The Modern Flâneur
COURSE: | HUMN 3165-001 | CO/PREREQUISITE: | NONE |
SEMEMSTER: | SPRING 2013 | CREDITS: | 3 |
DAYS: | TR | TIME: | 4:00-5:15 |
BEGINS: | JANUARY 17, 2013 | ENDS: | May 7, 2013 |
CENSUS DATE: | JANUARY 31, 2013 | FINAL | TBA |
INSTRUCTOR: | Roberta Jean Molyneux-Davis | PHONE: | 719-691-1433 (Message) |
OFFICE: | Office hours by appointment | E-MAIL ADDRESS: |
COURSE DESCRIPTION: Nineteenth Century Paris was instrumental in shaping Modernism. In order to better understand the historical and cultural components that gave birth to our world today, this course will walk through the art, literature, culture and history of the Nineteenth Century Parisian Arcades. Throughout the semester, as we immerse ourselves in Nineteenth Century Paris, we will keep a walking journal where we will record sketches/ideas/perceptions, assimilating the course reading material with our own observations from our community. The journal will provide the springboard for our final studio art project. We will first delve into the history and culture of the Salon through Ross King’s Judgment of Paris. We will then embark on an exploration of the visual art and literature through the lens of the Flâneur and the Dandy based upon readings drawn from Walter Benjamin’s Arcades Project and Charles Baudelaire’s Flowers of Evil. |
REQUIRED TEXT AND MATERIALS:
- The Arcades Project. Benjamin, Walter. (1927-1940). Eiland, H., McLaughlin, K., ed. (1999). Cambridge, MA: Bleknap Press. ISBN: 0-674-00802-2
- The Flowers of Evil. Baudelaire, Charles. (1857). Mathews, M., Mathews, J., ed. (1989). New York, NY: A New Directions. ISBN 0-8812-1117-7
- The Judgment of Paris. King, Ross. (2007). New York, NY: Walker and Company. ISBN 978-0802714664
- Journal/Notebook to record reflections on reading as you walk 30 minutes each week through our community
- Materials for final studio project (See attached Assignment Sheet; please keep expenses to a minimum)
- Flash Drive
CO/PREREQUISITE: Although the course has no prerequisites, you must have rudimentary web browsing skills and regular access to a computer in order to conduct research, prepare group presentations, and submit peer critiques. If you have any questions or concerns regarding your aptitude, feel free to discuss them with me. Since we will work in groups, your group leader may be able to mentor you. If you are confident in your computer skills (audio/video editing in PowerPoint, Keynote or Prezi) and are interested in serving as a group leader, please visit with me.
COURSE OBJECTIVES:
LEARNING OUTCOMES (PURPOSE OF THIS COURSE):
|
SPECIAL NEEDS NOTIFICATION: The school is committed to accommodating the needs of persons with documented disabilities. It is the responsibility of the student to make the College aware of a documented disability and the need for accommodation(s). To allow reasonable time for arranging services, you should provide documentation to the Affirmative Action Office as soon as possible. |
|
SYLLABUS APPROVAL
|
|
SIGNATURE OF INSTRUCTOR
|
| DATE |
SIGNATURE OF DEAN OR CHIEF ACADEMIC OFFICER |
|
DATE |
BY ENROLLING IN THIS CLASS, YOU, THE STUDENT, AGREE TO THE TERMS AS ESTABLISHED IN THIS SYLLABUS
CALENDAR
Date | Class Activity | Assignment |
Jan 17 | Review: Syllabus Discuss: Group Assignments, Peer Critiques, Rubrics, Studio Project, and Final Project In-Class Activity: Introduction: “Which Artist Am I?” | Read: Judgment of Paris: Chapters 1-7 (pp. 1-72) Complete: Bulleted summary of three Key Ideas
|
Jan 22 | DUE: Key Ideas (electronic and hardcopy) Discuss: Preliminary Motions: The Paris Salon In-Class Activity: Hobbies, Interests and Specialties: Choosing your subject | Read: Judgment of Paris: Chapters 8-14 (pp. 73-143) Complete: Bulleted summary of three Key Ideas
|
Jan 24 | DUE: Key Ideas (electronic and hardcopy) Discuss: Case Law: Paris Academie
| Read: Judgment of Paris: Chapters 15-22 (pp. 144-216) Record: sketches/ideas/perceptions from your weekly 30 minute walk Complete: Bulleted summary of three Key Ideas
|
Jan 29 | DUE: Key Ideas (electronic) Discuss: A Case Study: Manet In-Class Activity: Building a Community Rubric | Read: Judgment of Paris: Chapters 23-31 (pp. 217-292) |
Jan 31 | Discuss: Co-Defendants: A Unique Exhibit In-Class Activity: Elements of a Critique | Read: Judgment of Paris: Chapters 32-Epilogue (pp. 293-374) Record: sketches/ideas/perceptions from your weekly 30 minute walk Complete: My Critique
|
Feb 5 | DUE: My Critique (Anonymous Electronic: I will send you the link via email) Discuss: Final Arguments: Visual Dialogue Review: Your Judgment
| Read: Arcades: “Paris, the Capital of the Nineteenth Century” (pp. 3-26)
|
Feb 7 | Discuss: Arcades: “The great poem of display” in 19th Century Paris | Read: Flowers: “Three Drafts of A Preface,” “To the Reader” (pp. ix-4) Record: sketches/ideas/perceptions from your weekly 30 minute walk Complete: Bulleted summary of three Key Ideas contained within this week’s readings
|
Feb 12 | DUE: Key Ideas (electronic) Discuss: Art “Not made for my women, my daughters or my sisters” | Read: Arcades: “Baudelaire,” selections (pp. 228-231, 234-239, 244, 246, 256-7, 262, 266-8, 272, 275-6, 285-6, 291, 299-301, 314-9, 324-5, 328-9, 332-5, 345-50)
|
Feb 14 | Discuss: Modernity as “bizarre, violent, excessive, but always full of poetry” | Read: Flowers: “ Spleen” (all), “Beauty,” “The Ideal” (pp. 24-5, 90-2) Record: sketches/ideas/perceptions from your weekly 30 minute walk Complete: Bulleted summary of three Key Ideas contained within this week’s readings
|
Feb 19 | DUE: Key Ideas (electronic) Discuss: Poets that “pray in austere studious moods” | Read: Arcades: “The Flâneur” (pp. 416-55) |
Feb 21 | Discuss: The Flâneur: Drunken by the “Ananmestic intoxication” of “abstract knowledge” | Read: Flowers: “The Voyage,” “Giantess,” “The Cat,” “Cats,” “The Sun,” “The Red-Haired Beggar Girl” (pp. 26, 64, 83, 106-7, 179) Record: sketches/ideas/perceptions from your weekly 30 minute walk Complete: Bulleted summary of three Key Ideas contained within this week’s readings
|
Feb 26 | DUE: Key Ideas (electronic) Discuss: The Cat: “In whom…all is…subtle as harmonious!”
| Read: Arcades: “Prostitution, Gambling” (pp. 489-515) |
Feb 28 | Discuss: The vagabond who reinterprets “the image of the city” | Read: Flowers: “Comes the Charming Evening,” “The Gaming Table, “Lesbos,” “Lesbians” (both) (pp. 120-22, 148-58) Record: sketches/ideas/perceptions from your weekly 30 minute walk
|
Mar 5 | Discuss: Workers who earn “a few day’s living and…clothes on their whores” In-Class Activity: Building our Rubric | Prepare: Slides for Group Presentation. Include Title, Date, Author and Key Concepts from Rubric
|
Mar 7 | In-Class Activity: Group Work Day | Complete: Group Presentation: Walking through Paris Record: sketches/ideas/perceptions from your weekly 30 minute walk
|
Mar 12 | DUE: Group Presentation (100 PTS): Walking through Paris | Complete: Group Presentation: Walking through Paris, Cont.
|
Mar 14 | DUE: Group Presentations, Cont. (100 PTS): Walking through Paris | Travel SAFELY! |
Mar 19 | Spring Break: Relax! | Do Something FUN |
Mar 21 | Spring Break: Rejuvenate! | Read: Arcades: “Arcades, Magasins de Nouveautes, Sales Clerks” (pp. 31-61) Record: sketches/ideas/perceptions from your weekly 30 minute walk Complete: Peer Critiques
|
Mar 26 | DUE: Peer Critiques (100 PTS) Discuss: Art that “enters the service of the businessman” | Read: Flowers: “A Madrigal of Sorrow,” “What a Pair of Eyes Can Promise,” “The Paranymph” (pp. 202-3, 212-216)
|
Mar 28 | Discuss: Parisian love of “cold steel” | Read: Arcades: “The Streets of Paris,” “The Commune” (516-526, 788-796) Record: sketches/ideas/perceptions from your weekly 30 minute walk
|
April 2 | Discuss: “la ville qui remue — the city that never stops moving” | Read: Flowers: “Parisian Dream,” “Abel and Cain,” “Litany to Satan” (pp. 129-30, 168-174) Complete: Bulleted summary of three Key Ideas contained within this week’s readings |
Apr 4 | DUE: Key Ideas (electronic) Discuss: “The great intoxicating monotone” of painting | Read: Arcades: “Haussmannization, Barricade Fighting” (pp. 120-150) Record: sketches/ideas/perceptions from your weekly 30 minute walk
|
Apr 9 | DUE: Walking Journal Timeline Discuss: Revolt: “The mighty” who “seek to secure their position with blood, with cunning, with magic” | Read: Flowers: “The Ragpickers’ Wine,” “Destruction,” “Epigraph for a Condemned Book,” “The Death of Artists” (pp. 136, 145, 189, 176) Complete: Bulleted summary of three Key Ideas contained within this week’s readings
|
Apr 11 | Discuss: “Sculptors damned and branded for disgrace” DUE: Key Ideas (electronic)
| Read: Arcades: “Photography” (pp. 671-692) Complete: Studio Project Proposal
|
Apr 16 | DUE: Written paragraph describing proposed studio project and supply list Discuss: The photographer creating Art “pour l’artiste” In-Class Activity: Building our Rubric
| Prepare: Slides for Group Presentation. Include Title, Date, Author and Key Concepts from Rubric |
Apr 18 | In-Class Activity: Group Work Day | Complete: Group Presentations
|
Apr 23 | DUE: Group Presentations (100 PTS): Riots and Revolution | Complete: Group Presentations
|
Apr 25 | DUE: Group Presentations, Cont. (100 PTS): Riots and Revolution
| Complete: Peer Critiques |
Apr 30 | In-Class Activity: Field Trip: DAM
| Compile: Materials for Studio Project |
May 2 | DUE: Peer Critiques (100 PTS) In-Class Activity: Studio Work Day
| Write: Artist Statement Prepare: Final Presentation |
May 7 | Final Presentations — (500 PTS, MUST SUBMIT FINAL STUDIO ART PROJECT, WALKING JOURNAL and ARTIST’S STATEMENT)
| Complete: Final Presentation |
TBA | Final Presentations, CONT.
| Have a Great Summer! |
Note: This schedule is subject to change at the discretion of the instructor.
Students will be informed of any changes.
COURSE REQUIREMENTS:
Teaching Philosophy:
In my courses, students don’t just strive toward mastery of knowledge in an academically rigorous classroom, but learn how to learn within a creative, self-generated framework built upon three key components: multiple learning modalities, democracy, and community.
Classes are comprised of student-generated questions. We think aloud together developing discourse built upon critical close analysis. We work in groups to prepare projects ranging from community-wide symposiums to student-generated discussions: sharing our ideas with our extended community so we are prepared to actively engage with issues important and relevant to our society as a whole.
My courses appeal to all learning modalities with assessments that span tactile, visual, cultural and audio expression. I believe students learn best in a safe environment. As a community, I ask that students avoid disparaging comments regarding race, religion, sex, gender, culture and politics.
Students assume full responsibility for creation and authorship of their work, looking to outside sources, choosing primary texts over secondary sources, keeping in mind that plagiarism includes borrowing an author's or artist's ideas as well as the order in which he/she presents them. In research-driven activities, students give credit where credit is due and assimilate as much information as possible in the process.
Class Meeting Requirement: As stated in the College Catalog, you are expected to attend all sessions of each course in which you enroll. When circumstances make regular attendance impossible, you should report such absences to the instructor as soon as possible. Late assignments are not accepted. You will not pass the course if you are absent more than three times throughout the semester. All class sessions will be held in order to meet credit and contract hour requirements. Class cancellations will be made up at the convenience of the instructor and students.
Plagiarism Policy: MLA Format establishes that if two or more consecutive words are borrowed from a source, they must be included in quotation marks with the source listed in a Works Cited page. Additionally, students must include the sources for all images they include in their presentations. For each group assignment, please make sure the final slide includes ALL works used as references, listed according to image being discussed.
The first time you are caught plagiarizing, you will receive a failing grade for that assignment. The second time you are caught plagiarizing, you will fail the course, and you will be referred to administration for academic disciplinary action. Please see the school catalogue for additional academic sanctions.
A single assignment may not be submitted for more than one course; if you intend to “recycle” your research for separate courses, you must visit with BOTH professors before proceeding. |
Cell Phone/Electronic Device Policy: Use of cell phones and other electronic devices during class is strictly prohibited. If your cell phone rings, if you are text messaging, or if you use other electronic devices (including surfing the web on your laptop/ iPad), I will ask you to leave and you will be counted absent for the day. |
|
EVALUATION CRITIERIA Grading Procedures:
|
Course Assignments:
- Key Concepts (20 Points Each):
- Bulleted summaries based upon the readings from which we will compose our class Rubrics for the assessments
- Must be submitted electronically
- See calendar for listed due dates
- Weekly Walking Journal (See Below)
- Studio Project Proposal (See Below)
- Peer Critiques (50 Points Each):
- Must be completed for ALL Presentations based upon class-generated Rubrics
- Three total, including one of me based upon a Rubric we build from the Key Concepts contained within Ross King’s Judgment of Paris
Course Assessments:
Rather than assessing learning through a series of exams or written assignments, your progress throughout the course will be evaluated through the following projects:
- Group Presentations (100 Points Each): Multi-media Oral In-Class Presentations
- Two due throughout the semester
- Grade based solely upon Peer Critiques: 50% Content, 50% Participation
- Final Studio (300 Points): Visual, Audio, Digital or Performative Art Project
- Creative Art Making Component: 200 Points
- Walking Journal (10 entries): 50 Points
- Written Project Proposal (Due April 16): 25 Points
- Written Artist’s Statement: 25 Points
- Final Oral Presentation (200 Points): Modern Flâneur
Grading Scale: Your weighted point values from the above listed criteria will be calculated into a final percentage, which will determine your overall grade for the course:
100 – 93 % = A 92 – 85% = B 84 – 77%= C 76 – 69% = D 68% & Below = F
Since I allow for EC to be earned and accumulate throughout the semester, I do not round up your grade. If you earn a 92.8, you will still receive a “B” for the course. |
EXTRA CREDIT POLICY:
|
SUGGESTED READINGS:
- o Brombert, Beth Archer. (1996). Edouard Manet: Rebel in a Frock Coat. Chicago, IL: University of Chicago.
- o Clark, T.J. The Painting of Modern Life: Paris in the Art of Manet and His Followers. Princeton, NJ: Princeton University Press, 1999.
- o Collins, Bradford. (1996). Twelve Views of Manet's Bar. Princeton, NJ: Princeton University Press.
- o DeVonyar, Jill and Richard Kendall. (2007). Degas and the Art of Japan. New Haven: Yale University Press.
- o Driskel, P. M. “Manet, Naturalism, and the Politics of Christian Art,” Arts Magazine, vol. 60, no. 3. (Nov. 1985), pp. 44-54.
- o -----. Representing Belief: Art, Religion, and Society in l9th-Century France. University Park, PA: Pennsylvania State University Press, 1992.
- o Dumas, Ann, Ed. (2008). Inspiring Impressionism The Impressionists and the Art of the Past. London: Yale University Press.
- o Foucault, M. (2012) Manet and the object of painting. Bourriaud, N, Trans. London: Tate.
- o Kendall, Richard, Ed. (2004). Degas by Himself. London: Time Warner Books.
- o -----. (2004). Monet by Himself. New York: Barnes and Noble.
- o Matlock, Jann. (1994). Scenes of Seduction: Prostitution, Hysteria, and Reading Difference in Nineteenth-Century France. New York: Columbia University Press.
- o Roos, J.M., "Edouard Manet's 'Angels at the Tomb of Christ': A Matter of Interpretation," Arts Magazine, vol. 58 (April 1984), pp. 83-91. Print.
- o Sondergaard, Sidsel Maria, Ed. (2007). Women in Impressionism: From Mythical Feminine to Modern Woman. Milano: Skira.
- o Stromber, Susan. (2006). “Manet’s Portrait of Jeanne Duval, Baudelaire’s Mistress Reclining: Femininity, Modernity and New Painting.” Printed in Women in Impressionism. Sidsel Maria Sondergaard, Ed. Milano: Skira.
- o Thomson, Belinda, Ed. (2004). Gauguin by Himself. London: Time Warner Books.
- o Tucker, Paul. (1998). Manet's Le Déjeuner sur l'herbe, Cambridge, MA: Cambridge University Press.
- o Wilson-Bareau, Juliet, Ed. (2004). Manet by Himself. London: Time Warner Books.
BIBLIOGRAPY: If you are interested in a particular subject drawn from my comprehensive bibliography on Nineteenth Century Paris, please visit with me.
ACKNOWLEDGEMENTS:
- Special Thanks to my mentor and Humanities Honor’s Thesis Advisor, Jill Heydt-Stevenson, Ph.D., for teaching me to incorporate all learning modalities into the university classroom setting. The Studio Project is built upon her final project in her Fall 1998 19th Century Art and Literature Course, HUMN 4082
- Thanks to Marilyn Brown, Ph.D. for the rigorous reading component in her Research Seminar: Manet Course, ARTH 6939 from which I have in part derived my suggested reading list
- Thanks to Jim Elniski, SAIC Instructor, for providing the eight key terms upon which I have built the course objectives
A Berthe Morisot |
| N Jean-Leon Gerome |
B Pierre-August Renoir |
| O Edgar Degas |
C Berthe Morisot |
| P Claude Monet |
D Edouard Manet |
| Q Pierre-August Renoir |
E Edgar Degas |
| R Edouard Manet |
F John Singer Sargent |
| S Edgar Degas |
G James McNeill Whistler |
| T James McNeill Whistler |
H Edouard Manet |
| U Meissonier |
I Claude Monet |
| V Claude Monet |
J John Singer Sargent |
| W Paul Cezanne |
K Paul Cezanne |
| X Edgar Degas |
L John Singer Sargent |
| Y Claude Monet |
M Meissonier |
| Z Caillebotte |
Login