• -
? SiMON FRASER UNIVERSITY
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S 'O9 7
MEMORANDUM
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?
Senate ?
Senate.
?
on
To
.......................................................... .
From
..........................................
Undergraduate Studies
New Course and Proposed Major ?
1980-06-18
Subiect .....
in F±ne and P ?
2rmiti ?
Att ......Date.................................................
Actions taken by the Senate Committee on Undergraduate
Studies at its meetings of 20 May and 3 June 1980 give rise
to the following motions:
MOTION 1
That Senate approve and recommend approval to the
Board of Governors, as set forth in paper S80-97,
the new course FPA. 489-5 (Interdisciplinary Project
in Fine and Performing Arts).
Note -
This is the only proposed new course regarded as
essential for the major program in Fine and Performing Arts.
.
?
Subject to approval of the course, SCUS has waived the time
lag requirement to permit offering in the Spring semester
81-1.
MOTION 2
That Senate approve and recommend approval to the
Board of Governors, as set forth in paper S80-97,
the following new courses:
FPA. 310-6 The Arts in Context: The Renaissance
FPA. 313-6 The Arts in Context: European Romanticism
PPA. 314-6 The Arts in Context: The Modernist Era
FPA. 316-6 The Arts in Context: North American Styles
and arrangements proposed.
Note -
Subject to approval of the course,SCUS has waived the
time lag requirement to permit offering of FPA. 316-6 in the
Spring semester 81-1.
page 2....
page 2 - to Senate
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1980-06-18
re: New Course & Proposed Major
in Fine and Performing Arts
,ifrn r
t77 )
That Senate approve and recommend approval to the
Board of Governors as set forth in S80-97, require-
ments for the major in Fine and Performing Arts.
Note -
Completion of a minor now requires 18 upper division
credit hours. The major will require completion of a minor
plus 12 additional upper division credit hours accompanied by
8 additional co-requisite approved credit hours. The minor
plus 12 hours represents the normal minimum of 30 credit hours
for a major.
Members of SCUS questioned whether a BFA would not be
a more appropriate designation than a BA. We were informed
that the BFA designation normally indicates a professional
orientation and inclusion of a greater degree of studio work
than is proposed.
0
0
Action taken by the Senate Committee on Academic Planning
at its meeting on June 4, 1980 gave rise to the following
motion which was approved unanimously:
"That SCAP approve the Major in the Fine
and Performing Arts."
Would you please ensure that this motion and accompanying
materials are placed on the Agenda for the next meeting of
Senate.
Chase
S
SiMON FRASER
MEMORANDUM
UNIVERSITY
?
8°
.......
...............
....Mr.....Ha.. Eva
?
.........
?
... ....... .......... . ..............
..From.Janet .Blanchet, Assistant tQ .... the..Den,,
....
..... ...............
... Registrar ................................................................... ... ..... .Faculty of. .Interdiscip1inary...
Studies
........
Subject ..................
Maj.or ... in ... Fine ... and-Performing-Arts
.
.. ?
Date.May ... 13.,. 198.0...............................................................................
U.S.C. 80-1)
Attached please find a proposal for a Major in Fine and
Performing Arts (I.S.C.
80-1)
which was approved at a meeting of
the Faculty of Interdisciplinary Studies Undergraduate Curriculum
Committee on May 6,
1980.
Please place this on the agenda of the next meeting of
the Senate Committee on Undergraduate Studies.
Janet M.
7d - ! 21,L
Bnchet
JMB:mm ?
la
Attachment
0
A MAJOR IN FINE AND PERFORMING ARTS
.
The Centre for the Arts proposes the introduction in January of 1981
of a B.A. Degree with a major in Fine and Performing Arts. The
proposed degree program would require students to build an interdisci-
plinary awareness of the arts from a base of practical and critical
work in one arts discipline. The program will enable students in the
various fine and performing arts disciplines to concentrate their
studies in the Centre for the Arts and will provide a focus for one
central aim of the Department, study of the Interactions among the arts.
The idea of an interdisciplinary arts program at Simon Fraser has a
history as old as the institution itself. The Centre for Communications
and the Arts from 1965 established the image of a group of artists
from different disciplines working together. Although the old Centre
flourished with that image for a time, the fact that under a non-credit
structure students did not receive coherent and sequential training in
any arts discipline was an underlying weakness. When the Centre for the
Arts began credit programs in 1976, our first effort was to establish
fairly rigorous sequences of studio work in each discipline, while
attempting to retain an environment open to experiment. We believe that
our present and proposed minor programs now provide disciplinary work
of a nature and extent sufficient to ground a degree program which
emphasizes interdisciplinary study of the arts. We further believe that
. such a program will build upon special strengths and interests at Simon
Fraser to provide a unique and attractive opportunity for undergraduate
study of the fine and performing arts in British Columbia.
A Fine and Performing Arts major was first suggested in a development
paper presented to Senate in the Spring of 1978, though which the Centre
received approval in principle for dance and theatre majors and a visual
arts minor. Although the visual art minor and the dance major are now
fully approved, a theatre major has not been proposed formally, in part
because of our recognition of the need to define our programs as clear
alternatives to programs already existing in the Province. The major in
dance and the specific thrust of our minor programs have been responsive
to this need.
In addition to the dance major, we now have four minor programs in place
- in dance, film, theatre and visual art - with a minor in contemporary
music proposed. Each of the minor programs has a sequence of fairly
intensive studio courses at its core; each of these studio sequences
attempt in its own way to balance fairly rigorous instruction in
technique with the more directly creative aspects of the art form, and
each studio sequence is in turn balanced within the minor program by
some critical and historical study of the art in itself and in relation
to other arts. These structures, which are quite rigorous by the standards
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of normal minors within the University, have proven effective in
giving students a good basic exposure to an art form and its context.
They have attracted and maintained the interest of some very serious
students in the arts, several of whom have gone on to graduate study
or career practice in an arts discipline on the basis of study in
one of our programs.
The minor programs do have one significant disadvantage: because they
are not majors, many students find it difficult to concentrate work
in the Department even though their primary interest is in the fine
and performing arts. Some of our students complete one or more minors
within the framework of a Bachelor of General Studies; some of them
take our courses and programs without working toward a degree at all;
some complete a major in another field as well as one of our minors.
For these latter, the difficulty of maintaining two programs is often
severe, not so much because of the formal requirements as because of
their understandable interest in production work and other activities
in our Department. For the student who is genuinely centred in another
discipline and who is taking one of our programs as adjunct to a program
elsewhere, this does not necessarily constitute a severe problem.
Others must often make difficult decision to abandon degree goals or
defer full involvement in the area of study which is most attractive to
them. At present, except in the area of dance, students whprimary
interest is in the fine and performing arts cannot work toward a degree
with requirements structured around those interests.
For the student with a strong vocational interest in one of the disciplines
or with a confirmed orientation towards academic study of the arts, this
is probably as it should be. Such student might better be served
elsewhere in a professional training program, a strong B.F.A. program,
or a University with well-developed academic arts departments. A large
proportion of our students, however, and many of the very best, have
genuine interests and abilities in more than
-
one art form, and an
exploratory approach toward connections among the arts. Furthermore,
the presence of such students in our programs frequently has an opening
effect on students who begin from a narrower perspective. A Fine and
Performing Arts major, as we conceive it, then, is not designed to meet
every interest, but to provide a degree structure for interests and
talents we presently observe and wish to encourage and to formalize a
unique opportunity for study at Simon Fraser. Because the FPA major will
build upon and utilize existing courses and programs of study, it can be
introduced and maintained without special funding.
S
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The principles underlying the proposed degree requirements are as follows:
1)
Each student must acquire fairly extensive practical experience
in at least one art form. We have decided that a major in this Department
should be reserved for those with the talent and perseverance to complete
the requirements of one of our studio-based minor programs. The FPA
major will not be a program for those who wish only an abstract or
historical knowledge of the arts but for those who wish to acquire the
understanding of an art which only practical experience can convey, and
to extend that understanding toward critical and practical awareness of
the arts in relation to each other.
2)
The critical and historical work in the Department will continue
to have an interdisciplinary emphasis. Although there are some historically
oriented courses within each of the disciplines, the current interdisciplinary
courses will very gradually be extended. The first way of doing this we
propose is to make our "context" courses available for upper division
credit. This proposal is detailed in attached material; its effect will
be to give an integrated approach to art history a more central place in
the Department and in individual programs of study. Although we are
unable to match the resources available at U.B.C. for the historical
study of fine art, theatre, or music, these courses help to make available
an historical grounding in the arts tailored to the perspectives of the
FPA major.
. ?
We will also develop over time and as faculty resources permit a small
number of critical courses which have an interdisciplinary thrust. We
anticipate that these courses will be developed and staffed by those
holding joint appointments with other Departments and will not involve
new faculty positions. One such course may focus on the institutional
environment for the creative artist in contemporary Canada, one on the
impact of developing technologies on the arts, one on the specific study
of artists whose wholistic visions have opened pathways for others.
The offering of even one such course per semester, together with the
context courses and other critical and historical
.
courses currently
available will provide a core of critical work which can effectively
balance the practical work available within the Department. These courses
will be proposed to Senate individually as they are prepared.
3)
Within a basic pattern of requirements, specific course requirements
for the degree will be set for individual students by the Department.
We are very concerned that each student's program of study should have
coherence and rigour. Nevertheless, beyond certain basic stipulations,
it is impossible to prescribe the variety of coherent courses of study
available, and it would undermine the nature of the program to attempt
to do so: our aim is to encourage exploration across usual boundaries.
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Moreover, we
,
should not be over
ly
prescriptive about the most effective
balance between work within a discipline and across the arts. What we
will insist upon is that each student give some forethought to what
range of courses and projects will constitute a program for that student
involving both a centre of study and an extension from that centre.
The advisory system will enable us to protect the rigour of the degree,
to emphasize its interdisciplinary intent and yet to leave a relatively
open set of possibilities for each student.
The only entirely new course we wish to add at this time is one which is
specifically designed to encourage investigations across the arts.
FPA.489-5, Interdisciplinary Project in Fine and Performing Arts, will
provide the opportunity for collaborative work under close faculty
supervision. This course is described more fully In the attached material.
S
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4
PROPOSED CALENDAR ENTRY
a
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THE
FINE AND PERFORMING ARTS MAJOR
The Centre for the Arts offers a Bachelor of Arts degree with
a major in fine and performing arts. The fine and performing arts major
enables the student to pursue an individually planned and approved program
of study in the fine and performing arts which includes substantial study
of dance, film, theatre or visual art together with courses in other art
forms
and
interdisciplinary work. The requirements, which include a sequence
of studio courses in at least one art form and critical study of several arts,
are desianed to enlar
q
e the student's experience and comprehension of the
fine and
p erformin
q
arts in the contemporary world.
Lower Division Prerequisite Requirements:
At least 24 hours of credit in FPA. courses. These courses must
0014^
include the prerequisite credits for any
,
,of the minor programs within the
Centre for the Arts.
Upper Division Requirements:
tir1PLe
Oi,1151C4'
Students must complete 38 hours of,credit in approved courses,
distributed as follows:
1. At least 18 hours of credit must be obtained from among upper
division FPA. courses within one of the disciplines of dance,
film, theatre or visual art. These courses must include all
disciplinary requirements for one of the minor programs within
the Centre. Note that such courses may not count toward both a
minor program
and
a fine and performing arts major.
o
2. At least 12 hours of credit must be obtained from among
upper division courses outside the discipline in which the
student choses to concentrate his or her work. These may include
seminar or studio courses in another disicipline or inter-
disciplinary courses.
3. At least 8 additional hours, as co-requisite credit, must be
obtained from courses approved as directly related to the student's
major program of study. These courses may be from within or
outside of the Centre for the Arts.
The approval of specific courses within the above guidelines will be at the
discretion of a departmental faculty advisor, who will act in consultation
with other faculty as appropriate. The intent of the advisory system is
to insure that each major undertakes a coherent program of study in the
fine and performing arts. Students are responsible for obtaining prior
approval of their programs in accordance with departmental procedures.
In addition to these specific requirements, students' programs must fulfill
the following general requirements: 120 semester hours of credit, 45 of
which must be in upper division courses and 24 of which must be completed
in courses outside the Centre for the Arts.
r
NOTE ON THE MAJOR REQUIREMENTS
Because the degree requirements deliberately allow a wide range
of possibilities it is difficult to show normal course sequences
through which students might move. However, it may be useful to show
some typical ranges of courses available as part of degree requirements
to students with particular interdisciplinary interests.
A) Let us first hypothesize a student whose interest in visual art
takes the particular direction of performance art. In addition to the
two lowerpjY5,oIiconteXt courses and three visual studio courses
required at the lower level, such a student might take two semesters
of introductory dance, an introduction to acting and the four film
courses prerequisite to upper division work.
The 18 hour disciplinary requirement for that student at the
upper level would then include two further semesters of visual
art studio, two critical and theoretical seminars on problems in
visual art and a directed project in visual art.
The requirement of 12 hours in the Department outside the discipline
might be selected from among the following:
History of Dance
Film Analysis
Aesthetics of Performance
Criticism of Performance
Dance Composition
Conceptual Approaches to Drama
Directed Studies in Film Production
Interdisciplinary Project in the Fine and
Performing Arts.
The 8 required co-requisite hours might include some of the above
courses, but the-student might also be advised to take some work in
modern literature and criticism in the English Department, 20th century
European history, or Philosophy courses related to aesthetics.
It is likely that such a student would complete more than the
required 30 upper division credit hours within the Department. However,
the general requirement to complete at least 24 credit hours outside
the Department as well as the advisory system will insure that students
undertake substantial work outside the fine and performing arts.
B)
?
A frequent combination of interests in the Department is film
and theatre. The disciplinary requirement for the major within the
area of film would require four practically oriented courses and two
courses on film history and aesthetics in the lower division, plus
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fifteen credit hours of film production work and the film analysis
course in the upper division. After completing at least one context
course and three theatre courses at the lower level, the student would
also have available a number of upper division theatre courses, including
acting studios, supplementary courses for actors providing theatre
skills laboratories and reading in dramatic literature, theatre
production and directed studies courses. The specific list of courses,
however, does not convey the kind of use such a student could make of
them to study, say, writing and directing for film and theatre. Again,
the advisory system would enable the faculty to insist that such a
cross-disciplinary concentration not become too narrow in its perspectives.
S
S
SENATE COMMITTEE ON UNDERGRADUAT
E
STUDIES
NF2.'i COURSEjOSAL FORN
1. Calendar Information
?
Department:
Centre for the Arts
.
Abbreviation Code:
FPA.
?
Course
Number:489
?
Credit Hours:
5
?
Vector:—N/A
Title of Course:
Interdisciplinar
y
Project in Fine and Performing Arts
Calendar Description of Course:
This course permits students to explore the
relationships among the arts by undertaking creative projects involving more
than one art form. Students
will
work under the close supervision of one
or more faculty and
will
be required to discuss their work on a regular basis
with others involved in the course.
Nature of Course
Directed Study
Prerequisites (or special instructions):
FPA.221, 231, 251 or 261 and consent ofthe
course advisors
What course (courses), if any, is being dropped from the calendar if this course is
approved: None
2. Scheduling
How frequently will the course be offered?
?
Twice a year
Semester in which the course will first be offered?
1981-1
Which of your present faculty
would
be available to make the proposed offering
possible?
Many
.
Objectives of the Course
See attached rationale
4
•
Budgetary
,
and Space Requirements
.
(for information only)
What additional resources will be required in the following areas:
Faculty
?
In some instances, a single sessional replacement
S;aff
Library
Audio Visual
Space
Equipment
10
13fl'
LA
Dean
We
Chairman, SCUS
-
9
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
S
5. Approval
Datc:cic.'2 /c?
fl.nnrtment
Chairman
FPA. 489-5 Interdisciplinary Project in Fine and Performing Arts
?
0
RATIONALE AND OUTLINE
This course is designed to provide students in any of the arts
with the opportunity to explore the possibilities of collaboration across
the arts and to gain practically-based insight into relationships among
the arts.
-
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The course may in some instances be offered as a "directed study"
course, in which students who have a specific collaborative project
to propose may undertake the project under the supervision of one or
more faculty. As in the Department's other directed study offerings,
the Department will require in advance a specific outline of work to be
achieved and will assure itself that students have sufficient background
to complete the work satisfactorily.
On other occasions, and if possible at least once each year, the
course will be offered in a more structured format, in which students are
invited to explore interrelationships among the arts through projects
designed and supervised by one or more faculty. Such an offering might,
for example, invite student filmmakers, choreographers, and theatre
directors to work from a common theme or idea within their own media of
expression, but with regular discussions and exchanges among the whole
group. Presentation of the projects at the end of the semester might
then provide a larger public to share in some of the explorations which.
had taken place.
There are numerous other possibilities for the specific design of
this course in a given semester. ?
In every instance,
however, the basic requirements will remain: the work will be specifically
designed for the purposes of the course; it will be closely supervised;
and it will be available for credit only to those deemed adequately prepared
to undertake it.
40
LO
FPA. 310-6, 313-6, 314-6, 316-6
RATIONALE
The four "Arts in Context" courses which the Centre for the Arts
has introduced have proven to be both demanding and successful .courses.
Because they are unusual in their structure and they are an important
foundation of all our programs, we have reviewed them carefully.
Our conclusion is that the most effective use of them should involve
no major restructuring of the courses themselves, but the introduction
of four new course numbers, under which upper level students could study
the same material as lower level students, but with additional
requirements, for upper division credit.
The four courses engage the arts of the Renaissance, European
Romanticism, Modernism, and North America selectively and intensively.
Because each course addresses a wide range of material they employ
considerable resources. Instructors' qualified in art history, music
history and literary history are joined occasionally by dance, film,
and theatre historians in presenting the arts of a period. Contributions
regarding other aspects of the period frequently are made by faculty
from the Departments of Philosophy, History and Geography and by a
variety of special guests from outside the University. In addition to
lectures carefully structured around the themes of the course, each
.
?
course presents a rich variety of art materials directly: slides, films
and recordings are occasionally supplemented by such groups as a
Renaissance dance ensemble or the Purcell String Quartet in live
performance.
At the time the courses were first introduced, there was some
question as to whether their substance was not more appropriate to upper
division work Because we wanted to introduce our students to an
interdisciplinary concept of the arts at an early stage, however, and
because we recognize this as a complex undertaking, it seemed important
to us to attempt the presentation of fairly sophisticated material to
relatively inexperienced students. In fact, the courses have worked,
well as lower division courses. The most frequent complaint is that the
tutorials, which concentrate on an individual art form, do not give
sufficient help in keeping up with the lectures. We are attempting to
remedy this deficiency by introducing additional teaching assistance
into the course, so that students may have lecture materials re-explained,
terms defined, unfamiliar background provided, without sacrificing the
special qualities of the tutorials.
Although lower level students do profit from these courses, the
courses have also drawn a second audience, often from other departments,
of more academically mature students who are prepared to engage the
course material on somewhat different terms. The courses are rich enough
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to provide a learning experience appropriate to the upper division.
We believe that with separate examination requirements and additional
tutorial assignments such students should be able to receive upper
division credit. The advantage to these students would be that they
would not be so strictly limited in the number of these courses they
could take toward a degree. Courses of this nature can directly
enhance a concentration in history, or literature, or the fine and
performing arts. Given the expense and intensity of the present
courses, introduction of a separate set of courses exclusively intended
for upper level students is a financial impossibility. The advantage
of the change to lower level students would be that examination
requirements in the lower division courses can be tailored more closely
to mastery of the course material at an appropriate level.
The mechanics of the parallel courses would be as follows: students
with 15 hours of credit could enroll in the 100 level
LiVj ' ic ' ,Vas
at
present; students with 60 hours of credit could enroll in the 300 level
piiW
0r
at their choice the 100 1eve1.'a'sciOW. Normal course add
and dro regulations would apply, and would be applied rigorously.
Separate class lists would indicate to the instructors involved which
students were enrolled in which course, and the clearest possible
explanation of the differing course requirements would be given prior
to the end of the course change period. For the lower division course,
requirements would remain virtually as at present: for the lectures, a
midterm and final, with possible short papers throughout the term to
demonstrate mastery of the material; for the tutorial, written report
or project work and participation in class discussion; course grade to
be assigned according to stipulated percentage values for each requirement.
For the upper division course, the procedure would be the same, except
that the midterm and final would involve a more demanding set of questions
and the tutorial requirements would include an additional term project or
essay involving independent work. The course assistant would be available
to students in either course, but would be asked to be especially active
in relation to lower level students.
We recognize that this is an unusual proposal, but we believe in the
particular instance of these courses, such a mechanism is warranted.
The energy and care which has gone into the teaching of these courses,
the complexity of the material they cover, and the usefulness of the
subject matter to students in the arts and humanities at all levels
justify the formalization of two separate and coherent levels of
challenge at which the courses may be met.
.
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12
- ? SENATE
COMMITTEE ON uNI)ERC1AUAT
E
STUDIES
NLW COURSE PROPOSAL FORM
.
Calendar
Information ?
Department:Centre for the Arts
Abbreviation
Code:FPA.
?
Course Number:31
0
?
Credit Hours:
6
Vector: 0-6-2
Title of
Course: THE ARTS IN CONTEXT: The Renaissance
Calendar Description
of Course: A selective study of painting, sculpture, architecture,
dance,music, and theatre in the context of the Renaissance. Tutorials will focus on a single
art form and may involve practical explorations in that form in relation to the styles
of the period. This course meets concurrently with FPA 110, but has separate examination
requirements and additional tutorial assignments.
Nature of
Course ?
Lecture/Tutorial
Prerequisites
(or special instructions): At least 60 semester hours credit.
Students who have completed G.S.110 or FPA.11O may not take this course for further credit.
What course (courses), if any, is being dropped from the calendar if this course is
approved: none
?
- ?
-
2.
Scheduling
How frequently will the course be offered? Once every 2 years
Semester in which the course will first be offered? 1981-3
Which of your present faculty wcu!d be available to make the proposed offering
,- possible? R. Blaser
3.
0 ?
-
Objectives of the Course
See attachment
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty
none
Staff
none
Library
none
Audio Visual
none
Space
none
Equipment
none
5. Approval
Date:
?
30I9c50
•Departmentchajrm
JUN 3 80
=an
.T
Chairman, SCUS
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
S
FPA. 310-6
?
THE ARTS IN CONTEXT: THE RENAISSANCE
COURSE OUTLINE
This course is intended to introduce the student to painting,
sculpture, architecture, theatre, dance and music of the period
between roughly 1450 and 1650. This is not a survey course.
Something like one third of the lectures will be given over to the
music of the period. The other aspects of the term's program will
be selected for in-depth experience with certain works of the period
- Donatello, Piero della Francesca, Leonardo da Vinci, Michelangelo,
for example. To know the range and variety of the styles of the period
- style considered as the way of imagination and thoughtfuhiess. not
as generalized characteristics - will be one concern of the instructor.
The broad intellectual concerns of the course - The movement from a
medieval vision of the world to the Renaissance and Reformation vision,
humanism, hermeticism, classicism, belief and heresy will relate the
necessary historical overview to the carefully selected examples of the
different arts and styles. The instructor will make an effort to show
the crucial place of art in thought and, hopefully, present the way in
which the art of the period entangles men and women with the world -
their belief and disbelief included. The course will open with a
discussion of the special relevance of Renaissance conditions, and
imagination to contemporary thought and concern.
The course allows for historical and intellectual comment on art
in context as well as the contest of the ancient and modern. From the
Italian centre, it would be possible to trace direct interchange of
elements from the ancient past, the constantly reformed versions of
the Roman imperium, the survival of pagan elements, the Catholic
universality and Its fragmentation, the heretical and the'hunianistic"
aspects. Guest Lecturers will be invited for specialised aspects of
the course. Each tutorial will undertake intensive study of a single art
form. Tutorials will involve practical explorations in an art as one way
of learning about the styles and possibilities of the period. Tutorials
will not assume extensive previous training in the art form they focus on,
but the whole course, lectures and tutorials alike, is designed for students
wishing an intensive introduction to the arts of the Renaissance.
Required Texts:
Hartt. F.,
?
History of Italian Renaissance Art
?
Prentice-Hall
Friedlander. M.,
?
From van Eyck to Brueghel (2 Volumes) Phaedon
S
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SCourse Requirements
Tutorial: A project will be assigned by
.
the tutorial leader based
on the experiential approach of tutorial sessions but
also requiring a brief paper locating the project in an
art historical context.
Lecture: a mid-term, largely slide identification, and a final
examination demanding reflective comment on the lecture
material and assigned reading will be required.
Special Project Paper: All students taking the course for 300 level
credit will be required to undertake a course project
paper with the advice and consultation of the course
instructor. A few suggestions:
1.
Bibliographical project with the advice and direction
of the instructor. For example:
Compile a selected bibliography for a short paper on
the change of style to be seen in Ciinabue and Giotto.
The central issue here would be a brief description of
an early aspect of Renaissance interest in "realism"
of feeling.
2.
Historical viewpoints on the Renaissance achievement.
a) Using Burckhardt, The Civilization of the Renaissance?
in Italy, work out the view expressed and discuss
his historical method. If the student is judged advanced
enough, one could ask him to follow through with Hayden
White's Metahistory: The Historical Imagination in
Nineteenth-Century Europe, or the relevant part of it.
3.
Renaissance philosophy. For example:
The student would be asked to read Ernst Cassirer, ed.,
The Renaissance Philosophy of Nan, an anthology including
Petrarca, Valla, Ficino, Pico, Pompanazzi, along with
Oskar Kristeller's Eight Philosophers of the Italian
Renaissance. With the advice of the instructor, a paper
would be required on the generalized concerns of those
thinkers as they are seen to delineate Renaissance
thought or with the additions of further reading, a paper
could be done on any one of them.
4.
Special study of symbolic systems in the period.
Background: John Read, Prelude to Chemistry and
Frances Yates, An Art of Memory. (Note few students
would be allowed to undertake this one.)
S
5.
Literature is full of possi.blities - special study
of Renaissance theatre, again a bibliographical
project In part, and meant to settle on a given
author.The student could work from Dante to Petrarca;
with Lope de Vega or Shakespeare.The Renaissance
epic is of special interest, Ariosto,Tasso, Spenser
- see A. Bartlett Giannatti, The Earthly Paradise and
the Renaissance Epic.
6.
The Twentieth century challenge to Renaissance
humanist perspective. I would begin by reading John
Berger's Ways of Seeing and Toward Reality and then
concentrating on Picasso's Les Demoiselles d'Avignon(1907),
read Max Kozioft Cubism/Futurism.
.
1i
SENATE COMMITTEE ON UNI)ERCI<ADIJATE STUDIES
NEW COURSE PROPOSAL
FORN
.
Calendar Information
?
Department:Centre for the Arts
Abbreviation Code:
?
FPA. Course Number: 313
?
Credit Hours: 6
?
Vector: 0-6-2
Title of Course: THE ARTS IN CONTEXT: EUROPEAN ROMANTICISM
Calendar Description of Course: A selective study of painting, sculpture, architecture,
music, dance, and theatre in context of the late eighteenth century and the first half
of the nineteenth. Tutorials will focus on a single art form and may involve practical
explorations in that form in relation to the styles of the period. This course meets
concurrently with FPA.113, but has separate examination requirements and additional
tutorial assignments.
Nature of Course
?
Lecture/Tutorial
Prerequisites (or special instructions): At least 60 hours credit. Students who have
• ?
completed FPA 113
may
not take this course for further credit.
What course (courses), if any, is being dropped from the calendar if this course is
approved: none
2.
Scheduling
How frequently will the course be offered? Once every 2 years.
Semester in which the course will first be offered? 1982-1
Which
of your present faculty
wr.uki
be available to make the proposed offering
possible? J. Wall, J. Zaslove, E. Alderson, D. Maclntyre
3.
Objctivesof the Course
See Attachment
4.
Budgetary
and
Space Requireme
nt
s (for information only)
What
additional resources will be required in the following areas:
Faculty
none
Staff
none
Library
none
Audio Visual
none
Space
none
Equipment
none
5. Approval
Date:
R' V1I
U O ,
I?O_-
Department Chairman
jWA
3.
I
jb
Dean
?
^
Chaiman,
4SCUS
SCUS 73-34b:- (When completing this form, for instructions see
Memorandum
SCUS 73-348.
Attach course outline).
FPA. 313-6 ?
THE ARTS IN CONTEXT: EUROPEAN ROMANTICISM
COURSE OUTLINE
The course will present and analyze the visual art, music,
theatre, dance, and some literature of the period 1750-1840 in
Europe, that is, from the beginnings of the bourgeois revolution
of 1789 to the beginnings of the working class revolutions of 1848.
It has three major objectives:
- to provide a general picture of the historical and theoretical
• conditions within which all works of art of the period were made;
- to identify exemplary works or bodies of work which can represent
this period and embody its Romanticism;
- to provide an intensive series of critical encounters with these
works of art.
The course will single out and concentrate upon a series of important
figures or single major works and discuss them in depth. This approach
emphasizes the individual artist as against the general panorama of
activity and the work of art itself as against the complex of convention
and influences out of which it emerges. This emphasis is intentional
and reflects the attitude of the course organizers that it is only out
of concrete, informed contact with the work of art in all its immediacy
and ambiguity that a focussed and well-proportioned understanding of it
can be achieved. It also acknowledges that the art of this period was
based in a new and significant way on the individual, and will therefore
make this modern sense of individualism in art and culture a primary topic
of discussion. Out of the sequence of such studies, an overall image or
"definition" of the structure of Romantic art will be constructed. This
will include an analysis of the distinctions between the major Romantic
cultures in Europe - the English, the French, the German - considered in
terms of the great historical forces to which all Europe was responding,
and in terms of the specific relationships between the arts which
characterize each national culture.
Week 1 INTRODUCTION
- Structure of the culture of the Enlightenment
- Inner Conflicts in the 18th Century Thought and Culture -
Voltaire/Diderot /Rousseau/Burke/Kant
- J.J. Winckelmann: Neo-Classicism as a Romantic Aesthetic
Week 2 Jacques-Louis David: The Art of the French Revolution and the
Napoleonic Period
Week 3 Wolfgang von Goethe: The Sorrows of Young Werther
Friedrich Schiller: The Robbers
0
is
18
I
?
Week 4 Ludwig von Beethoven
Week 5 Theodore Gericault: The Raft of the Medusa: Romanticism and
Naturalism in France
Week 6 Stendhal: The Red and the Black
Week 7 Eugene Delacroix
Week 8 Frederic Chopin
The Romantic Dance
Week 9 J.M.W. Turner: English Theories of Landscape
Week 10 Percy B. Shelly: Prometheus
Mary Shelly: Frankenstein
William Blake: Variations on Prometheus
Week 11 Caspar David Friedrich: Landscape as Absolute Spirit
Week 12 Georg Buchner/Robert Schumann: The Romantic Agony
Week 13 Francisco Goya: Realism, Terror and the National Struggle
Course Requirements
25% mid-term - identification of work - plus one or two conceptually-
oriented brief essay questions (open book, in class; questions
distributed in advance).
25% tutorial work - encounter-based project work - concentration in
particular media. Written or other project by agreement with
tutorial leader as term assignment.
50% term paper - on one of set of "300" assigned topics - or on topic
suggested by the student with agreement of instructor.
(These requirements contrast with the following FPA.113 requirements:
25% mid-term - primarily identification, basic concept identification
work.
25% tutorial work - encounter-based project work. Brief written
assignments aimed at recapitulating major aspects of lecture
material from viewpoint of specific art.
50% term paper - one of set of "100" assigned topics).
0
SENATE COMMITTEE ON UNDERGRADUATE STUDIES
NEW COURSE PROPOSAL FORM
Department: Centre for the Arts
S
Abbreviation
Code: FPA- Course Number: 314
?
Credit Hours:
6 ?
Vector: 0-6-2
Title of
Course: ?
.THE ARTS IN CONTEXT: The Modernist Era
Calendar Description
of Course: A selective study of European painting, sculpture,
architecture,music,dance,film and theatre in the context of the late nineteenth century
and the first half of the twentieth. Tutorials will focus on a single art form and may
involve practical explorations in that form in relation to the styles of the period.
This course meets concurrently with FPA.114, but has separate examination requirements
and additional tutorial assignments.
Nature ot
Course
?
Lecture/Tutorial
Prerequisites
(or special instructions): At least 60 semester hours credit. Students
who have completed FPA.114 may not take this course for further credit.
What
approved:
course
none
(courses),
if any, is being dropped from the calendar if this course is
2. Scheduling
How frequently will the course be offered? once every 2 years
Semester in which the course will first be offered?
?
1982-3
Which of your present faculty wiu!
r
J be available to make the proposed offering
possible? J. Wall, R. Blaser , B. Barber, D. Maclntyre.
?
5
3.
Objectives of the Course
SEE ATTACHMENT
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty
?
none
Staff ?
none
Library
?
none
Audio Visual none
Space ?
none
Equipment none
5. Approval
Date.
(1
A'
)cL
c1
j)
Department Chairman
?
Dean
20
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
1. Calendar Information
FPA. 314-6 ?
THE ARTS IN CONTEXT: MODERNISM
COURSE OUTLINE
Course Requirements
25% mid-term exam - identification of work - plus one or two
conceptually-oriented brief essay questions (open book, in class;
questions distributed In advance).
25% tutorial work - encounter-based project work - concentration in
particular media. Written or other project by agreement with tutorial
leader as term assignment.
50% term paper - on one of set of "300" assigned topics - or on topic
suggested by the student with agreement of instructor.
(These requirements contrast with the following FPA.114 requirements:
25% mid-term - primarily identification, basic concept identification
work.
25% tutorial work - encounter-based project work. Brief written
assignments aimed at recapitulating major aspects of lecture
. ?
material from viewpoint of specific art.
50% term paper - one of set of "100" assigned topics).
Required Texts
P. Pool, Impressionism
E. Lucie Smith, Symbolist Art
J. Willett, Expressionism
J. Golding, Cubism
H. Richter, Dada
C. Gray, The Russian Experiment in Art
N. Nadeau, The History of Surrealism
o.
'I
-2-
S
LECTURE SUBJECT OUTLINE
I.
COURBET AND THE REALISM OF THE 1850's
Modernism begins with the frontal assault on the Grand Tradition
of European art launched by Courbet in the context of the Revolutions
of 1848.
The Academy and Official Art. Courbet's Painting. HonoreDauxnier.
Lithography, PhotocTranhy and Painting: The Utilit' of the Work of Art.
The Modern Tradition in Art Criticism: Stendhal, Baudelaire, the
Realist Critics and Aestheticians. "The Painter of Modern Life".
II.
MANET AND THE NATURALISM OF THE 1860's
Manet's art manipulates traditional imagery and the history of art
itself to create a new kind of meaning in the visual arts.
?
I a
Paris, Capital of the Nineteenth Century: The City as Subject, Metaphor
and Method. The Destruction of Genres of Painting and a New Definition
of "L'Art Philosophique". From Realism to Naturalism: Zola, the Goncourt,
Literary Naturalism.
III.
THE POSITION OF POETRY I
Romantic and post-Romantic poetry and criticism, in France, England,
Germany.
France: Lamartine, Hugo, Vigny, Gautier, Baudelaire, Verlaine.
IV.
IMPRESSIONISM
The Impressionist painters - particularly Claude Monet - establish a
painting which reinvents the relationship between sensations and ideas,
thereby bringing to a close the Grand Tradition which stemmed from the
Renaissance.
22
V.
VI.
o
-3-
The structure of Monet's work. Renoir. The Impressionist Group
and Independent Exhibitions. The Cit
y,
The Paris Commune, and the
Conception of Nature in Painting. New Writers on Impressionism:
Stephane Mallarme, Jules Laforgue.
IMPRESSIONISM AND THE PROBLEM OF STRUCTURE: DEGAS, CEZANNE, SEURAT
These painters objected to limitations within Impressionism in the
name of intellectual values identified with the Grand Tradition. Their
work reaffirms, but at the same time, redefines these values in new
terms.
NATURALISM AND THE NOVEL: FROM THE RED AND THE BLACK TO AGAINST NATURE
The work of art as reproduction of Reality. The social position of the
writer and the value of the act of writing. The repudiation of "Nature"
as a problem of method. French and English novels.
THE EMERGENCE OF SYMBOLISM
An anti-Impressionist, anti-'Materialist' counter-tradition which has
been present in European art as a whole since its modern formulation in
18th Century "sentiment" and mysticism, comes to the surface of cultural
life around 1885. This line of development, often condemned and dismissed
as "decadent", escapist and "hermetic", plays a critical role in the
molding of 20th century art and ideas about its position vis-a-vis its
audience and society as a whole, as well as an image (or self-image) of
the artist.
Impressionist "Renegades" and the Inner World of "Primitive" Art: Gauguin
and Van Gogh. Gustave Moreau: Mythology and Psychoanalysis. Other Second
Empire Precursors: Hugo, Grandville. Symbolist Painters: The Nabis,
Redon. Huysxnans as Art Critic. Ruskin as Art Critic: English Pre-
Raphaelites, Aesthetes and Utilitarians. Nature and Decor: Art Nouveau.
o
VII.
23
-4-
VIII.
THE POSITION OF POETRY II
French Symbolist Poetry. Lautre
'
aulflont, Rimbaud, Villiers de L'Isle-Adam,
Lafor
g
ue, Mallarm. The Aesthetics of Kant, Schopenhauer, Hegel and their
impact on French Art. Later Symbolist developments: Raymond Roussel,
Alfred Jarry. Symbolism and the Emergence of a Revolutionary Theory of
Langua
g
e. Symbolism and the Artist as Hornine Revolte.
IX.
THE EMERGENCE OF GERMAN PAINTING AND SCULPTURE 1865-1910
Modern art in Germany develops more slowly and sporadically than in France
or England. Nevertheless, great social and intellectual forces accumulate,
making possible a new and extremist t
y
pe of art at the turn of the century.
German Aesthetics and German Art. The German Realists and Painters of
Ideas: Liebl, Menzel and Feuerbach. The Mystical Tradition and Modern
Symbolism. Jugenstil. The Expressionists of 1905: Kandinsky and The
Blue Rider group, Kirchner and Die Briicke group. Graphic Art: Word and
Image.
X.
THE ORIGINS OF MATISSE AND PICASSO 1895-1905
These two
p
ainters bring together aspects of all the conflicting currents
of the previous two decades and establish the basis for the great new styles
of the early 20th century.
The Rediscovery of Czanne. Primitive Art and Abstraction: A New Painting
of Ideas. 'Symbolism: Colour as a Basis of Meaning. Matisse and "Luxe,
CaiTne and Volupte". Fauvism.
XI.
CUBISM
This new painting, beginning around 1907 in the work of Picasso and Braque,
elaborates yet again a more critical, and crisis-ridden, concept of Nature
and of the act of art-making.
.
24
.
Methods of Cubist Painting: the Work of Picasso and Braque 1907-1913.
Picture, Collage and Construction. Juan Gris. Fernand Leger. Gleiz
and Metzinger, the Cubist Academy. Apollinaire as Art Critic. The
Cubist Poets.
XII. THE ORIGINS OF MARCEL DUCHAP
Deeply attached to the Symbolists' attitudes to Nature and language,
Duchainp is the first artist to put the very notion of the "work of art"
in general into cuestion.
Sources of Duchamp's work to 1913. Duchamp's critique of Cubism. The
Mystique of the Machine. The Readylnade and the Concept of Anti-Art, or
Non-Art.
S ?
XIII. EUROPEAN MUSIC: WAGNER TO SATIE
A brief discussion of the elaboration of new musical structures and their
status as "Modernist" art.
Mahler, Schoenberg, Webern, Stravinsky, Antheir, Satie.
XIV.
EUROPEAN THEATRE: FROM MALLARME'S IGITUR AND ROUSSEL'S IMPRESSIONS
D'AFRIQUE TO ARTATJD'S THEATRE OF CRUELTY
Jarry: Ubu Roi, Expressionist Theatre in Germany. Craig, Appia, The
Young Brecht.
XV.
AN ACCOUNT OF THE YEAR 1913
By 1913 all the major characteristics of a new artistic world and a new
type of artist had emerged. One lecture,
consisting
of a travelogue,
illustrated with documentary slides, through the European modern art scene
in this crucial year.
o
2i
.
XVI.
WORLD WAR I AND DADA
Dada renewed the political problems of the modern artist, and reflected
the fact that they had reached a 'èvolutionary level unmatched since 1848.
Anti-Expressionism in German
y
. The Art Scene from Salon to Cabaret. Art
as a Public Gesture of Revolt and Refusal, and the Artist asRevolutionary
and Faker. Dada in Zurich, Berlin, Cologne, and Munich 1913-1916. Dada
in Paris 1916-1919. Dada in New York 1915-1918. Dada and Literature.
XVII.
THE EMERGENCE OF RUSSIAN AND ITALIAN MODERNISM: FUTURISM
Russian art develops in the overheated atmosphere of the Revolution, in
which the
p
roblem of the Machine is re-interpreted and brought together
with the image of the artist in revolt against bourgeois society.
Russian Painting from Cubism to Abstract Art: Kasimir Yalevich. The
?
.
Machine Age of Art: The Bauhaus in Germany and Russian Constructivisin:
Gabo, Pevsiner. "Productivisrn", Factory and Laborator
y
Art: Tatlin,
Rodchenko, Lissitzky. Art as Spectacle and Education: the Constructivist
Theatre: Meyerhold, Eisenstein.
In Italy, the idea of an art based on modern life emerges convulsively
with the Apotheosis of the Machine.
The Machine and the War Machine. Marinetti: 'Liberated Words'. The
Futurist Painters and Sculptors. The Mystery and Mechanics of Motion.
XVIII.
CINEMA
Even more intensively than still photography, the presence of motion
pictures transforms the conditions of production of all the arts, as well
as their relationship to their audience.
Film as the Inheritor of 19th Century Naturalism. Film within the Modernist .
Tradition. Dioramas and Documents. Melies, Lumiere. Griffith, Eisenstein.
2i
-7-
XIX.
FROM DADA TO SURREALISM 1919-1923
Out of the destruction of the authority of previous cultural values in
the convulsion of the 1914-1918 period, there emerged the basis of a
new artistic tradition. Andre Breton recognized that this new tradition
implied a new moralit
y
for the artist. Surrealism was his attempt to
create an institution and a way of life based upon a revolutionary concept
of art. The Surrealist Manifesto, 1923. Nadja (1926) and the collapse
of the Naturalist novel.
XX.
THE REPRESENTATIONAL TRADITION IN SCULPTURE: RODIN TO BRANCUSI
Including: Degas' bronzes, Bourdelle, Maillol. Expressionist sculpture,
the Cubist construction, the sculpture of Matisse.
XXI.
ABSTRACT ART 1910-1925
The great break in the status and meaning of the visual image.
Frank Kupka, Paul Klee, Kandinsky, and the Bauhaus, Malevich, Piet
Mondrian: works 1890-1925. Duchamp 1915-1923. Matisse and Picasso
1913-1925.
R. Blaser; J. Wall
S
2?
Dean
1w
1A
?
rtment Chairman
Chairman,
6
SCUS
SENATE COMMITTEE ON UNI)ERCIADUATE STUDI ES
NEW CO1RSE PROPOSAL FORM
'r Calendar Information
?
Department:Centre for the Arts
Abbreviation Code:
FPA. ?
Course Number:316
?
Credit Hours:
?
6
Vector:
0-6-2
Title of
Course: THE ARTS IN CONTEXT: North American Styles
Calendar
Description of Course: A selective study of the decorative folk, visual and
performing arts in Canada and the United States from the 16th to the 20th century.
Tutorials will focus on a single art form and may involve practical explorations in that
form in relation to regional styles. This course meets concurrently with FPA.116, but
has separate examination requirements and additional tutorial assignments.
Nature of
Course Lecture/Tutorial
Prerequisites
(or special instructions): At least 60 semester hours credit.
Students who have completed FPA.116 may not take this course for further credit.
What course (courses), if any, is being dropped from the calendar if this course is
approved: none
2.
Scheduling
How frequently will the course be offered?
?
once every 2 year
Semester in which the course will first be offered?
?
1981-1
Which of your present faculty w.'u! be available to make the proposed offering
possible?
?
F
3.
Objectivesof the Course
SEE ATTACHMENT
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty
None
Staff
none
Library
none
Audio Visual
none
Space
none
Equipment
none
5. A roval
Date
(0/
eô
*u
3
SCUS '
73-34b:-(When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
S
o
FPA0316-6 ?
E. Gibson
THE ARTS IN CONTEXT: NORTH AMERICAN STYLES
This is an advanced study of the decorative, folk, visual and
performing arts in Canada and the United States from the 16th century
to the 20th century. The course will be conducted concurrently with
FPA 116-6. In addition to an emphasis on the development of the arts
within national and regional contexts special consideration will be
given to the connection between particular arts and major stylistic
movements, including the parallels and paradoxes between the Western
European and North American components of these movements.
The course is organized in three parts: lectures, tutorials and
general colloquia held during one scheduled lecture period. Students
will be involved with each part every week of the course. A brief
description of each part follows:
LECTURES: ?
a timetable giving the subject of the two-hour lectures
will be issued at the first class, lectures will begin
with the styles of North American visual art as exemplified
by "art objects"; beyond this, they will describe
the production and social functions of all the arts.
Guest lectures by North American artists and art critics
are planned.
TUTORIALS/WORKSHOPS: will involve a more intensive study of North
American styles as expressed in a particular art form.
GENERAL COLLOQUIA: will function to promote a strong connection
between the lecture material and the perspective of
North American styles given in ech tutorial/workshop.
Parallels and paradoxes between these two will be invited
by the colloquia. Since all faculty will be present they
will give students of one workshop an exposure' to the
expertise of faculty conducting other workshops. Such an
exposure is essential background to the course tests and
essay which is specifically designed to interpret
comparatively at least two art forms in relation to
European art movements and to the production of
contemporary North American arts.
REQUIRED: TTEXTS.:
Alan Gowans. IMAGES OF AMERICAN LIVING: FOUR CENTURIES OF ARCHITECTURE
AND FURNITURE AS CULTURAL EXPRESSION. Harper & Row, 1976.
Harold Rosenberg. DISCOVERING THE PRESENT: THREE DECADES IN ART, CULTURE
AND POLITICS. University of Chicago Press, 1973.
Additional texts may be required or recommended by workshop faculty and
a list of reserve materials will be issued at the beginning of the course.
2i.
PREREQUISITE: ?
Sixty credit hours are required and students advised
that a good background to the special emphasis of
FPA,316-6 will be gained from taking one or several
of the following ENGL 221-3, ENGL 222-3, HIST 212-3
HIST 217-3 and HIST 218-3.
COURSE REQUIREMENTS: The course grade will consist of four equally
weighted parts:
25% ?
a) ?
Two, one-hour tests with some compulsory questions.
One test will examine Medieval and Classical America
and the other will examine Victorian and Early Modern
America.
25%
?
b) ?
An essay of 2000 words based on the critical interpretation
of a contemporary stylistic movement in North American
art, e.g. Pop or Camp.
25% ?
c) A Final Examination on the origin and change of
North American Styles.
25% ?
d) Workshop/Tutorial grade base on the practice and
theory of a selected art. This grade will be based on
the evaluation of a piece of written work that is
submitted in addition to the requirement of the FPA 116-6
students enrolled in the workshop/tutorial.
Differences between FPA,116-6 and FPA,,316-6
The important difference .between these two courses are that
FPA 316-6 is more concerned with the scholarship on and critical
interpretation of stylic movements than FPA 116-6 which is more
concerned with the general survey of and participation in creating
selected North American arts in different styles.
The FPA 316-6 course requirements which reflect these differences
are the compulsory questions on the term tests, the addition of a
final examination and the additional assignment of written work in
the workshop/tutorial.
jj
