Section I: Short Answer (50%)
Please choose 6 of the following 8 short answer questions and answer them in 3-5 sentences. Make sure to define, identify, and contextualize the question in terms of the texts from the course. Be sure to use examples from relevant texts in order to offer evidence for your answer and to more fully develop and articulate your ideas.
***study tip: review study questions
Section II: Passage Analysis (25%)
Identify and analyze the following passage. Be sure to situate the passage within the text from which it comes and to define and elaborate on the terms and concepts it introduces. Consider its literary and rhetorical aspects, in addition to what it claims or describes. Finally, make sure to relate your interpretation of the passage to the overall themes and purposes (communication) of the text. A good answer will give a clear and detailed reading of the passage as a unit, as part of a larger work, and as part of the course.
***study tip: a document from the Nazis and degenerate art readings; the Shostakovich libretto; a passage from Jane Jacobs.
Section III: Essay (25%)
In a well developed, insightful essay, please answer one of the following two essay questions. You should offer an introductory paragraph with a thesis claim (which answers all parts of the question). Then offer supporting paragraphs, each with evidence from texts, support, and explanation. Make sure to be as detailed and descriptive as you can when you offer your analysis and interpretation.
***study tip: the essay will also ask you to relate the texts to the overall theme of Humanities Core--making!
Shakespeare
Fancy/Imagination
Power and Authority (Athens as Aristotelian City)
Relationship of crafts (rude mechanicals) to theatrical making
Naming, as a form of making
Alberti
istoria
painting as a liberal art
Weimar Art
“can a maker ever not be a doer?”bourgeoisie/proletariat
Weimar Republic
Dadaism
Expressionism
Bauhaus
Grosz, Heartfield
Hoch
Photomontage
Brecht, realism
Function of Art: communication, expression, document
Degenerate Art
politicization of aesthetic issues (Barron)
Degenerate Art Exhibit 1937
public/private treatment of women (Mosse)
beauty/sensuality
National Socialist aesthetic
respectability
propaganda
Volk
Lady Macbeth of Mtsensk
Shostakovich
Leskov
socialist realism
triple burden of women
Stalin
dissident/collaborator/in-between?
opera, as bourgeious form of art
Porgy and Bess
folk opera/opera/musical theater
Dubose Heyward
Great Migration
Virgil Thomson, “folklore subjects”
Hall Johnson, critique
Downes, music critic
Atkinson, theater critic
American “idiom”
racism in Porgy and Bess
Catfish Row, folk community
double time of opera
revivals of Porgy and Bess
recitative
libretto
contrapuntal
jazz/folk/classical/popular/blues
Jane Jacobs and Built Environment
Garden City (Howard)
Radiant City (Le Corbusier)
City Beautiful
Decentrists (Mumford)
Radiant Garden City Beautiful
city vs. town (strangers)
“Parks are not automatically anything”
urban renewal
urban renewal vs. negro removal (James Baldwin)
organized complexity
diversity
ethnoburbs
slums
new urbanism
city as garden (park)
children/play
sidewalk ballet
Pierre Levy and Cyberculture
cyberspace vs. cyberculture
Noah’s Ark analogy
analogy/substitution/assimilation/articulation
digital urbanism
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14 comments:
QUESTION from karen: For Weimer Art on the exam study guide it states "can a maker ever be a doer?". Professor Moeller states that a maker has to be doer because they go hand in hand. Is that all you want us to touch on? Are there examples of this? Like in Weimer art, right? You can't do art without it having a message?
response from erin: yes i think that's it. the question is: can a maker ever NOT be a doer. moeller's claim that a maker always is a doer is basically the idea that all art (or aesthetic taste) is political. other thoughts?
QUESTION from Jill: Can you explain double time again please?
double time is the idea that the opera or play is set in a different time and then produced in another (like a historical romance novel which would be set in the french revolution but written in 2008)... or sort of like that...
For the Weimar Republic, what do you want us to know? How it started? Or just generally know what happened from 1918 to 1933? How that led to Nazi Germany?
on weimar republic, i think it's important to know what characterized the period and how it related to the rize of the nazi party.
QUESTIONS from Shannan:
1. What were the public and private roles of women in the Weimar Republic?
(public:rules/respectability and private: sensuality / free expression ???)
2.For the cyberculture section: Is digital urbanism referring to the "digital city" of the analogy attitude or is does it referring to streetology of Otten?
Another one from Shannan:
Where can I find info about "dissident/collaborator/in-between? from the Lady Macbeth section." I looked through the lecture notes and .... nada.
Shannan: Should we study JJ in as much detail as the study questions or just the basic terms from the study guide? I'm asking because JJ will be the topic for the passage analysis?
I was trying to do all of the study questions for Jane Jacobs and I realized there were a lot of pages listed but we don't have them in the packet. Does that mean we don't need to know the answer to some of the study questions?
What exactly is "organized complexity"? I just know thats what kind of problem a city is. SO it has to do with urban planning..
hi,
i'm sort of catching up with a few of the questions, in case of late night studying.
1. yes. private/public--mosse section, also we discussed in class
2. both the digital city idea and the digital urbanism (less so this) that prof lupton referenced.
3. others on this?--i believe there was a section at the end of the why stalin didn't like shostakovich lecture.
4. the JJ questions that are relevant to passages we read. terms too. so, yes, dennis, it means you don't need to know the answers to those.
5. organized complexity--basically the idea that there are multiple variables/factors that constitute a problem. the idea is that you cannot talk about a city without talking about the various things that make up a city--the sidewalks, the streets, the parks, the buildings--in order to talk about the city. and then these things also have all other sorts of variables and conditions. see the pages from the last section of the jacobs readings and the notes from professor luptons monday lecture of week 10.
Sorry about the late response.
In response to why Stalin didn't like Shostakovich:
Stalin didn't like Shostakovich because Shostakovich didn't quite grasp the idea of the Socialist Realism aesthetic that he was trying to incorporate into his opera. Stalin didn't like any of the uses of music that Shostakovich presented in the opera and he received a lot of criticism from Stalin because of it.
For "dissident/collaborator/in-between?" it's in Moeller's Lecture 7.
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