Degree | Type | Year | Semester |
---|---|---|---|
2500244 East Asian Studies | OB | 3 | 1 |
None.
The main aim of this subject is to provide an introduction to the basic characteristics of artistic and cultural production in East Asia. Its purpose is to help develop an interdisciplinary vision of East Asian Studies.
Part 1 – Artistic tradition in East Asia
The first part of the subject presents artistic tradition in East Asia (China, Japan and Korea). We will see how aesthetic ideas and artistic practices have spread throughout this geographic region. We will firstly focus on artistic production related to religion and its rituals, and then on painting and calligraphy, exploring the main aesthetic concepts of literati art. As both the aspects of artistic tradition in question also constitute social practices, we will analyse their links with local daily life.
Part 2 – Modern and contemporary art in East Asia
In the second part of the subject we will analyse the main trends in modern and contemporary art in East Asia. We will focus on the most notable artists and artistic movements to understand how artistic production has evolved in the last century. We will see how the “West” and the “East” have influenced each other in terms of art’s development since the 19th century, and how artistic production in the last century has been highly conditioned by and constantly related to major changes in East Asian societies.
To achieve the established objectives, this subject mainly involves lectures. Particular emphasis will be placed on the analysis of artworks and primary and secondary sources, in which the active participation of students, through comments, discussions and debates, will be fundamental. The work students carry out will mainly consist of group presentations, debates and discussions, written assignments, and a series of exams. Over the course of the semester the lecturer will hold individual and/or group tutorials to help students with their work.
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Assignments of analysis of artworks and primary and secondary sources. | 13 | 0.52 | 1, 8, 7, 9, 4, 10, 11, 12, 14, 13 |
Debates | 5 | 0.2 | 8, 7, 9, 4, 10, 11, 12, 16, 15, 14, 13, 6 |
Individual and/or group tutorials. | 2 | 0.08 | 2, 8, 7, 9, 4 |
Lectures. | 40 | 1.6 | 8, 7, 9, 11 |
Type: Supervised | |||
Group assignments. | 15 | 0.6 | 8, 7, 9, 4, 3, 11, 12, 16, 15, 14, 13 |
Individual assignment. | 15 | 0.6 | 1, 8, 7, 9, 5, 4, 10, 12, 14, 13, 6 |
Oral presentations | 2 | 0.08 | 2, 8, 7, 9, 5, 4, 3, 10, 11, 12, 16, 15, 14, 13, 6 |
Type: Autonomous | |||
Individual assignment: readings, watching visual material, etc. | 14 | 0.56 | 1, 2, 8, 7, 9, 5, 4, 3, 12, 14, 13, 6 |
Evaluation activities
30% Written exam
A written exam on the contents of both parts of the subject.
20% Individual written assignment
Individual written analysis of one of various artworks selected by the lecturer.
30% Group work
Preparation, in groups, of a cultural promotion product (more details will be given in classes).
20% Seminars' reports
A written assignment related wiht the seminars on the subject’s contents held over the semester.
Related matters
The above information on assessment, assessment activities and their weighting is merely a guide. The subject's lecturer will provide full information when teaching begins.
Review
When publishing final marks prior to recording them on students' transcripts, the lecturer will provide written notification of a date and time for reviewing assessment activities. Students must arrange reviews in agreement with the lecturer.
Missed/failed assessment activities
Students may retake assessment activities they have failed or compensate for any they have missed, provided that those they have actually performed account for a minimum of 66.6% (two thirds) of the subject's final mark and that they have a weighted average mark of at least 3.5. Under no circumstances may an assessment activity worth 100% of the final mark be retaken or compensated for.
The lecturer will inform students of the procedure involved, in writing, when publishing final marks prior to recording them on transcripts. The lecturer may set one assignment per failed or missed assessment activity or a single assignment to cover a number of such activities.
Classification as "not assessable"
In the event ofthe assessment activities a student has performed accounting for just 25% or less of the subject's final mark, their work will be classified as "not assessable" on their transcript.
Misconduct in assessment activities
Students who engage in misconduct (plagiarism, copying, personation, etc.) in an assessment activity will receive a mark of “0” for the activity in question. In the case of misconduct in more than one assessment activity, the students involved will be given a final mark of “0” for the subject.
Students may not retake assessment activities in which they are found to have engaged in misconduct. Plagiarism is considered to mean presenting all or part of an author's work, whether published in print or in digital format, as one's own, i.e. without citing it. Copying is considered to mean reproducing all or a substantial part of another student's work. In cases of copying in which it is impossible to determine which of two students has copied the work of the other, both will be penalised.
More information: http://www.uab.cat/web/study-abroad/undergraduate/academic-information/evaluation/what-is-it-about-1345670077352.html
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Group work | 30% | 20 | 0.8 | 1, 8, 7, 9, 4, 3, 10, 11, 12, 16, 15, 14, 13 |
Individual written assignment | 20% | 15 | 0.6 | 2, 8, 7, 9, 5, 4, 3, 10, 11, 12, 14, 13, 6 |
Seminars' reports | 20% | 5 | 0.2 | 7, 9, 5, 4, 10, 11, 12, 16, 15, 13, 6 |
Written exam | 30% | 4 | 0.16 | 2, 8, 7, 9, 5, 4, 10, 11, 12, 14, 13, 6 |
Parte 1
L'Art sagrat del Tibet: saviesa i compasió. (1996). Barcelona: Fundació "la Caixa".
Addis, Stephen (1989). The Art of Zen: paintings and calligraphy by Japanese monks, 1600-1925. New York: H.N. Abrams.
Bush, Susan, & Shih, Hsio-yen (Eds.). (1985). Early Chinese texts on painting. Cambridge: Harvard University Press.
Cervera Fernández, Isabel (1997). Arte y cultura en China: conceptos, materiales y términos de la A la Z. Barcelona: Ediciones del Serbal.
Cheng, François (1993). Vacío y plenitud. Madrid: Siruela.
Clunas, Craig (1997). Art in China. Oxford: Oxford University Press.
Jungmann, Burglind (2014). Pathways to Korean Culture – Painting of the Joseon Dynasty, 1392-1910. London: Reaktion Books.
Lee, Dongju (2003). The Beauty of old Korean paintings: a history and an appreciation. London: Saffron books.
Lee, Soyoung (2009). Art of the Korean Renaissance, 1400-1600. New York: Metropolitan Museum of Art.
Noritake, Tsuda (2009). A History of Japanese art: from prehistory to the Taisho period. North Clarendon: Tuttle Publication.
Petrucci, Raphael (Ed.). (2000). Encyclopédie de la peinture chinoise. Paris: You Feng.
Parte 2
Chung, Yeon Shim, & Kim, Sunjung, et al. (2020). Korean art from 1953: collision, innovation, interaction. London: Phaidon Press.
Gao, Minglu (2011). Total Modernity and The Avant-garde in Twentieth Century Chinese Art. Cambridge: Massachusetts Institute of Technology Press.
Gladston, Paul (2014). Contemporary Chinese Art: A Critical History. London: Reaktion Books.
Horlyck, Charlotte (2017). Korean Art: from the 19th Century to the Present. London: Reaktion Books.
Kim, Youngna (2005). 20th century Korean art. London: Laurence King.
Moreno, Pilar Cabañas, & Arias Estévez, Matilde Rosa (2020). Zen, Tao y Ukiyoe – Horizontes de inspiración artística contemporánea. Gijón: Satori Arte.
Munroe, Alexandra (Ed.). (1994). Japanese art after 1945: scream against the sky. New York: Harry N. Abrams; Japan: Yokohama Museum of Art.
Perspective of 20th Century paintings. (1988). Nagoya: Nagoya City Art Museum.
Weisenfeld, Gennifer, (2002). Mavo: Japanese artists and the avant-garde, 1905-1931. Berkeley: University of California Press.
Wichmann, Siegfried (1999). Japonisme: the Japanese influence on Western art since 1858. London: Thames and Hudson, 1999.
Wu, Hung, (Ed.). (2010). Contemporary Chinese Art: Primary Documents. New York: MoMa.
Specific programs will not be used for this subject.