Course Name | Art and Politics in the Modern Era |
Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
---|---|---|---|---|---|
PSIR 562 | Fall/Spring | 3 | 0 | 3 | 7.5 |
Prerequisites | None | |||||
Course Language | English | |||||
Course Type | Elective | |||||
Course Level | Second Cycle | |||||
Mode of Delivery | - | |||||
Teaching Methods and Techniques of the Course | ||||||
Course Coordinator | - | |||||
Course Lecturer(s) | ||||||
Assistant(s) | - |
Course Objectives | This course aims both at addressing the approaches of the political authorities to art in the modern era and at analyzing the relations various artistic groups and/or movements with the political power. This course has the claim that the prevailing political and cultural atmosphere of each era influences art with a historical and sociological perspective. |
Learning Outcomes | The students who succeeded in this course;
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Course Description | By following a chronological line, we are going to examine the interactions between the artistic sphere and politics in the framework of the topics such as modernization, nation-building, nationalism, World Wars, dictatorships, ideologies, Cold War, late-industrialization, identity politics, globalization and transnationalism. |
Related Sustainable Development Goals |
| Core Courses | |
Major Area Courses | X | |
Supportive Courses | ||
Media and Managment Skills Courses | ||
Transferable Skill Courses |
Week | Subjects | Required Materials |
1 | Introduction: Course objectives, content, methodology | Presentation and overview of the course. |
2 | Art and Politics? Conceptual framework: Modernity, modernism, modernization | Matei Calinescu, “The Idea of Modernity”, Five Faces of Modernity: Modernism, Avant-garde, Decadence, Kitsch, Postmodernism, Durham: Duke University Press, 1987, pp.13-94. Suggested Reading: Lev Kreft, “Sanatın Siyaseti ve Siyasetin Sanatı”, içinde Ali Artun (der.), Sanat/Siyaset: Kültür Çağında Sanat ve Kültürel Politika, İletişim Yay. 2008, pp. 9 - 48. |
3 | Modernism | Marshall Berman, “Modernity-Yesterday, Today and Tomorrow”, All That is Solid Melts into Air: The Experience of Modernity, New York: Penguin Books, 1988, pp. 15 - 36. |
4 | World Wars I & II, and the Avant-garde | Kenneth Silver, Esprit de Corps: The Art of the Parisian Avant-Garde and the First World War: 1914-1925, London: Thames and Hudson, 1989. Romy Golan, Modernity and Nostalgia: Art and Politics in France Between the Wars, New Haven and London: Yale University Press, 1995. |
5 | Populism, Ideology and Art | Eric Hobsbawm, “Foreword”, in, (eds.) Dawn Ades, Tim Benton, David Elliott, Iain Boyd Whyte, Art and Power: Europe Under Dictators 1930-1945, London: Thames and Hudson, 1995, pp. 11-15. Toby Clark, Art and Propaganda in the Twentieth Century, Abrams, New York, 1997, Chapters 2&3, pp.47-102. |
6 | Dictatorships I (1930-1945) | Dawn Ades, Tim Benton, David Elliott, Iain Boyd Whyte, “Selectors’ Introduction”, Art and Power: Europe Under Dictators 1930-1945, London: Thames and Hudson, 1995, pp. 16-30. Toby Clark, Art and Propaganda in the Twentieth Century, Abrams, New York, 1997, Chapters 2&3, pp.47-102. |
7 | Dictatorships II (1930-1945) | Toby Clark, Art and Propaganda in the Twentieth Century, Abrams, New York, 1997, Chapters 2&3, pp.47-102. |
8 | Midterm Exam | |
9 | Late-industrialization and modernization | Mary Matossian, “Ideologies of Delayed Development”, in (der.) J. Hutchinson and A. D. Smith, Nationalism, Oxford: Oxford University Press, 1994, pp. 218-225. Sibel Bozdoğan, “Art and Architecture in Modern Turkey: The Republican Period”, in (der.) Reşat Kasaba, The Cambridge History of Turkey: Vol. 4: Turkey in the Modern World, New York: Cambridge University Press, 2008, pp. 419-471. |
10 | Nation-building and Modernism | Duygu Köksal, “Domesticating the Avant-Garde in a Nationalist Era: Aesthetic Modernism in 1930s Turkey”, New Perspectives on Turkey, Vol 52, 2015, pp. 29-53. Cemren Altan, “Visual Narration of a Nation: Painting and National Identity in Turkey”, Studies in Ethnicity and Nationalism, Vol.4, No.2, 2004, pp. 2-17. |
11 | Cold War | Serge Guilbaut, “Introduction”, How New York Stole the Idea of Modern Art?, Chicago: University of Chicago Press, 1983, pp. 1-16. Frances Stonor Saunders, “Modern art was CIA ‘weapon’”, Independent, 21 October 2005. |
12 | Post-Colonialism and Identity politics | Ania Loomba, “Defining the Terms”, Colonialism/Postcolonialism, Routledge, New York, 1998, pp. 1-19. Hannah Elansary, “Revolutionary Street Art: Complicating the Discourse.”, Jadaliyya, 1 September 2014. |
13 | Globalization, transnationalism and contemporary art | Dessislava Dimova and Eckhart J. Gillen, “Globalization and Cultural Identity: The perspective of Contemporary Art”, background paper,Salzburg trilogy,Bertelsmann Sitftung, 2017, pp. 60-71. Justin O'Connor, and Gu Xin. "A new modernity? The arrival of ‘creative industries’ in China." International journal of cultural studies 9.3 (2006), pp. 271-283. Brettany Shannon. “The ‘Dubai Effect’: The Gulf, the art world and globalization”, The Emerging Asian City: Concomitant Urbanities & Urbanisms, 2013, pp.254-264. |
14 | Review of the semester | |
15 | Final Exam | |
16 | Review of the Semester |
Course Notes/Textbooks | |
Suggested Readings/Materials | Ania Loomba, “Defining the Terms”, Colonialism/Postcolonialism, Routledge, New York, 1998, pp. 1-19. Brettany Shannon. “The ‘Dubai Effect’: The Gulf, the art world and globalization”, The Emerging Asian City: Concomitant Urbanities & Urbanisms, 2013, pp.254-264. Cemren Altan, “Visual Narration of a Nation: Painting and National Identity in Turkey”, Studies in Ethnicity and Nationalism, Vol.4, No.2, 2004, pp. 2-17. Dawn Ades, Tim Benton, David Elliott, Iain Boyd Whyte, “Selectors’ Introduction”, Art and Power: Europe Under Dictators 1930-1945, London: Thames and Hudson, 1995, pp. 16-30. Dessislava Dimova and Eckhart J. Gillen, “Globalization and Cultural Identity: The perspective of Contemporary Art”, background paper,Salzburg trilogy,Bertelsmann Sitftung, 2017, pp. 60-71. Duygu Köksal, “Domesticating the Avant-Garde in a Nationalist Era: Aesthetic Modernism in 1930s Turkey”, New Perspectives on Turkey, Vol 52, 2015, pp. 29-53. Edward Said, Orientalism, Vintage Books, 1978. Eric Hobsbawm, “Foreword”, in, (eds.) Dawn Ades, Tim Benton, David Elliott, Iain Boyd Whyte, Art and Power: Europe Under Dictators 1930-1945, London: Thames and Hudson, 1995, pp. 11-15. Frances Stonor Saunders, “Modern art was CIA ‘weapon’”, Independent, 21 October 2005. Hannah Elansary, “Revolutionary Street Art: Complicating the Discourse.”, Jadaliyya, 1 September 2014. Justin O'Connor, and Gu Xin. "A new modernity? The arrival of ‘creative industries’ in China." International journal of cultural studies 9.3 (2006), pp. 271-283. Kenneth Silver, Esprit de Corps: The Art of the Parisian Avant-Garde and the First World War: 1914-1925, London: Thames and Hudson, 1989. Marshall Berman, “Modernity-Yesterday, Today and Tomorrow”, All That is Solid Melts into Air: The Experience of Modernity, New York: Penguin Books, 1988, pp. 15-36.
Mary Matossian, “Ideologies of Delayed Development”, içinde (der.) J. Hutchinson ve A. D. Smith, Nationalism, Oxford: Oxford University Press, 1994, pp. 218-225.
Matei Calinescu, “The Idea of Modernity”, Five Faces of Modernity: Modernism, Avant-garde, Decadence, Kitsch, Postmodernism, Durham: Duke University Press, 1987, pp.13-94.
Romy Golan, Modernity and Nostalgia: Art and Politics in France Between the Wars, New Haven and London: Yale University Press, 1995.
Serge Guilbaut, How New York Stole the Idea of Modern Art?, Chicago: University of Chicago Press, 1983.
Sibel Bozdoğan, “Art and Architecture in Modern Turkey: The Republican Period”, içinde (der.) Reşat Kasaba, The Cambridge History of Turkey: Vol. 4: Turkey in the Modern World, New York: Cambridge University Press, 2008, pp. 419-471.
Toby Clark, Art and Propaganda in the Twentieth Century, Abrams, New York, 1997. |
Semester Activities | Number | Weigthing |
Participation | 1 | 15 |
Laboratory / Application | ||
Field Work | ||
Quizzes / Studio Critiques | ||
Portfolio | ||
Homework / Assignments | 2 | 10 |
Presentation / Jury | 1 | 10 |
Project | 1 | 20 |
Seminar / Workshop | ||
Oral Exam | ||
Midterm | 1 | 15 |
Final Exam | 1 | 30 |
Total |
Weighting of Semester Activities on the Final Grade | 6 | 70 |
Weighting of End-of-Semester Activities on the Final Grade | 1 | 30 |
Total |
Semester Activities | Number | Duration (Hours) | Workload |
---|---|---|---|
Course Hours (Including exam week: 16 x total hours) | 16 | 3 | 48 |
Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
Study Hours Out of Class | 12 | 4 | 48 |
Field Work | |||
Quizzes / Studio Critiques | |||
Portfolio | |||
Homework / Assignments | 2 | 10 | |
Presentation / Jury | 1 | 14 | |
Project | 1 | 35 | |
Seminar / Workshop | |||
Oral Exam | |||
Midterms | 1 | 20 | |
Final Exams | 1 | 40 | |
Total | 225 |
# | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
1 | To improve theoretical and conceptual proficiencies on Political Science and International Relations and to ultimately deepen and develop intellectual interest | X | ||||
2 | To evaluate the relationships between factors in the field of Political Science and International Relations such as structures, actors, institutions and culture in a critical perspective | X | ||||
3 | To provide advanced competences to determine and question the theoretical and emprical gaps in Political Science and International Relations literature | X | ||||
4 | To identify the political and cultual conditions that generate discrimination mechanisms based on race, ethnic groups, gender and religion at national and international levels | X | ||||
5 | To provide competences to develop original arguments in order to fill the gaps in Political Science and International Relations literature | X | ||||
6 | To determine, collect, resolve, and interpret the data that would measure the theories and concepts as variables by using scientific research methods in Political Science and International Relations field | X | ||||
7 | To use confidently the terms and concepts of Political Science and International Relations | X | ||||
8 | To communicate systematically, in written, oral, and visual forms, contemporary developments in Political Science and International Relations to groups inside and outside the said discipline | X | ||||
9 | To take responsibility in an individual capacity and as part of a team in generating solutions to unexpected problems that arise in relation to politics in daily life | X | ||||
10 | To develop projects determining the institutional and political instruments for management of domestic and international conflicts | X | ||||
11 | To prepare an orginal thesis/term project about Political Science and International Relations in accordance with scentific criteria | X | ||||
12 | To design and carry out a scientific research project in the field of Political Science and International Relations | X | ||||
13 | To have ethical, social and scientific values in the stages throughout the processes of collecting, interpreting, disseminating and implementing data relevant to Political Science and International Relations | X |
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest