GRADUATE SCHOOL
Political Science and International Relations (Without thesis)
PSIR 562 | Course Introduction and Application Information
| 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
|
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| Course Language |
English
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| Course Type |
Elective
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| Course Level |
Second Cycle
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| 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;
|
| 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. |
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Core Courses | |
| Major Area Courses |
X
|
|
| Supportive Courses | ||
| Media and Management Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Related Preparation |
| 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. |
EVALUATION SYSTEM
| 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 Exams | ||
| 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 |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
3
|
48
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
0
|
|
| Study Hours Out of Class |
12
|
4
|
48
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
2
|
10
|
20
|
| Presentation / Jury |
1
|
14
|
14
|
| Project |
1
|
35
|
35
|
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
1
|
20
|
20
|
| Final Exam |
1
|
40
|
40
|
| Total |
225
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
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