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ARHA 339/FIST 339/MUSC 285/COL 349/GRST 239/GELT 239
MODERNISM AND THE TOTAL WORK OF ART
SPRING 2017
M & W 2:50-4:10pm113 Boger Hall
The term "total work of art" refers to the German Gesamtkunstwerk, which took on new urgency in the nineteenth century amidst social upheaval and revolution. Understood as the intention to re-unite the arts into one integrated work, the total work of art was tied from the beginning to the desire to recover and renew the public function of art. While there exist many approaches to totality in the modern era, this course focuses on modernisttheories and practices, which simultaneously critiqued existing society and posited a utopian alternative. We willbegin by studying formulations of totality in response to a cultural crisis initiated by the 1789 French Revolution. From there, we turn to German idealism and to an analysis of composer Richard Wagner's ideas and compositions, which made the idea of the synthesis of the arts a central focus for European modernism. Yet if Wagner's works and writings provided the dominant reference for subsequent developments from the 1880s onwards, these most often consisted of a search for alternatives to his own theory and practice, particularly in the visual arts. We will examine attempts to envision totality after Wagner in Impressionist painting and German Expressionism. Ideas of totality and utopia continued to carry positive associations for modern artists until the 1930s, when they became co-opted by totalitarian governments. The course concludes by examining the perversion of modernist dreams in Nazi festivals and art exhibitions.
CONTACT INFORMATION
Prof. Katherine Kuenzli
Boger Hall, room 307
Office Hours W 4:15-5, F 2-3pm
Ext. 3682
REQUIRED TEXTS
There are fiverequired texts, and a number of readings on e-reserve and moodle.
David Roberts, The Total Work of Art in European Modernism. Cornell University Press, 2011 (ISBN 0801450233)
Jean-Jacques Rousseau, Of the Social Contract and Other Political Writings.Penguin Classics, 2012 (ISBN 0141191759)
Mona Ozouf, Festivals and the French Revolution. Harvard University Press, 1991 (ISBN 0674298845)
Friedrich Schiller, On the Aesthetic Education of Man. Dover Books on Western Philosophy, 2004 (ISBN 0486437396)
Friedrich Nietzsche, The Birth of Tragedy. Cambridge Texts in the History of Philosophy, 1999 (ISBN 0521639875)
These books are available for purchase at Broad Street Books. You may also purchase them elsewhere. Alternate editions are usually ok, but please be careful when purchasing digital versions. Since many of these works are out of copyright, cheap digital versions might be simply snatched from the Internet without any editorial supervision or control, resulting in inferior or unreadable editions. One copy of each book is also on reserve at Olin.
ELECTRONIC RESERVES
The readings posted on electronic reserves can be accessed from the library homepage under “Course Reserves”. The course password is: arha339 (no spaces).
COURSE REQUIREMENTS
25% participation, including reading presentations, in-class discussion
25% 6-page mid-term essay on the assigned readings
5% research paper proposal and bibliography
10% oral presentation of research project
35% 15 page research paper
You must complete each assignment with a passing grade in order to pass the course. There will be an automatic grade penalty for late papers (one half grade for each day beyond the deadline).Paper extensions will be granted only in extenuating circumstances and upon presentation of a dean’s or doctor’s note. Requests for extensions must be made at least 48 hours before a deadline.
Reading presentation
Students are requiredat least once during the semesterto engage with the readings by selecting and typing up one or more key passages (1-2 pages) from the readings and formulating a series of questions related to it/them. Select text passages that seem central to the author's main points and briefly introduce them to the class before posing specific discussion questions.
Mid-Term Essay
Six pages (12 point font, double-spaced). This paper will draw on the assigned readings and students will select one topic from a selection of given prompts.
Research Paper
18-20 pages (12 point font, double-spaced).Research papers will involve original research on a topic of your choice related to an aspect of the theory and practice of the total work of art in European modernism, 1780s-1930s. In most cases, papers will focus on primary documents, whether artworks, musical compositions, theater performances, or texts. A list of potential topics will made available, although you may also propose your own in consultation with the instructor. In addition to primary sources, you will also be expected to employ at least six carefully chosen and substantive secondary sources to contextualize your topic. However, the bulk of you effort should be understanding and presenting the book or work you have chosen. Students will hand in a paper proposal and bibliography as indicated below.
Your research paper proposal should state your chosen topic as well as questions or hypotheses that you plan to investigate. Above all you need to demonstrate that the question you wish to pursue is significant and doable (i.e. that it can be addressed in an 18-20 pagepaper with available source material in languages that you read). In the bibliography you will need to identify sources that are relevant to your topic as well as available to you through the Wesleyan library or interlibrary loan (allow two weeks for delivery of books ordered via ILL). Your bibliography must adhere to Chicago Manual of Style format. An online version of the Chicago Manual of Style can be found online via the “Articles, Journals, and Databases” link on the Library homepage (
Research presentations will consist of ten-minute papers (5 pages, 12 point font, double spaced) that you write ahead of time and read out loud to the class. In your paper you should state your topic, your thesis, its importance and originality, as well as how you plan to develop this thesis. Your presentation should include short musical passages and/or visual material if these are relevant. These presentations are meant to advance your research projects, and students in the class will be expected to give you feedback, pose questions, and in general help you identify areas that look promising or need further investigation.
ATTENDANCE
Class will start promptly at 2:50pm—tardiness is distracting to all and will not be tolerated. Attendance of all classes is required, as participation constitutes a crucial component of the course and cannot be made up if missed. More than two unexcused absences will result in a grade penalty.
WAGNER AT THE MOVIES
We will view one Wagner musical drama in the context of this class. Because itis very long (ca. 4 hours), this performance will be screened on a Sunday evening (February 26th) in the CFA Hall. The showingis required and will take the place of a regular class period. Please enter this screening date on your calendar.
CLASS RULES
* no eating during class (please leave the classroom as clean as you found it)
*turn off your cell phone
*computers can be used for note-taking only
*do not leave the classroom unless there is an emergency
STUDENTS WITH DISSABILITIES
It is the policy of Wesleyan University to provide reasonable accommodation to students with documented disabilities. Students are responsible for registering with Disabilities Services, in addition to making requests known to us in a timely manner. If you require accommodations in this class, please make an appointment with one of the professors as soon as possible, so that appropriate arrangements can be made. The procedures for registering with Disabilities Services can be found at
SCHEDULE OF MEETINGS AND ASSIGNMENTS
All readings must be completed before the class for which they are assigned
*denotes texts on ereserve
**denotes texts on Moodle
1-30Introduction: Aesthetic Modernism
David Roberts, The Total Work of Art in European Modernism, 1-12.
*T. C. W. Blanning, Short Oxford History of Europe: The Nineteenth Century, 1-46.
*Barry Millington, The New Grove Guide to Wagner and His Operas (2006), 3-27.
I. ORIGINS
2-1Rousseau and Civic Religion, I
Roberts, The Total Work of Art, 15-33.
Jean-Jacques Rousseau, The Social Contract, Books I, II
2-6Rousseau and Civic Religion, II
Jean-Jacques Rousseau, The Social Contract, Books III, IV
2-8French Revolutionary Festivals
Mona Ozouf, Festivals and the French Revolution, 1-21, 126-47, 197-216
[Recommended reading (not required): Gordon Wright, France in Modern Times, 5th ed. (New York: W. W. Norton, 1995), pp. 41-62.]
2-13French Revolutionary Festivals
Mona Ozouf, Festivals and the French Revolution, Chapters II, III, IV, V
Divide class into four groups, each of which is responsible for reading and reporting on one chapter of revolutionary festivals
2-15Germany and the Revolution Within
David Roberts, The Total Work of Art, 34-53.
*Terry Pinkard, Introduction to German Philosophy 1760-1860: The Legacy of Idealism, 1-15.
Friedrich Schiller, On the Aesthetic Education of Man, letters 1-10
2-20No class. Continue reading Schiller.
2-22Schiller's Aesthetic Education
Friedrich Schiller, On the Aesthetic Education of Man, letters 11-27
Assign mid-term essay
II. WAGNER AND THE TOTAL WORK OF ART
2-26Wagner's Ring Cycle: Die Walküre
View Wagner, Die Walküre(1851-70) in the CFA HallSUNDAY EVENING, 6-10pm
* John Deathridge and Carl Dahlhaus, The New Grove Wagner (New York and London: W. W. Norton, 1984): 142-52.
*Richard Wagner, "Commentary on The Ring," in Wagner on Music and Drama, eds. Albert Goldman and Evert Sprinchorn, pp. 290-94
**Libretto in Richard Wagner, Die Walküre, trans. Rudolph Sabor (London: Phaidon, 1997), 10-189 (skim and bring to the screening)
3-1The 1848 Revolution and The Artwork of the Future
David Roberts, The Total Work of Art, 54-76.
*Richard Wagner, "Art and Revolution" (1849) in Richard Wagner's Prose Works, trans. William Ashton Ellis (New York: Broude Brothers, 1966), vol. 1, pp. 21-68.
* T. C. W. Blanning, Short Oxford History of Europe, 78-82.
3-6Tristan and the Development of the Music Drama
*Wagner, "The Music of the Future" (1860) in Richard Wagner's Prose Works, trans. William Ashton Ellis (New York: Broude Brothers, 1966), vol. 3, pp. 293-345.
*Jack M. Stein, Richard Wagner and the Synthesis of the Arts, 149-55.
3-8Bayreuth
David Roberts, The Total Work of Art, Chapter 5
**Patrick Carnegy, Wagner and the Art of the Theater(New Haven and London: Yale University Press, 2006), pp. 46-54, 69-123
3-105-page take-home essay due by 5pm in my mailbox in the art history program office, room 318 in 41 Wyllys.
3-11 to 3-26 SPRING BREAK
III. MODERNISM AND THE TOTAL WORK OF ART
3-27Wagnerian Modernism
*T. C. W. Blanning, Short Oxford History of Europe: The Nineteenth Century, 126-57.
David Roberts, The Total Work of Art, Chapter 4
*Baudelaire, "Wagner and Tannhauser in Paris," in The Painter of Modern Life and Other Essays, 111-46.
Listening: **Overtures to Lohengrin and Tannhäuser(links provided on moodle)
Assign Research Paper
3-29Nietzsche I
Nietzsche, Birth of Tragedy(Cambridge University Press, 1999), Foreward and Sections 1-15, pp. 13-75
4-3 Nietzsche II and Research Workshop
Nietzsche, Birth of Tragedy(Cambridge University Press, 1999), Sections 16-25 and "Attempt at Self-Criticism," pp. 76-116, 3-12
Guest: Susanne Javorski, Art History librarian ()
4-5Mallarmé's Critique
David Roberts, The Total Work of Art, Chapter 6
*StéphaneMallarmé,"Richard Wagner, Revery of a French Poet" in Selected Prose Poems, Essays, and Letters, 72-8.
4-10Music and Painting
*André Dombrowski, "Art Arranged for Piano: The Overture to Tannhäuser" in Cézanne, Murder, and Modern Life, 138-74 (+ plate 12, and notes pp. 274-81)
*Anne Leonard, "Picturing Listening in Late Nineteenth Century," The Art Bulletin 89, no. 2 (June 2007): 266-86.
4-12Visit to the Davison Art Center
4-17Research Proposal and bibliography due. No class
no later than noon in my mailbox in the art history program office, 41 Wyllys, room 318
4-19Individual research meetings with instructor. No Class Meeting.
4-21New Theories of Stage Design
*Patrick Carnegy, Wagner and the Art of the Theater, 175-207
**Adolph Appia, Music and the Art of the Theatre, 7-16, 28-98
4-24The Blue Rider and New Visions of Totality
*Peg Weiss, “Introduction,” in Kandinsky in Munich: The Formative Jugendstil Years, 3-10.
*Peter Jelavich, “Retheatricalized Modernism: The Künstlertheater and Its Affinities,” in Munich and Theatrical Modernism, 186-235
*Kandinsky, “On Stage Composition,” and “The Yellow Sound” in The Blaue Reiter Almanac (Viking Press, 1974), 190-225
4-26Expressionist Architecture
Reading: David Roberts, Ch. 7
*Wolfgang Pehnt, Expressionist Architecture, 7-22, 34-43, 73-83
IV. TOTALITY AND TOTALITARIANISM
5-1David Roberts, Ch. 11
*Eric Michaud, The Cult of Art in Nazi Germany, 1-73.
View portions of Leni Riefenstahl, Triumph of the Will
5-3Student research presentations
5-8Student research presentations
5-10Student research presentations
5-16Final Research Papers due
no later than 4pm in my mailbox in the art history program office, 318 Boger Hall