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Humanities 110 East Meets West Instructor: Mrs. Flora Carter Office: Art Bldg, Room 122

Humanities 110 East Meets West Instructor: Mrs. Flora Carter Office: Art Bldg, Room 122. East Meets West. Mrs. Flora Carter, Instructor Voice Mail: (209) 575-6000-8-6802 E-mail; carterf@yosemite.cc.ca.us (Arts and Humanities Division Office: Auditorium Bldg, Rom 106, Phone: 575-6081).

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Humanities 110 East Meets West Instructor: Mrs. Flora Carter Office: Art Bldg, Room 122

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  1. Humanities 110East Meets WestInstructor: Mrs. Flora CarterOffice: Art Bldg, Room 122

  2. East Meets West • Mrs. Flora Carter, Instructor • Voice Mail: (209) 575-6000-8-6802 • E-mail; carterf@yosemite.cc.ca.us (Arts and Humanities Division Office: Auditorium Bldg, Rom 106, Phone: 575-6081). INTRODUCTION TO COURSE -Who is this class for? -What is/are the humanities? -Course description

  3. Who is this class for?

  4. Whatis the humanities? What are the humanities?

  5. What is the humanities?

  6. : The Humanities: a discipline, which studies the creative and intellectual achievements of humanity. For example, a philosophy question: A Full Life What are your current views toward what it means to live a full life? What specific things does one have to achieve and work for to live as full as life as possible? --> In what ways have people answered these questions over time? In different places or circumstances?

  7. What does “East” and “West” mean? Perspectives Expectations Unfamiliar Ourselves, Our relationships

  8. Culture in Society, in Humanities 1. Cultural Interaction in the world. America, a culture? Heritage: disconnections, links. 2. Creative and intellectual achievements as culture. Meaning/quality of (my) life? 3. General Education Liberal Arts Why do I work?

  9. How will we study the humanities in “EAST MEETS WEST”?

  10. Humanities 110 East Meets West • PREREQUISITES. • REQUIRED TEXTS (all paperback. Handouts and material on reserve as necessary). • -- Handout: Excerpt from Art with a Difference. • -- Things Fall Apart by Chinua Achebe. Anchor, 1959. • -- Chuang Tzu, Basic Writings. trans. by Burton Watson. Columbia UP, 1964. • -- Zen Flesh, Zen Bones, compiled by Paul Reps, Tuttle Publishing, 1998. • -- Jasmine by Bharati Mukherjee. Fawcett Crest, 1989.

  11. Humanities 110 East Meets West COURSE DESCRIPTION. Thematic and comparative approach. OBJECTIVES. Introduction to issues, ideas, art forms, themes, symbols. Skill-building in cross-cultural analysis and critical appreciation. CLASS FORMAT. Lecture/discussion/presentations. Cultural events. Grading Scale: COURSE REQUIREMENTS.% 90-100 = A -Responses, exercises 40 80-89 = B -Short reports, essays 30 70-79 = C -Museum visit and report 20 60-69 = D -Final essay 10 below 60 = F Grades are based on points earned and generally follow standard proportions and percentages.

  12. “ORIENTATION.” How do we make sense of what is unfamiliar? Chaotic? 2. EXPERIENCE OF SEEING Lenses: Practical Emotional Aesthetic Intellectual/formal Critical 3. MEANING Affected by several factors: text context subtext

  13. CONCEPT OF “WESTERN” Historical: Origin and spread of Classical ideas and forms Ancient Greece/Rome -> Colonies European Revivals -> Colonies Renaissance NeoClassical Period Transition Romantic Period Modern Period Post-Modern Period

  14. Spread of ideas via: Waves: Trade, colonization, war . . . BCE 300 into CE 21st cent. Americas, Africa, Far East CE 1500- 1800s EAST impacts WEST WEST impacts EAST

  15. 6. Concept of “East” or “Non-West”: are projections.

  16. Experiencing a “foreign” culture a tour tourist experience Exercise for next time: Write about your most notable experience with a “foreign” culture. Instructions on the bottom of Exercise I questionnaire. Write on the back.

  17. East Meets West • Attendance, preparation and participation • - quality of class, experience. • -->Bring the book(s) we are working with to class. • Academic Integrity • Reference: http://mhhe.com/fiero • click on “mhhe.com/fiero Student Center” for refresher on • Summary • Paraphrasing • Avoiding Plagiarism • Credit and cite all sources, including • Web Sources

  18. Assignments: Format (Handwritten and Typewritten).

  19. East Meets West 2. EXERCISES. A. Typed CRITICAL RESPONSES B.OTHER EXERCISES 3. SHORTREPORTS. CULTURAL EVENTS Reports MINI-REPORT and PRESENTATION 4. MUSEUM VISIT--TERM PROJECT Field Trip: Stanford U., Cantor Center for the Visual Arts.

  20. East Meets West 6. CLASS PARTICIPATION CREDIT 7. RESOURCES 8. SERVICES

  21. EAST Meets WEST: SCHEDULE and TOPICS (Subject to adjustment as necessary) • 1. Introduction to Course: A Humanities a Tool kit. • 2. “Western Art + Other Cultures: Encountering Difference,”Responses. • Handout: from Art With A Difference by Diepeveen + van Laar.Ch. 2. Local Gallery/Museum visit • and Short Report. • 3. Things Fall Apart by Chinua Achebe. Narrative and Novel. Colonialism. • Part I, pp. 3-125 Part II, p. 129-167 Part III, p. 171-209. Responses. • 4. West Meets East. Philosophies and Culture: Overview. Issues. • Field Trip Museum Visit • Museum Report. • 5. Mysticism, Pantheism and Trade. Chuang Tzu: Basic Writings. • “Butterfly philosopher,” Taoism; parable, anecdote, allegory, paradox. • China: calligraphy, poetry, landscape. The Silk Road. Responses. • 6. Zen Flesh, Zen Bones • Writings on immanent experience from 4000 years ago to now. Responses. • Attend Performance and Report • 7. Jasmine by Bharati Mukherjee: Coping with Change. • Tradition, Colonialism. Film. India to USA. • Syncretism, Cultural Dynamism Final Exam.

  22. IMPORTANT DATES: • Regional Gallery visitShort Gallery Report: M Sep 27. • Presentations:East/West Encounters/Comparisons: Presentation w Outline + Assessment • Cluster I China/Japan and the West M/W Oct 11/13 • Cluster II Silk Road/Middle East & the West M/W Nov 1/3 • Cluster III India/SE Asia and the West M/W Nov 29/Dec 1 • Class Bay area Field Trip:Museum Visit: Sat. Oct 29 Field Trip Report: M Nov 15 • Performance Event Report (and last day for XC) Mon, Nov. 29.

  23. East Meets West • STUDY TIPS. • WRITTEN RESPONSES • Personal Response • Critical Response • Common Goals • Things to try

  24. EXERCISES,RESPONSES • SHORT REPORTS. • - CULTURAL EVENTS REPORTS • (range: mini, midi to maxi: from 1 to 6-8 pages) • - PRESENTATION with Outline • East/West Encounters/Comparisons • - (Class Field Trip) and REPORT • CLASS PARTICIPATION CREDIT • RESOURCES Commodore Perry's Black Ships and the 150th Anniversary of US-Japan Relations, inaugurated in 1853.

  25. LOCAL and AREA VENUES: VISUAL ARTS MUSIC THEATER Valley events, check Friday’s Modesto Bee, “Scene” section on Fridays (or: www.modbee.com/life/scene). For the Bay Area and surroundings, check the San Francisco Chronicle “Datebook,” published every Sunday (or www.sfgate/eguide).

  26. East Meets West 3-Level Analysis and Interpretation Model • Text • Context • Subtext

  27. 3-Level ANALYSIS AND INTERPRETATION PRACTICE SHEET. • A. THE TEXT: The text is the BODY or SUBSTANCE OF THE PRIMARY SOURCE. • Ask yourself about the text: • 1. MEDIUM, that is, what is it made of? Is it made of clay, stone, a group of • words, sounds in rhythmic progression? Describe the character of the medium, • 2. FORM does it take, that is, what is its type? Is it a wall • painting, a free-standing sculpture, a poem, a chant? How is it composed/ organized? • 3. CONTENT, that is, what does it express, what quality/character does it • convey, what subject matter, meaning, message (if any) does it intend to relate? • 4. STYLE? How does the artist use the formal and material properties of the work (visual/verbal/gestural/musical, etc.), whether representational or abstract, to create a distinctive form of expression? • B. THE CONTEXT: refers to the HISTORICAL AND CULTURAL ENVIRONMENT in which the text was produced. In what time and place did it originate? How did it function in its own time? Did it serve the religious needs of the community, political needs, purely aesthetic needs? • C. SUBTEXT: refers to IMPLIED MEANINGS (not explicitly stated) and BROADER IMPLICATIONS :What about the text’s intent? How does the work reveal the values or concerns of the age in which it was created? Is the implied meaning religious? political? psychological? Other? Does it have an emotional charge? How does/could the work mediate the meaning of our lives, today?

  28. For next meeting: Complete questionnaire and Read Handout: • EXERCISE I. Last page of Syllabus. Answer questions, and, on the back of the sheet: • Write 2-3 paragraphs describing your most notable experience with a “foreign” culture. Briefly, describe the circumstances—what happened? Did you experience “culture shock”? Please explain. • What did you get out of the experience? READ HANDOUT: “Western Art and Other Cultures: Encountering Difference,” to page ___. Jot down key terms/3 main ideas, and 3 questions, to prepare for discussion.

  29. Spread of European Colonization, 1600-1700. www.lib.utexas.edu/maps/historical/ history_world.html

  30. 4. CONCEPT OF “WESTERN” Origin and spread of Classical ideas, forms Ancient Greece/Rome ca. 500 BCE - 500 CE especially 300 BCE European Revivals -> Colonies Renaissance ca. 1400 CE - 1600 CE NeoClassical Per. ca. 1700s - e. 1800s Transition: Orientalism, Occidentalism Romantic, European Colonialism Modern Period mid-1800s - e. 1950s Post-Modern Period late 1900s - present Spread of ideas via trade, colonization, missioners BCE 300 . . . CE 1500 - 1800s EAST impacts WEST WEST impacts EAST 6. Concept of “East” or “Non-West” asprojections.

  31. European Colonization by World War I. http://www.bbc.co.uk/schools/worldwarone/images/article/colonies.gif

  32. East Meets West EncounteringDifference.

  33. Apollo. Classical Greek. Temple of Zeus at Olympia, 468-460 BCE. Meditating Buddha Sarnath, India n.d. Babangi Mask African (Upper Congo) 19th c. CE

  34. Art with a Difference. TERMS. Chapter 2. (a work in progress) CLASSICISM--NEOCLASSICISM ORIENTALISM /Orient / EAST Romanticism OCCIDENTALISM /Occident / WEST PRIMITIVISM /primitive Neoprimitivism TRIBAL people A/D Chapter 2Thesis: THE OTHER: difference and power.

  35. Art with a Difference. TERMS. Chapter 2. (a work in progress) Neoclassical /classical: 18th –19th c. movement: desire to recreate Greco-Roman art. Classical art: (500 BCE-500CE.) characterized as rational, balanced, clear, harmony of parts. Subject: human figure. Romanticism: 19th c. movement focused on nature (outer/inner), feeling, subjectivity, exotic, sense of the sublime. Orientalism/Orient: (from L. “oriri” to rise. Orient: direction of the rising sun. Poetic way of indicating East. Attitude: depicts Middle East, Asia as exotic, sexualized places. Occidentalism/Occident: (from L “occidere,” to fall, set (of the sun): west. Characteristic features of occidental peoples or culture. Occidental: member of occidental peoples especially: a person of European ancestry. Characterization of Westerners by Non-Westerners or impact of Westerners on Non-Westerners

  36. Eugene Delacroix,. Death of Sardanapalus. 1827.

  37. Jean-Auguste-Dominique Ingres French (1780-1867)The Turkish Bath. 1862.

  38. I begin with an idea and then it becomes something else. Pablo Picasso I paint objects as I think them, not as I see them. Pablo Picasso (1881-1973) It takes a long time to become young. Pablo Picasso We all know that art is not truth. Art is a lie that makes us realize the truth. Pablo Picasso

  39. Primitivism/primitive: the representation of tribal cultures as either noble innocents or violent and sexually threatening peoples. Neoprimitivism: discovery of tribal arts (Picasso Demoiselles, Gauguin: South Seas; Stravinsky (Rites of Spring); Kirchner: Expressionism; Ravel: Javanese gamelan music; African-American jazz). tribal: relating to social group comprising numerous families, clans, generations together with slaves, dependents, or adopted strangers. Art/Difference Thesis: both Orientalism and primitivism promote stereotyped generalizations that are essentially wrong about subject. The Other: constructs / ideas of poorly known cultures about which thinker has some vague idea and use these ideas primarily in terms of difference (exaggerated) and power (unbalanced). Problems:misunderstandings are left uncorrected by dominant group.

  40. Pablo Picasso. Les Demoiselles d’Avignon. 1907.

  41. Art is either plagiarism or revolution. Civilization is what makes you sick. I shut my eyes in order to see. Life being what it is, one dreams of revenge. Paul Gauguin (1848-1903) French painter: a Romantic painter noted for massive simplified themes, impassive figures and exotic backgrounds

  42. Paul Gauguin. Day of the Gods. 1894.

  43. Modern concept of “art”(starting in the late 19th c. +) “PURE” FORMALIST APPROACH: Formal: addresses basic elements of art ANTHROPOLOGICAL APPROACH: ethnographic knowledge vs. taboo (Ethnography: branch of anthropology concerned with description of ethnic groups)

  44. Formalist approach: • Emphasizes looks, not usein context. • Emphasizes solely aesthetic/sensory qualities • -->Formal/ basic elements of art: color, shape, patterns, textures • suggests a formal universal language • Problems: • * pretends to be neutral, but •  works presented in an incomplete context • Imposes a new function on tribal works (=> // concerns to Western: not right either). hidden imperialist agenda? • Desire for ethnographic knowledge sometimes oversteps bounds of taboos

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