Professional Documents
Culture Documents
Extra Credit Activity: There is one extra credit activity which will occur during
this semester, the Florida Token Kai (Japanese Sword
Society) “Nineteenth Annual Japanese Sword Show”, to be
held at the Tampa Airport Marriott Hotel, at TIA. If you
attend, go to one of the demonstrations, or study sword
fittings in several dealers’ cases, and hand in a two-page
summary and critique of this activity, extra credit points
will be awarded.
Grading Opportunities:
There are two exams, one final essay/questionnaire, participation and attendance
credit, and one extra credit activity.
Grading System:
Grade Numerical Equivalent
A Superior Performance 4.00
A- 3.67
B+ 3.33
B Above Average 3.00
B- 2.67
C+ 2.33
C Average Performance 2.00
C- 1.67
D+ 1.33
D Below Average 1.00
D- Lowest Passing Grade 0.67
F Failing 0.00
WF Withdrew Failing 0.00
Grading System:
These grades are not computed in the GPA
P Credit But No Grade
N No Credit
W Withdrew Passing
I Incomplete (see policy below)
Required/Recommended Materials:
Two textbooks, available in bookstore; Open Reserve and Reserve, in Library.
Required/Recommended Text:
The required texts are in paperback and available in the campus bookstore. Please
bring the JSB text to each class, and the AS text to class as requested by instructor.
1) Joan Stanley-Baker, Japanese Art (London: Thames & Hudson, 2000 revised
and expanded edition) [hereafter JSB]
2) Adele Schlombs, Hiroshige (Taschen, 2008) [hereafter AS]
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You will find these library periodicals particularly useful: Arts of Asia, Daruma,
Tricycle, Asian Art News, and Orientations.
The Library has many books devoted to the topics of Japanese prints, netsuke, poetry
and other literary forms, Zen and other forms of Buddhism, ceramics, gardens,
theatre, modern art and architecture, paintings, paper, and calligraphy. It may be
helpful for you to keep the following general call numbers in mind for your quizzes and
final essay/questionnaire:
Disabilities Accommodations:
The Ringling College of Art and Design makes reasonable accommodations for
qualified people with documented disabilities. If you have a learning disability, a
chronic illness, or a physical or psychiatric disability that may have some impact on
your work for this class and for which you may need accommodations, please notify
the Director of the Academic Resource Center (Room 227 Ulla Searing Student Center;
359-7627) preferably before the end of the drop/add period so that appropriate
adjustments can be made.
Health and Safety:
Ringling College of Art and Design is committed to providing students, faculty, and
staff with a safe and healthful learning and work environment and to comply with all
applicable safety laws and regulations and safe work practices. There will be no eating
in the classroom.
Academic Integrity Policy:
There is a ZERO tolerance policy for theft, plagiarism, and all forms of harassment,
punishable by possible dismissal and receiving an F for the course. Plagiarism is the
intentional and/or unintentional use of another writer’s ideas, words, or research
without proper citation (documentation of the source). The Writing Studio and ARC
can cover the proper ways to document and give credit where it is due. Plagiarism,
theft, and harassment are crimes.
Professional Behavior in the Classroom:
The use of laptops, cell phones, and other mechanical/digital devices during the class
period is not permitted. All electronic devices (notebooks, MP3s, cell phones, etc.) are
to be turned OFF during art history classes. The only exception will be for the
student/notetaker entering the current class lecture notes into his/her computer. For
this purpose only, designated seating will be assigned by the instructor at the
beginning of the semester. If you are anticipating an emergency phone call, please
alert the instructor at the beginning of the class and turn your cell phone to the
vibration mode. Otherwise, all cell phones must be turned OFF. Text messaging during
class is not permitted for any reason.
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During the semester, there may be material discussed and/or illustrated which might
be considered by some to have controversial, adult, or otherwise “politically incorrect”
content. Art and ideas perceived as containing such content, however, are presented
for their educational value, not for reasons of exploitation or confrontation. If you have
a problem, please see the instructor.
Incomplete Policy:
Incompletes are granted only by the direction of the instructor.
Course Schedule (Tentative), Topics and Reading Assignments:
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Exam and Course Essay Information:
Exam #1: Based on the exhibition currently on display at the Ringling Museum of Art,
“Fashioning Kimono: Art Deco and Modernism in Japan”, chose one kimono to describe
and discuss in terms of its overall design concepts (include a rough drawing), then
relate it to imagery in Tale of Genji paintings and prints (See books on Open Reserve
and the various Genji tapes and DVDs on Reserve for source material.). Write a 3-4
page double-spaced, coherent and logically developed essay to hand in at the time of
Exam #1; the pages must be stapled and have your name at the top. A Student Pass
to see the Ringling Museum exhibition will be provided by the instructor.
Exam #2: Based on the Schlombs book, choose one Hiroshige print to analyze
thoroughly. In an accompanying essay, first, present the standard “museum label”
type of identification of the work; second, write up information that you have gathered
about the subject of the print (Search the many books on Open Reserve and various
on-line sources, and cite your sources.); third, “de-construct” the image and tell how
it is composed; then, either create your own traditional version of this image or create
a contemporary Japanese-style work based on this image, bringing it up to date. The
re-creations or updates may be in any medium. Write a 3-4 page double-spaced,
coherent and logically developed essay to hand in at the time of Exam #2; the pages
must be stapled, and have your name at the top.
Final Essay/Questionnaire: For each of these three questions, use books on Open
Reserve and be sure to cite your sources. Page counts do not include any illustrations.
1. What five qualities do you associate with Japanese art? Give examples from works
in diverse media. 3-5 typed pages.
2. What one theme or design or work from Japanese art do you find particularly
appealing or interesting, and why? 1-2 typed pages.
3. What single aspect of Japanese art do you find most surprising to you, and why? 1-
2 typed pages.
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Books on Open Reserve in Library:
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Library Shelf No. Title Author
Contributors David
ND553.M7 A4 2001 Monet and Japan
Bromfield, et.al.
NE642.B36 A4 2007 Paul Binnie, A Dialogue with the Past Kendall H. Brown, et.al.
NE1325.K5 D38 2007 Utamaro and the Spectacle of Beauty Julie Nelson Davis
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Library Shelf No. Title Author
NK2195.S89 V36 2002 Powershop: New Japanese Retail Design Carolien van Tilburg
Edited & translated by
From the Country of Eight Islands: An
PL782.E3 F74 1986 Hiroaki Sato & Burton
Anthology of Japanese Poetry
Watson
PL788.4.G4 2006 The Tale of Genji Yoshitaka Amano
Translated with intro. by
PL788.4.G415 E5 1990 The Tale of Genji by Murasaki Shihibu
Edward G. Seidensticker
PL674.C5 D9 1977 The Kanji ABC Andrew Dykstra
PL676.Y67 1999 Kodansha's Furigana Japanese Dictionary
The Art of Inuyasha: Collection of Original
PN6790.J33 T35 2003 Rumiko Takahashi
Illustrations
Masterpieces of Japanese Garden Art (5
SB458.M5813 1992 Mizuno Katsuhiko
volumes)
SB458.O373 2000 Japanese Gardens of the Modern Era Haruzo Ohashi
Nancy Moore Bess and
SB317.B2 B47 2001 Bamboo in Japan
Bibi Wein
Reading Zen in the Rocks: The Japanese Dry
SB458.B4713 2000 Francois Bertheir
Landscape Garden
TR647.M667 A4 2002 `71-NY Daido Moriyama
TR647.T63 A4 2003 Heian: Compositions by Seiju Toda Intro. by Vicki Goldberg
Translations by Udo
TR647.Y35 A4 1999 Iwao Yamawaki
Breger
Z270.J3 I3713 1986 Japanese Book Binding Kojiro Ikegami
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