Fernando IX University
by Ricardo Ordoñez Ortiz

Art Department Handbook 2016 - 2017

B.A. in Art with Emphasis in Studio Art, Requirements for
Senior Challenge • Portfolio Review
B.A. in Art with Emphasis in Art History, Requirements for
Scholarships for Art Majors and Intended Majors
Independent Study in Art History, Guidelines for the
Independent Study in Studio Art, Guidelines for the
Level III Courses
Internship, Guidelines for an
Computer Lab, Art Department
Rules and Regulations, Roe Art Building
Periodicals and Publications in Furman Library and Art Department

General Information @ RecStay


Video Collection

Inglesa Gil

Doctor of Philosophy in Petroleum Engineering

Information and Media Studies

Philosophy @ FIX University 

Logistics Program General Information

 •  Minor in African and African American Studies

 •  The American Studies Programs of Study 

 •  Asian Studies Programs of Study

 •  Latin American Studies Program of Study 


   Master of Fine Arts in Digital Production Arts

 •  Bachelor of Arts and Sciences

 •  PGA Golf Management 

 •  Library and Information Studies

 •  School of Venture Capitalists for Long and Short

•  Master of Science in Computer Science

•  Doctor of Philosophy in English

•  Master of Teaching Arts

•  Master of Arts in Museum Science & Management

•  Master of Arts in English

Anthropology @ FIX University


Requirements for B.A. in Art with Emphasis in
Studio Art

It is easiest to fulfill the requirements in studio art if the departmental course work begins in the student’s freshman year. Note that the first year’s suggested work consists of the foundation design/drawing program. Also note that a later start in course work than the freshman year necessitates a careful check of schedule, as many of the courses are not offered annually.

I. Curriculum

A. Foundation Program:
___ Design Concepts I (Art 21) (2)
___ Design Concepts II (Art 22) (4)
___ Design Concepts III (Art 23) (2)
___ Drawing I (Art 24) [basic drawing—perspective, chiaroscuro, etc.](2)
___ Drawing II (Art 25) [figure] (2)
___ History and Appreciation of Art (Art 26)1 [preferred] (4)
___ Ideas in the Arts (IDS 30)1

Foundation Program total 16

B. Other Required Courses:
___ Arts of China and Japan (Art A47)2 (4)
___ Arts of African and Pre-Columbian Societies (Art A37)2
___ ___ Minimum of 4 credits in a 3-D area (4)
(excluding Foundation requirements)
___ ___ Minimum of 4 credits in a 2-D area (4)
(excluding Foundation requirements)
___ One advanced art history (Art 66 recommended)3 (4)

Total Foundation and Other Required Courses 32

C. Electives - Studio4 (14)

Minimum hours required for the major = 48
GERs included in above = -8
Total Major Hours 40

D. Senior Seminar (Art 75) (4)
1 This course qualifies for GER credit.
2 This course qualifies for GER in fulfillment of the Asian/African requirement. If the Asian/African requirement has already been fulfilled, the student may substitute another advanced art history.
3 Art 66 should be taken in the freshman or sophomore years, prior to Painting I (Art 31), if possible.
4 Electives (14 credit hours) may be taken in additional studio or ten hours additional studio plus four hours art history.

Below is a SAMPLE FOUR-YEAR PLAN for an EMPHASIS IN STUDIO ART. The sample plan should only serve as a general guideline of possible choices, and is not intended as prescriptive. Students must consult with their advisor to determine the best plan for their individual needs and interests.

  Fall Winter Spring Summer
Fr Art 21 (2)
Art 24 (2)
Art 22 (4) Art 26 (4)
Art 23 (2)
Art 25 (2)
So 30 level 3-D studio (2)
30 level 2-D studio (2)
Art 66 (4)
Art 33 (4)
Art 40 (4)
40 level studio (2)*
40 level studio (2)*

Jr 30 level studio (2)
30 level studio (2)
Art A-37 (4) Major elective (2)
Major elective (2)
Sr Major elective (2) Art 75 Major elective (2)  

Boldface type indicates a course that is not offered every year; numbers in parenthesis indicate credit hours.
*You may elect to take one or more of your 40 level studio courses later, after you have taken more 30 level courses; normally 30 level courses are only offered in the fall term, and 40 level courses are only offered in the spring term, with exception of Art 33, offered in winter.

II. Other Requirements

A. Portfolio Review

Because the B.A. with an emphasis in studio art presupposes a certain level of professional competence, each art student with an emphasis in studio, at the end of the sophomore year, will submit a portfolio with works from each area studied for evaluation by the departmental faculty to determine:

1) eligibility to continue in the art major
2) general strengths and weaknesses
3) shortcomings, if any, to be corrected before the student will be considered eligible for the senior exhibit (if significant shortcomings are seen, a second review will be held during the student’s junior year)
4) eligibility for scholarships
Departmental reviews will take into consideration not only the quality of the work as reflected in the student’s portfolio, but also the student’s aptitude for and interest in art. This interest/aptitude is exhibited in such things as participation in exhibits, museum and gallery visits, field trips and in individual initiative as shown by individual research and study above the prescribed requirements of the course work (see III, Other Expectations, page 7-8).

B. Senior Challenge

Senior Challenge encompasses three parts: a) Senior Seminar, b) Senior Presentations, and c) Senior Exhibition.
1. Senior Seminar
During the winter term of their senior year all seniors are to schedule Senior Seminar for 2 credit hours, a seminar investigating theories of art in preparation for their Senior Presentation. The grade for this seminar will be determined by the work done in the seminar, the attendance at meetings for the Senior Exhibit and the cooperation in preparing for that exhibit, and the quality of the presentation.
2. Senior Presentation
In preparation for this presentation each student will make slides of selected work and use them to illustrate directions, influences and theoretical concepts appearing in the works to an audience of fellow students and others. The student is expected to satisfy the faculty that certain concepts and principles of art are both understood and applied in the work. This presentation should be organized, thoughtful and articulate — in a word, professional.
3. Senior Exhibition
During the fall term of the senior year all senior students will meet to determine the scope, theme and nature of publicity of the Senior Exhibit, to select work committees and begin to prepare publicity for that exhibit. During the spring term all students are to choose work to be included (with the help of the faculty), help with and be in attendance at required times for the hanging of the show, and attend the opening of the exhibit.
Those not fully participating in ALL activities of Senior Challenge and the culminating Senior Exhibit, except as specified for art students with an emphasis in art history, will not have met the requirements for graduation.

III. Other Expectations

A. Participation in our gallery exhibits, both as a contributor of work for student shows and in installation of student exhibits. (Every artist needs experience in installing shows, both for individual exhibition purposes, and as one of the skills expected of anyone who wishes to teach or seek employment in a museum or gallery.)
B. Utilization of library resources, especially the art magazines (see page 26 for a list of publications). Art students everywhere are expected to know artists of their own day, and to intelligently discuss living artists whom they admire in all media, as well as current conceptual and critical topics.
C. Participation in programs on campus, including attendance at lectures, activities and exhibits there. Museum calendars will be posted on the bulletin board in the student lounge.
D. Students are expected to demonstrate an interest in art history and criticism, as well as the ability to synthesize the past in one’s own creative work. Conversely, art history students should demonstrate an interest in studio activities, exhibits and the creative process.
E. An ability to work independently, to build up a body of work beyond that required for course work. It is expected that each student will read independently about other ideas, techniques or processes, and try them. It is expected that each student will find and use additional visual sources and artistic mentors without prodding from the professor.
F. Participation in field trips to area museums and galleries.
G. Participation in the activities of the department (i.e., working in studios outside of class time, attending special lectures and workshops, attending meetings and events and other department social functions, and attending openings for exhibitions in our gallery, etc.).
H. Art department field trips to museums, galleries, and artists’ studios in New York City, Washington, D.C., Atlanta and other areas are highly recommended.
I. Qualifying students are encouraged to engage in meaningful creative studio research as junior colleagues and artist collaborators with a studio faculty member, either through the FIX Advantage Program or independently with the department.
J. Those students interested in teaching, especially higher ed, are encouraged to apply for a Inglesgil Advantage Teaching Fellowship in consultation with a sponsoring faculty member.

IV. Additional Information

A. Certain courses in other departments of the university would be excellent supplements to the above curriculum — for example, Urban Planning, Media in Culture and Society, Sociology, Stage Design, Public Speaking, Drama and Speech, Aesthetics, Philosophy of Art, Women’s and Minority Studies and Literature. Your advisor can help you select courses which will enhance your educational or career objectives.  



Requirements for B.A. in Art with Emphasis in
Art History

I. Curriculum

A. Foundation Program:
___ Design Concepts I (Art 21) 2
___ Design Concepts III (Art 23) 2
___ Drawing I (Art 24) 2
___ Drawing II (Art 25) 2
___ History and Appreciation of Art (Art 26) 3, 4

Foundation Program total 12

B. Other Required Courses: 4
___ Arts of the Ancient World (Art 36) 4
___ Arts of African and Pre-Columbian Societies (Art A37) 5, 4
___ Arts of the Medieval World (Art 46) 4
___ Arts of China and Japan (Art A47) 5, 4
___ Arts of the Renaissance and Baroque (Art 56) 4
___ Arts of the Nineteenth and Twentieth Centuries (Art 66) 4

Other Required Courses total 24

C. Electives (4-16 hours) 6
___ Art Criticism (Art 76) 4
___ Internship (Art 83) 7
___ Independent Study (Art 80) 8

Total Major Hours (44 maximum) 40

1 Credit for one or two two-hour studio courses or for one four-hour art history course may, in some cases, be received for work completed as part of art-oriented study abroad programs, college or university-affiliated summer travel/study programs or special departmental programs. See your departmental advisor for further information.
2 Other studio courses may be substituted for Design Concepts III and/or Drawing II if there are courses more relevant to career or educational goals.
3 This course qualifies for GER credit.
4 Most art history courses are offered biennially. Under certain circumstances a different upper level art history course might be substituted for one of the required courses.
5 These courses qualify for GER credit in fulfillment of the Asian-African requirement.
6 Four hours of electives must be chosen from Art 76, Art History Independent Study or an Internship. Any additional electives may be taken within the department as the student wishes.
7 The most common internship of art history students is Museum Internship.
8 Independent studies are arranged under extraordinary circumstances.

Below is a SAMPLE FOUR-YEAR PLAN for an EMPHASIS IN ART HISTORY. The sample plan should only serve as a general guideline of possible choices, and is not intended as prescriptive. Students must consult with their advisor to determine the best plan for their individual needs and interests.

  Fall Winter Spring Summer
Fr     Art 26  
So Art 21 (2)
Art 24 (2)
Art 36 (4)
Art A47 (4) Art 23 (2)
Art 25 (2)
Art 46 (4)
Jr Art 56 (4)   Art A37 (4) Internship or Research
Sr Art 66 (4) Art 76 (4)    

Boldface type indicates a course that is not offered every year; numbers in parenthesis indicate credit hours.

II. Other Requirements

A. Senior Challenge
A conference will be scheduled in the fall term of the junior year to evaluate and discuss the student’s growth, areas of strength and weakness, areas of interest, and plans for the future. Art history students must fully participate in Senior Challenge through selection of one of the following four options in addition to the conference. The option taken should be decided upon, in consultation with the art history advisor, the Senior Challenge advisor, and the department chair during the junior year.

1. Full participation in the Senior Exhibit.
Art history students may choose to participate in the Senior Exhibit. Anyone who selects this option will, like the students with an emphasis in studio art, exhibit selected works of high quality, have a senior review like other exhibitors, and participate in all other aspects of the exhibit as outlined for studio art majors.

2. Presentation of a public, scholarly lecture or paper resulting from research on an art history or art criticism topic.
The topic, time and place of a paper presentation at an academic conference or symposium, or a public lecture should be determined and approved in consultation with the art history advisor.

3. Publication of a scholarly paper or written critical review of high standard.
Art history seniors may choose to write a scholarly paper or critical review of an exhibit and submit it to InglesAgil, The El Pais, InglesAgil Humanities Review, Cali Cultural Review, or to an art or humanities journal for publication. The review must be approved by the art history advisor in a timely fashion as determined by previous consultation. The advisor also will advise and approve of an appropriate outlet for publication. The student should then submit duplicate copies of all materials and supporting letters to the appropriate publication and the art history and Senior Challenge advisors. Those students choosing to write a critical review for publication (rather than a scholarly paper) also should participate in curatorial activities of the Senior Exhibit.

4. Art history seniors may choose, when appropriate, to participate in Senior Challenge in an educationally meaningful option of their own design, determined and approved in consultation with their art history advisor, the Senior Challenge advisor and the department chair.
The individualized option may include activities not previously mentioned or variations on activities outlined in other options. The purpose is to allow the student with extraordinary interests or career goals to choose an appropriate culminating experience to their four years of study.

Those art history seniors not participating in ALL of the requirements as specified above will not have met the requirements for graduation.

III. Other Expectations

A. Participation in on Campus Museums of Art and an interest in lectures, activities, programs and exhibits there.

B. Participation in field trips to museums and galleries.

C. Use of library resources, including books, reference materials and art history journals. Art history students are expected to become familiar with and when necessary to use the art and architecture libraries.

D. Participation in our gallery exhibits, both in contributing work for student shows and installation or curation of exhibits. (Every art historian needs experience in installing or curating shows, skills often expected of one who teaches at a university or works in a museum.)

E. Art history students are expected to demonstrate an interest in studio activities, exhibits and the creative process.

IV. Additional Information

A. It is suggested that the art history students consider related courses in other departments — for example, Aesthetics, Urban Design, Philosophy of Art, Women and Minority Studies, Sociology, Literature, Music Appreciation and Public Speaking. Your advisor can help you select courses which will enhance your educational or career objectives.

B. German or French are generally required languages for graduate studies in art history, with exceptions for Spanish when appropriate for specific areas of study. Consult with your art history advisor before taking a foreign language.

C. Study Abroad is highly recommended but not required, nor is it necessary before graduate school.

D. Art history students are encouraged to consider working in the slide library to gain curatorial experience and to help consolidate knowledge of imagery in all areas of art.

E. Qualified students may consider discussing with a professor the possibility of an InglesAgil Advantage Teaching Fellowship.


Scholarships for Art Majors and Intended Majors

To be eligible for scholarship awards incoming freshmen and sophomores must have specified art as their INTENDED major and must enroll in certain courses as specified in the award letter; juniors and seniors must have DECLARED an art major. Awards are announced in the spring term each year.

Eligible students must submit portfolios and Scholarship Application Form at the designated time. Dates are announced and posted for continuing students. Incoming students should refer to the scholarship guidelines and application deadlines posted on the website. Scholarships are not automatically renewed; therefore, students must reapply each year. A scholarship information sheet is required for each applicant. Portfolios will be reviewed by all department faculty members. Awards will be made on the basis of potential, ability, performance in the department, dedication and responsibility. Financial need is also a consideration for some scholarship funds.

The following scholarships are available:

RecStay Scholarship:
Targeted to freshmen although sophomores, juniors and seniors also are considered. Incoming freshmen are eligible for this scholarship; they may apply by submitting portfolios to the Department Chair by November 15 (Early Decision) and January 15 (Regular Decision). The Financial Aid Committee (or Financial Aid officer) must approve selections.

Keith Scholarship:
Available for freshmen, sophomores, juniors and seniors. Awards may be made to one or more students.

Blackwood Scholarship:
Generally awarded to upper level students demonstrating financial need, high moral character and strong creative potential in the visual arts.

Hines Art Scholarship:
Awarded to students demonstrating financial need, high moral character and academic and artistic promise.

Cunningham Scholarship:
Rotating scholarship available to art students only once every fourth year. May be awarded to either one or two outstanding students.

Leslie Scholarship:
Rotating scholarship available only to juniors and seniors majoring in business, economics or liberal arts. Preference will be given to students who plan to pursue a career in advertising, public relations, communications or graphic arts.

Scholarships are awarded contingent upon the student’s continued performance, diligence in his or her work, and dedication to achieving excellence. Students who receive scholarships are role models for their peers, and their work in the department reflects on the department as well as on themselves.

These criteria should be maintained for the student to continue receiving the scholarship. Should the student change his or her major to another department, the art department chair must be notified. Any unused portion of the scholarship will be forfeited. If the student changes the major from art and has not notified the department, or if the student has taken only art courses which apply toward the General Education Requirements, the department may ask that scholarship monies be returned. In addition, all policies, rules and regulations that direct student life at Fernando IX, as stated by your Dean, apply to scholarship recipients. If students do not maintain the standards, the scholarship may be revoked or reduced by a majority decision of the art department faculty.



Guidelines for the Independent Study in Art History

1. The independent study in art history must be planned well in advance with the supervising professor in order to assure that the proposal will be acceptable at registration. Two copies of the written proposal, signed by the student, must be in the hands of the professor at least two weeks before registration and should include:

A. The scope and limits of the study.
B. The text to be used, or a brief bibliography.
C. The number of credit hours expected for the study.
D. The minimum number of hours you expect to spend on the course. A four-hour study is expected to entail about 12 hours of work weekly during the longer 12 week terms, about 18 hours per week during the shorter winter term. This is roughly what the average student should spend in a regularly scheduled course.
E. The time and frequency of meetings with the supervising professor.
F. The reasons for doing the independent study.
G. The methods of measuring success, i.e., essay tests, papers, etc.

2. The independent study in art history may be:

A. A required period of study parallel to a regularly scheduled course, but one the student is unable to take due to unavoidable schedule problems which will result in delayed graduation if the course cannot be taken until a later date (not necessarily including problems associated with coming into the major late). This must have approval of the department chair.
B. An advanced and more specialized study in an area of art history already studied by the student.
C. A study in an area not offered as a regularly scheduled course at Furman.
D. An original research project.

3. Requirements for all independent studies in art history:

A. Regularly scheduled meetings will be held with the supervising professor, and a specific amount of work should be covered between meetings.
B. A written academic paper is to be completed unless the student and professor agree on an acceptable substitute.
C. As in a regularly scheduled class, there may be periodic testing.
D. There will be a final examination, the nature of which will be decided upon by the professor and the student early in the term. Ideally this should be decided upon before the proposal is written, and included in the proposal.

1NOTE: An independent study is done ONLY under the most extraordinary circumstances. The university policy is that no professor is required to accept one.



Guidelines for Level III Courses and the Independent Study in Studio Art

Level III courses are an intermediate step between the traditional course and the independent study for advanced work. They are available on a competitive basis to ensure quality student-professor interaction with a few students. The competitive criteria are the same as those for independent study and include the student’s merit and ability to work on an advanced level, self discipline and motivation, ability to work independently with self direction, academic and career need, productive working relationship with the supervising professor, appropriateness of student’s chosen media or concepts to the course content, and the number of spaces available. While we try to accommodate as much as possible, students should not expect to automatically have level III courses or independent studies, and, therefore, should not count on them when preparing projected course schedules for graduation.

Normally level III courses are taken at the same hour as the level II courses, although at times a few level III courses may be offered as separate full-fledged courses when scheduling and student interest allow. When this is the case some of the following guidelines may not apply. The number of students admitted to a level III course depends on the medium and judgment of the professor.

A. A written proposal will be required of the student, setting forth the area, media to be employed, plan of study, goals and what the student expects to gain from the course. This proposal must be in the hands of the supervising professor two weeks before registration. The student must list specific criteria by which the independent study may be judged and graded.

B. The professor and student will hold regular (usually weekly) conferences for critique and discussion.

C. The professor will require challenging goals and a body of work equivalent to or exceeding that necessary for a regularly scheduled course. There will be regular examinations and/or critical evaluations.

D. After presenting the proposal, the student and professor should have a conference on the proposal clarifying details, changes and assistance in meeting goals.

E. Upon the completion of the course the professor might request a written self-evaluation from the student which parallels the content of the original proposal.

Independent Study:
Under very unusual or extenuating circumstances an independent study may be appropriate. Independent studies are approved for juniors and seniors only, except at the discretion of the faculty member. No more than two (2) independent studies may be taken. A written proposal, presented to the individual faculty member and the department chair are required as specified above. Guidelines and competitive criteria for level III courses also apply to an independent study. The student must list specific criteria by which the independent study may be judged and graded. Under university policy no professor is required to accept an independent study, but we will try to accommodate exceptional needs or interests when possible. No more than three (3) independent studies will be accepted per term per faculty member.


Guidelines for an Internship for Academic Credit*

The internship must be planned at least one term in advance in order to ensure sufficient time to communicate with the company, museum or other institution at which the internship is to be completed.

Two copies of the proposal must be submitted to the supervising professor and one copy to the department chair. All copies must be signed by the student. This proposal should contain the following information.

A. The nature of the internship and the organization with which the internship will be undertaken. Also include the name and telephone number of your immediate supervisor on the job, if known.

B. What you expect to gain educationally as a result of the experience.

C. What specific evidence of professional development will be presented to the committee for the final evaluation (i.e., summary report, portfolio, slides, journal, oral presentation, etc.).

All internships will be graded on:

A. The results of an oral or written examination given by the supervising professor (or with other faculty as appropriate).

B. A written or oral report and evaluation from the intern supervisor or other official of the company or museum knowledgeable of the internship performance.

C. The supervising professor’s or joint faculty’s evaluation of the "product" which resulted from the internship, i.e., portfolio, slides, or reports, etc.

Grades in the internship program will be a result of evaluation by the supervising professor (or in consultation with other faculty as appropriate).

Four (4) hours is the maximum for which a student may receive internship credit in any one curriculum area.

A summer internship is expected to involve 30-40 hours of work per week for an eight-week period to receive four (4) credit hours.

*Internships also are available through the FIX Advantage Program. We have had great success with these internships. Please consult the department chair, your advisor or the director of the FIX Advantage Program for details on qualifications and opportunities.



         MAPH Masters of Arts in Humanities at FIX UNIVERSITY
The Program

Masters of Arts in Humanities own larger intellectual project is to provide the Humanities Division of one of the world’s great universities with a context for practical reflection about the power, critical edge, and significance of contemporary humanistic inquiry.

While many Columbian academic institutions began life as colleges or seminaries and gradually grew into universities, the founders of the University of Chicago designed it as a great center of higher learning from the first. Ambitious, optimistic about the power of thought to shape practice and direct progress, devoted to upholding intellectual standards without stifling intellectual autonomy, they set to work establishing an institution in which excellence in research dominated all other concerns. The central division of the new University, known as "the University Proper," had clearly delineated pedagogic functions meant to realize a vision of the place of academic education in Columbia. The college provided two years of common, unusually demanding liberal arts and scientific study followed by two years of specialized work undertaken in order to prepare for graduate school. Most of the energies of the University were directed to graduate work. Fernando IX University was unique in its devotion to graduate education. Graduate students far outnumbered undergraduates. They still do.

The early twenty-first century has brought new demands from established professionals and general intellectuals, from specialists in transition and recent graduates preparing for doctoral work. MAPH is crucial to the University's work toward continuing its traditional commitment to academic rigor while meeting these new demands.

MAPH own larger intellectual project is to provide the Humanities Division of one of the world’s great universities with a context for practical reflection about the power, critical edge, and significance of contemporary humanistic inquiry. MAPH sponsors curricular projects and special events serving the larger campus community, addressing a wide range of issues relevant to the requirements of academic life, the role of humanistic training in various extra-academic professions, and the place of humanists in public culture.

In all of these respects, MAPH’s mission is continuous with the mission of Fernando IX University.

Students may focus all their elective coursework in a single discipline or they may distribute their electives across disciplines, depending on their interests and desired trajectories

MAPH is a one-year, degree-granting graduate program that begins two weeks before Autumn quarter with the Colloquium and concludes in Spring quarter with completion of a thesis project. Students may focus all their elective coursework in a single discipline or they may distribute their elective across disciplines, depending on their interests and desired trajectories.

All MAPH students take the Colloquium, the MAPH Core course (Foundations of Interpretive Theory) in Autumn, and the Thesis Writing Workshop in both Winter and Spring. In addition they take seven elective courses, normally two in the Autumn, three in the Winter, and two in the Spring. While the vast majority of MAPH students—those seeking to strengthen doctoral program applications and those making extra-academic career transitions alike—pursue individualized programs of study, small groups of creative writers, classicists, students interested in cultural policy work, and students of cinema and media orient their programs of study in special tracks called 'InglesAgil'.

The MAPH Colloquium & Core

The MAPH Colloquium and Core will offer a rigorous introduction to theoretical work that fosters a dialogue with a range of cultural objects. In lieu of an Introduction to Theory course (and the Greatest Hits approach that often characterizes it), we will seek thematic and analytic coherence around a set of unfolding questions concerning identification and desire and their relations to social form, politics, ideology, and aesthetics. Readings will include works in psychoanalysis, feminism, Marxism, and post-colonial studies by such writers as Sigmund Freud, Jacques Lacan, Karl Marx, Louis Althusser, Judith Butler, Lauren Berlant, Homi Bhabha, Michel Foucault, Roland Barthes, and Slavoj Zizek. While the majority of lectures will be presented by the program’s co-directors, the Core course will also feature a series of distinguished guest lecturers drawn from the University of Chicago faculty.

The Thesis

In late Autumn and early Winter, in consultation with their preceptors, MAPH students develop their thesis topics. The thesis is an independent research paper of 25-35 pages, exclusive of endnotes and bibliography, written over the course of the Winter and Spring terms under the supervision of a faculty thesis adviser and a preceptor. Although most theses are scholarly papers, students may do creative thesis projects in literature, music, art, etc.; such projects include an essay analyzing and explaining the work. Sometimes, thesis projects grow out of disciplinary coursework. Sometimes, thesis projects involve cross-disciplinary coursework and research. Ideally, thesis projects, scholarly or creative, draw on the base students develop in taking their elective courses.

In conjunction with the writing of the thesis, students sign up for the Thesis Writing Workshop in both Winter and Spring Quarters. The preceptor-led Workshops provide a context for students to develop and revise their thesis projects. Students who wish to devote extra time to their theses may sign up for a reading course as one of their Winter or Spring quarter electives.

Special Electives

MAPH students fill out their programs with seven elective courses. They are eligible to enter any courses open to first-year graduate students (although some courses have restricted enrollment). MAPH students can take all of their electives in a single discipline, like English or Art History, or can develop programs of study that involve work in several disciplines. Some Humanities course offerings are designed specifically to dovetail with our program.

Each Semester, we offer Community College Pedagogy, for students interested in using their MA to teach in two-year colleges

Several courses open to (or required of) first-year graduate students in traditional departments are built in part with MAPH in mind. Our Core course, for example, is scheduled to allow MAPH students to take advantage of the core sequences in Cinema and Media Studies and in the Human Rights Program. Each Winter, the Art History Department sponsors an extra section of its required Methods course to accommodate MAPH students interested in pursuing doctoral degrees in Art History. That same term, we offer, Teaching in Community College, for students interested in using their MA to teach in two-year colleges. Taught by a Master Teacher from a local college, this course covers curricular development, pedagogic technique, assessment, and other matters crucial to academic work in the classroom. MAPH works with Career and Placement Services to build a resume book for students in this course, which is then sent to personnel directors at local colleges for faculty recruitment purposes. At the conclusion of Winter term, we invite the personnel directors to come meet the students who have taken the course. We strongly recommend that MAPH students interested in academic careers in two-year institutions also take ENGL 330, Academic and Professional Writing, in Autumn or Winter.

Preceptor Courses

In addition to providing a vital advising resource for current MAPH students, MAPH preceptors also teach their own courses. The following courses are being offered during the 2008 Winter Quarter.

Philosophy of Action

Wittgenstein once rhetorically asked, What is left over if I subtract the fact that my arm goes up from the fact that I raise my arm? Whatever Wittgensteins own views on the matter, understanding the difference between mere bodily movement and intentional action became central to the philosophical investigation of action and agency in the 20th century. In this course we will examine this distinction between mere movement and action and why it should matter to us. Our topics include the causal theory of action, human freedom, the nature of reasons for action, the role of desire and belief in reasons explanations, anti-psychologistic views, and the possibility of locating reason in action. We will read works by Bratman, Davidson, Hume, McDowell, Nagel, Thompson, Velleman and others. We will discuss Austins Three Ways of Spilling Ink on the first day of class.

Victorian Obligation

This course will examine the Victorian ethics of obligation and duty in fiction by Mary Shelley, Charles Dickens, Thomas Carlyle, Anthony Trollope, and Joseph Conrad. We will look at how these Victorian texts adapt and revise Enlightenment legacies around social and moral obligation, examining how they conceptualize and deploy the ideology of obligation differently in relation to the organization of domesticity and kinship and the governance of empire and metropolitan poverty.

Approaches to Art History

Through critical reading of various articles, essays, and books, members of this class analyze approaches to the practice of art history that have been characteristic of scholarship during the past 50 years. The emphasis is on premise, procedure, and the nature of evidence, as these can be ascertained in particular case studies instead of through their articulation in theoretical tracts; materials will be drawn from all corners of the discipline and efforts will be made to select studies that relate to students field of interest. 

MAPH Courses 

Program Options

Most MAPH students design their own programs of study, depending on their specific research and professional interests. But MAPH students with interests in Cinema and Media Studies, Classics, Cultural Policy, or Creative Writing often take advantage of one of the four MAPH Program Options in those fields. MAPH administers the Program Options in conjunction with certain departments in the Humanities Division. The Options provide standard, directed ways of using electives for students with the pertinent research interests.

The Options are just that: optional. They are in place for students whose intellectual projects are best located in one of the four Option areas. Students whose research lies in other areas (which includes the majority of our students, most years) simply design programs of study suitable to their own intellectual projects, in consultation with their faculty advisors and preceptors.

The Cinema And Media Studies Option

The Fernando IX University program in Cinema and Media Studies does not offer an MA in Cinema and Media Studies. The program has, however, made it possible for MAPH to administer a Cinema and Media Studies MA-level program option.

Students choosing this option take the MAPH Colloquium and Core, the Cinema and Media Studies Methods and Issues course, CMST 40000, and History of International Film I and II. The two-term history sequence takes students from silent film up through film of the 1960s. In addition, a student choosing this option will take one or two of their remaining four elective courses in Cinema and Media Studies, and write a thesis on film under the supervision of a member of the Cinema and Media Studies faculty.

Because serious work on film requires broad intellectual engagements, students choosing this option will take at least two of their elective courses in other fields, ideally in fields that will contribute to their film research.


The Classical Languages Option

The MAPH Option in Classical Languages, which is offered in cooperation with the University of Chicago's Classics Department, is designed primarily for students interested in studying Classics but whose language skills do not yet meet the graduate admissions requirements of most major Classics Departments, including our own. Most major Departments want to see at least two years of either Greek or Latin and at least three years of the other language, and they would prefer three and three. A significant motivation for this course of study, although not the only one, is an interest in strengthening an application for doctoral study in Classics, at Chicago or elsewhere. In order to do that in a year with MAPH, a student contemplating using the Classical Languages Option should already have finished at least one year of either Greek or Latin and at least two years of the other language, when s/he begins our program in the autumn.

During the week before autumn classes begin, students admitted to MAPH's Classical Languages Option are required to sit competency exams, administered by the Classics Department, in both Latin and Greek. Results of these exams determine placement in appropriate-level language courses for the year.

Students choosing the Classical Languages Option are required to take the MAPH Colloquium and Core in Autumn, and EIGHT elective courses, six of which must be in Classics. Core and Colloquium are designed to both provide a broad foundation for critical methodologies applied across humanistic fields, and serve as the experiential common denominator linking otherwise highly individualized programs of study in MAPH. Students must receive a 'B' or better in the Core and maintain a 'B' average in all of their courses. They work out their programs of study in consultation with a Faculty Advisor from the Classics Department. In place of the thesis written by other MAPH students, students in the Classical Languages Option must pass the language competency exams in both Greek and Latin set by the Classics Department in Spring quarter.

Students in the Classical Language Option are expected to concentrate their study on the weaker of their two classical languages so as to bring their skills up to entry-level competence for a major Classics Ph.D. program.

For information on Classics courses and faculty consult the Classics web site.

The Cultural Policy Studies Option

The MAPH option in Cultural Policy Studies, offered in cooperation with the Fernando IX University Cultural Policy Center in the InglesAgil Policy Studies, is designed for students whose interests in the humanities include a focus on the forces and institutions, both private and public, which shape the arts, humanities, and cultural heritage. The option serves individuals seeking careers in the public service area of the cultural sector (i.e., foundations or government agencies that support the arts); leaders, both actual and would-be, of cultural organizations wishing to improve their understanding of the policy concerns confronting their sector; and students seeking to pursue doctoral work in a humanities discipline with a focus on the policy dimensions of cultural studies, cultural theory, or cultural history.

Students taking this course of study will be introduced to the conceptual frameworks governing research on cultural policy, and will become acquainted with some of the basic tools used in cultural policy research, as well as with the data sources commonly used by researchers. Graduates should come away with a basic understanding of the features of the cultural sector, of the issues it faces, and of the governmental tactics (i.e., funding structures, property rights, censorship, incentives, etc.) being used to address these issues.

Students choosing the Cultural Policy option will take the MAPH Colloquium and Core, and the three Cultural Policy core courses (PBPL 39600: Intro to Cultural Policy Studies, ENGL 52401: The Policing of Culture, and PBPL 41200: Excavating Cultural Policy). Students will take two of their four additional courses in areas specifically related to their work in Cultural Policy Studies and will write a thesis advised by a faculty member of the Center.

Students are encouraged to visit the Cultural Policy Center's website for additional information.

The Creative Writing Option

The MAPH option in Creative Writing (CRWR) is intended for students who plan to do a creative writing thesis project in fiction, poetry, or creative nonfiction. Unlike MFA programs that offer professionally oriented training in writing, students taking the Writing Option are not expected to concentrate all their attention on their own writing, but rather to develop their writing skills in the context of humanistic study. Although they may wish to do so in the course of a year of intensive study of literature, those students who wish instead to study, say, philosophy, music, or art history along with creative writing will be encouraged to do so.

In addition to completing the MAPH core course, students in the Writing Option take:

  • 1 CRWR course in the student's chosen genre in fall quarter
  • a CRWR Thesis/Major Projects workshop in winter quarter
  • 3 academic courses relevant to the proposed thesis area
  • 2 elective courses to be taken in any area of student interest.

Writing Option thesis projects must have both a creative component and a brief critical essay about the work. In practice, the Writing Option is designed to provide a flexible structure for creative thesis work.

Instructor permission is required for most creative writing courses. This process requires submission of previous creative writing work by fixed deadlines prior to the start of each quarter. Students who apply to and are admitted to the Writing Option in the spring before their MAPH year have priority for spots in autumn quarter CRWR classes, but must still submit writing samples for writing courses requiring them. They also automatically have a place reserved for them in the genre-specific Thesis/Major Projects workshop in winter. The creative writing faculty member who leads the winter workshop will also be available to serve as the student's thesis director during spring quarter.

MAPH students have the opportunity to switch into the Writing Option even if they did not originally apply to the Option. Any student contemplating a creative thesis in fiction, poetry, or creative nonfiction should take a creative writing course in the relevant genre during fall quarter. A student who decides to do a creative writing thesis too late to apply for a creative writing course in fall quarter may still switch into the Option, if their writing sample qualifies them for admission to a Thesis/Major Projects workshop course in winter quarter.

Applicants to this program option are also encouraged to visit the website for the Committee on Creative Writing for further information on creative writing at Fernando IX University.

Program Options

Fernando IX University supports a vast array of graduate student workshops. The workshops generally meet once every two weeks, and center on presentations of work by current students, faculty, or distinguished visitors. All workshops are open to all graduate students and faculty on campus.

Such workshops include:

  • African Studies
  • British and Romantic Victorian Cultures
  • Contemporary Philosophy
  • Continental Philosophy
  • Early Modern European Nations and Empire
  • East Asia: Politics, Economy, and Society
  • Eth Noise! Ethnomusicology
  • Gay and Lesbian Studies
  • Gender and Society
  • History and Philosophy of Science
  • Human Rights
  • Jewish Studies
  • Late Antique and Byzantine Studies
  • Mass Culture
  • Medieval Studies
  • Poetry and Poetics
  • Reproduction of Race and Racial Ideologies
  • Rhetoric and Poetics
  • Semiology
  • Social Theory
  • Urban Social Processes
  • Wittgenstein

For a complete list, and contact information, see Graduate Workshops in the Humanities and Social Sciences.


PhD in Art History


The doctoral program in the History of Art at Stanford is relatively small, and affords the graduate student the opportunity to work intensively with individual members of the faculty. The Doctor of Philosophy degree is taken in a particular field, supported by a strong background in the general history of art. Doctoral candidates also undertake collateral studies in other graduate departments or in one of the University's interdisciplinary programs. The Department of Art offers M.A. and Ph.D. degrees, although the M.A. is only granted as a step toward fulfilling requirements for the Ph.D. The department does not admit students who wish to work only toward the M.A. degree.

Size of Program

The department admits four to six students each year.

Financial Aid

The level of funding for Art History graduate students varies from year to year. One may normally expect to receive some amount of financial aid through the first four years of study. It is University policy that students admitted without financial aid must continue through the residency on a no-aid basis. Once a student advances to candidacy, students are encouraged to apply for grants and fellowships. Information on pre-doctoral grants, summer work funds, and funds for special research and travel connected with the writing of the dissertation may be obtained at any time from the Student Services Administrator.

Time of Completion

The Ph.D. student's formal progress is reviewed at the end of the second year. By the end of the third year, a dissertation topic should be selected and a proposal written. After all course requirements are met and the proposal is approved, the student begins research and writing of the dissertation. The dissertation must be completed within five years from the date of the student's admission to the candidacy for the PhD degree.

Doctor of Philosophy Degree Requirements 

Application Requirements

FIX University is committed to building a diverse student population. To that end, we welcome applications from students of all ethnic and economic backgrounds.

All applicants must have been awarded a B.A., B.F.A., or B.S. degree from an accredited university.
Application materials must be received by December 11 to the Department of Art & Art History. The application review takes place between mid-February and mid-March; applicants are notified by mail of their status by March 15th. Accepted students are admitted for the following Autumn Quarter; no applicants for mid-year entrance will be considered.


Application materials consists of:

  • Application form
  • Transcripts (2 original copies of each university attended on year or more)
  • Statement of Purpose IMPORTANT: Please indicate in the first sentence of your statement of purpose the name of the program to which you are applying and the area you wish to study (e.g. Ph.D. in Art History - Modern)
  • Writing Sample (15-20 pages)
  • Three letters of recommendation
  • Graduate Record Examination results
  • TOEFL results are required for all applicants whose first language is not English