Teaching material online course
Paris in Architecture, Literature and Art is a student textbook and teacher manual in cultural studies that capitalizes on the little exposure liberal arts students have to architecture, and the widespread popularity of Paris across the curriculum. Designed for a college course in the humanities, the book is also suitable for a High School course or a study abroad program in Paris. It focuses on Paris, which throughout history has been the stage and experimental ground for artists and intellectuals from all over the world, making it the crucible of western thoughts and consummate material for an interdisciplinary study. The book presents an overview of Paris from the Middles Ages to present, each chapter focusing on an intellectual movement such as Gothic, classical, romantic, impressionist, cubist and modern. The interdisciplinary approach promotes critical thinking, inspiring students to identify and translate esthetic concepts from one discipline to another, and explore, for instance, what impressionist literature or cubist architecture might be. The teacher manual provides detailed commentaries of all documents presented in the student textbook, with analysis that will be engaging to a scholar, but also accessible to instructors without a background in architecture, literature or art. The wide variety of pedagogical features gives flexibility for instructors to fit their specific areas of interest, as well as those of the target audience. Among those, preamble activities and timelines introduce chapters’ main idea, observation questions build critical reading and analyzing skills, interactive activities foster cooperative learning, and projects lead to oral and short film presentations.
ASAP/7: Arts & the Public, September 24-27, 2015 (Clemson University) For ASAP (Association for the Study of the Arts of the Present) conference, ASAP/7: Arts & the Public, September 24-27, 2015, hosted by Clemson University. Looking for papers for a panel on pamphleteers, broadsiders, sidewalk ranters, bloggers, trollers, Tweeters, and other creators of public acts […]
The main topic of this article is the history of a rare and precious French magazine of the late Nineteenth century, in which a vivid and crucial discussion about arts and their inter-relation grew the more and more intense in the short space of four years (1892-1896). The “Livre d’Art” was first conceived as a simple booklet to be distributed to the spectators of the experimental plays of the ”Théâtre d’Art”, but it soon became a sophisticated art object, which merged figurative and poetic art in order to create a mutual relation of authentic correspondence among them, thus overcoming the wagnerian idea of Gesamtkumstwerk. We are then going to focus on the second series of the Livre d’Art (1896), that exhibits a new tendency towards Modernism and Internationalism, opening towards Belgian, German and English artistic and literary movements, such as Jugendstil and Arts and Crafts, but opening also to contemporary theatre aesthetics, publishing i.e. Jarry’s Ubu Roi.
Commedia dell’Arte was the most influential and widespread theatre movement in sixteenth and early seventeenth-century Europe. A considerable part of its popularity can be accounted for by its comic representation of stressful occurrences within everyday life in early modern Europe, including in its representation of the period’s widespread dissimulation, that is, the hiding of one’s true thoughts and motives by means of discretion, indirection, and outright deceit. The theatricality of Commedia dell’Arte, among other things, provided a way for the audience to briefly dissociate itself from and to fantasize about ways of coping with dissimulation. A number of characteristics of Commedia dell’Arte, including disguise, lying, tricks, spying and gossip, and portrayals of honor, previously seen as separate, cohere in the concept of dissimulation. Natalie Crohn Schmitt is Professor of Theatre and of English, Emerita, University of Illinois at Chicago. She recently published Befriending the Commedia dell’Arte of FlaminioScala: The Comic Scenarios (Toronto: University of Toronto Press, 2014).
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No problem! I loved yesterday’s misophonia tweets, by the way. My husband and I spent quite some time trying to compose suitable haiku last night.
Hi Samuel, I fixed the tags. If you go into the “Visual” rather than the “Text” tab, you’ll be able to see how your post should work. Cheers, Nicky