, mosaics, and sculptures and statues, often innovative by their ideological references to classical models. Tradition and innovation, rhetoric and function.

5 units, Aut (Brenk, B)

ARTHIST 409. Iconoclasm

Iconoclasm, iconophobia, and aniconism as markers of cultural transformation of the Mediterranean in the 7th-9th centuries. The identity crisis in the region as the Arabs established the Umayyad caliphate, conquering the Holy Land, Egypt, and Spain. The West consolidated around the Carolingians versus the East split between the Byzantines and the Arabs. How each of these three empires emerged from the ashes of late antique culture and carved an identity out of a common cultural foundation.

5 units, Spr (Pentcheva, B)

ARTHIST 410. Aesthetics of the Icon

How medieval objects were experienced through sight, touch, sound, smell, and taste; how this multisensory richness has been reduced to visual studies of medieval art. Focus is on the Byzantine icon to restore its synaesthetic power; how its performance is tied to culturally-specific modes of seeing. Byzantine liturgy, prayer, epigrams, and literary genres of description such as ekphrasis.

5 units, not given this year

ARTHIST 412. Problems in Italian Mannerism

Questions of the bella maniera, anti-classicism, and center and periphery in mannerist art in light of developments in scholarship from the 70s to the present. Authors include Arasse, Cropper, Cole, Nova, Summers, and Vickers.

5 units, not given this year

ARTHIST 413. Michelangelo

Michelangelo's long career in light of recent scholarship. Topics include the status of the cult image, the paragon between poetry and the pictorial arts, painting and questions of literary genre, and Counter Reformation reactions to his art.

5 units, Aut (Hansen, M)

ARTHIST 428. Eakins and Vermeer

Questions of gender, visuality, and power in two major realist painters of the 17th and 19th centuries. How Vermeer and Eakins confronted and sometimes evaded the central historical issues of their day: modernization, class, sexuality, nationality, and the status of the artist.

5 units, Win (Wolf, B)

ARTHIST 430A. Modernity and 19th-Century Visual Culture

The relationship between visuality and modernity; the privileged role played by seeing. Sources include paintings and literary texts organized around questions of perception. Topics include: visuality and the public sphere; landscape and depoliticized speech; genre and hegemony; race and identity; post-liberal and postmodern culture.

5 units, not given this year

ARTHIST 430B. Modernity and 19th-Century Visual Culture

Writing workshop and reading group. The relationship between publication and professionalization. Students submit publishable papers to an appropriate journal. Recommended: 430A.

5 units, not given this year

ARTHIST 444. Photograph, Document, Archive

Debates over the ontological status of the photograph as document from the 19th century to the present; archival conceptions of photographic meaning. Problems of realism, indexicality, positivism, tourism, social commentary, power, and subjectivity. Protagonists: Frith, Atget, Hine, Sander, Rodchenko, Siskind, Lange, Bernd and Hilla Becher, Richter, Rosler, Sekula. Readings: Warburg, Kracauer, Benjamin, Brik, Tret'iakov, Sontag, Barthes, Buchloh, Tagg, Nesbit, Armstrong, Stimson, Nickel, Kelsey.

5 units, Win (Gough, M)

ARTHIST 445. Intermedia Practices of the 1920s and 1930s

The emergence and proliferation of new intermedia practices in Weimar Germany, fascist Italy, and Soviet Russia as avant garde artists invented modes of agitation and propaganda appropriate to the protean ambitions of each state. Focus is on monumental photography, wherein the medium of photography was mobilized on an architectural scale in interior spaces, exhibitions, and urban environments, and on the photo essay, a radicalization of the traditional amalgam of pictures and text made possible by advances in printing technologies. The historical avant garde's significance for postwar debates about media hybridity and the society of the spectacle.

5 units, not given this year

ARTHIST 446. The Russian and Soviet Avant Garde

(Gough)

5 units, not given this year

ARTHIST 474. Media and Intermedia

(Lee)

5 units, not given this year

ARTHIST 475. Media Cultures of the Cold War

(Same as COMM 386.) The intersection of politics, aesthetics, and new media technologies in the U.S. between the end of WW II and the fall of the Berlin Wall. Topics include the aesthetics of thinking the unthinkable in the wake of the atom bomb; abstract expressionism andmodern man discourse; game theory, cybernetics, and new models of art making; the rise of television, intermedia, and the counterculture; and the continuing influence of the early cold war on contemporary media aesthetics. Readings from primary and secondary sources in art history, communication, and critical theory.

3-5 units, Spr (Turner, F; Lee, P)

ARTHIST 484. Exhibition Seminar in East Asian Art: From the Bronze Age of China to Japan's Floating World

Collaborative planning, research, text writing, and design for the summer 2009 exhibition of recent acquisitions of East Asian art at the Cantor Center. Topics include exhibition theory and organization, connoisseurship issues, and practices of display. Students may prepare papers for publication in the Cantor Center's journal, and contribute introductory and label texts for the exhibition. Advanced undergraduates require consent of instructors.

5 units, Win (Vinograd, R)

ARTHIST 485. The Situation of the Artist in Traditional Japan

(Same as JAPANGEN 220.) Topics may include: workshop production such as that of the Kano and Tosa families; the meaning of the signature on objects including ceramics and tea wares; the folk arts movement; craft guilds; ghost painters in China; individualism versus product standardization; and the role of lineage. How works of art were commissioned; institutions supporting artists; how makers purveyed their goods; how artists were recognized by society; the relationship between patrons' desires and artists' modes of production.

5 units, not given this year

ARTHIST 501. The Vision of Art History

How the project of art history connects to general issues of historical writing and evidence. Focus is on modes of vision, such as the perceptual, conceptual, and historical, and the clusters of related limitations they bring to the problem of art history. The overlapping areas of blindness inherent in art-historical scholarship. How options within the field are conditioned and shaped by the central, founding activity of the discipline.

5 units, not given this year

ARTHIST 502. Methods and Historiography of Art History

Restricted to graduate students. From the origins of the discipline in 19th-century Germany to recent debates on visual studies. Iconology, formalism, semiotics, psychonalysis, and Marxist and feminist approaches to the work of art. Limited enrollment.

5 units, Aut (Lee, P)

ARTHIST 507. Medieval Image Theory

The Middle Ages saw the development of a theoretical framework on visual representation in response to charges of idolatry. The defenders of religious images drew on the dogma of Incarnation; as the Virgin gave human flesh to the Logos/Christ, the image offered a material manifestation of the divine. Focus is on the change in perception and staging of the image. Early in the period, the icon or relic expressed the presence of the sacred; later in the period, visual representation was designed to trigger an emotional response that led the viewer to a union with the divine.

5 units, not given this year

ARTHIST 512. The Time of the Object

How artists, art historians, philosophers, and critics have theorized the temporality of the art object. Topics: the origin of the work of art, duration, repetition, entropy, kineticism, the monument, the end of death of art, schizophrenia. Writers: Bergson, Deleuze, Focillon, Fried, Hegel, Heidegger, Jameson, Kubler, Krauss, Riegl.

5 units, not given this year

ARTHIST 516. Narrative Theory and Visual Form

The theoretical terrain of narrative studies in literary criticism and historiography. The critical implications of narrative analysis for the writing of history in general. Readings integrated with students' current research projects.

5 units, not given this year

ARTHIST 600. Art History Bibliography and Library Methods

1 unit, Aut (Blank, P)

ARTHIST 610. Teaching Praxis

1-5 units, Aut (Staff), Win (Staff), Spr (Staff)

ARTHIST 620. Area Core Examination Preparation

For Art History Ph.D. candidates. Prerequisite: consent of instructor.

5 units, Aut (Staff), Win (Staff), Spr (Staff), Sum (Staff)

ARTHIST 640. Dissertation Proposal Preparation

5 units, Aut (Staff), Win (Staff), Spr (Staff, 1), Sum (Staff)

ARTHIST 650. Dissertation Research

5 units, Aut (Staff, 1), Win (Staff), Spr (Staff, 1), Sum (Staff)

ARTHIST 660. Independent Study

For graduate students only. Approved independent research projects with individual faculty members.

1-15 units, Aut (Staff, 1), Win (Staff), Spr (Staff, 1), Sum (Staff)

ARTHIST 660E. Extended Seminar

May be repeated for credit.

4 units, Aut (Staff), Win (Staff), Spr (Staff)

ARTHIST 670. Dissertation Seminar

For graduate students writing and researching dissertations and dissertation proposals. How to define research projects, write grant proposals, and organize book-length projects.

3-5 units, not given this year

© Stanford University - Office of the Registrar. Archive of the Stanford Bulletin 2008-09. Terms of Use | Copyright Complaints