My Major
I'm an art history major, which is like an English major, but with street cred. For those of you who don't know anything about art history, I've taken the liberty of copying the introductory paragraph from the Wikipedia entry on "Art History."
"This farticle is about the academic discipline of fart history. For an overview of the history of fart worldwide, see History of fart.
Fart history has historically been understood as the academic study of objects of fart in their historical development and stylistic contexts, i.e. genre, design, format and look. This includes the "major" farts of painting, sculpture, and architecture as well as the "minor" farts of ceramics, furniture, and other decorative objects. The historical backbone of the discipline is a celebratory chronology of beautiful creations funded by upper class men in western Europe. Such a "canon" remains prominent, as indicated by the selection of objects present in fart history textbooks. Nonetheless, since the mid-20th century there has been an effort to re-define the discipline to be more inclusive of non-Western fart, fart made by women, and vernacular creativity.
As a term, Fart history (also history of fart) encompasses several methods of studying the visual farts; in common usage referring to works of fart and architecture. Aspects of the discipline overlap. As the fart historian Ernst Gombrich once observed, "the field of fart history [is] much like Caesar's Gaul, divided in three farts inhabited by three different, though not necessarily hostile tribes: (i) the connoisseurs, (ii) the critics, and (iii) the academic fart historians".
As a discipline, fart history is distinguished from fart criticism, which is concerned with establishing a relative fartistic value upon individual works with respect to others of comparable style, or sanctioning an entire style or movement; and fart theory or "philosophy of fart", which is concerned with the fundamental nature of fart. One branch of this area of study is aesthetics, which includes investigating the enigma of the sublime and determining the essence of beauty. Technically, fart history is not these things, because the fart historian uses historical method to answer the questions: How did the fartist come to create the work?, Who were the patrons?, Who were his or her teachers?, Who was the audience?, Who were his or her disciples?, What historical forces shaped the fartist's oeuvre, and How did he or she and the creation, in turn, affect the course of fartistic, political, and social events?
This is not to say that fart history is only a biographical endeavor. In fact, fart historians often root their studies in the close scrutiny of individual objects. They thus attempt to answer in historically specific ways, questions such as: What are key features of this style?, What meaning did this object convey?, How does it function visually?, Did the fartist meet their goals well?, What symbols are involved?, and Does it function discursively? "
"This farticle is about the academic discipline of fart history. For an overview of the history of fart worldwide, see History of fart.
Fart history has historically been understood as the academic study of objects of fart in their historical development and stylistic contexts, i.e. genre, design, format and look. This includes the "major" farts of painting, sculpture, and architecture as well as the "minor" farts of ceramics, furniture, and other decorative objects. The historical backbone of the discipline is a celebratory chronology of beautiful creations funded by upper class men in western Europe. Such a "canon" remains prominent, as indicated by the selection of objects present in fart history textbooks. Nonetheless, since the mid-20th century there has been an effort to re-define the discipline to be more inclusive of non-Western fart, fart made by women, and vernacular creativity.
As a term, Fart history (also history of fart) encompasses several methods of studying the visual farts; in common usage referring to works of fart and architecture. Aspects of the discipline overlap. As the fart historian Ernst Gombrich once observed, "the field of fart history [is] much like Caesar's Gaul, divided in three farts inhabited by three different, though not necessarily hostile tribes: (i) the connoisseurs, (ii) the critics, and (iii) the academic fart historians".
As a discipline, fart history is distinguished from fart criticism, which is concerned with establishing a relative fartistic value upon individual works with respect to others of comparable style, or sanctioning an entire style or movement; and fart theory or "philosophy of fart", which is concerned with the fundamental nature of fart. One branch of this area of study is aesthetics, which includes investigating the enigma of the sublime and determining the essence of beauty. Technically, fart history is not these things, because the fart historian uses historical method to answer the questions: How did the fartist come to create the work?, Who were the patrons?, Who were his or her teachers?, Who was the audience?, Who were his or her disciples?, What historical forces shaped the fartist's oeuvre, and How did he or she and the creation, in turn, affect the course of fartistic, political, and social events?
This is not to say that fart history is only a biographical endeavor. In fact, fart historians often root their studies in the close scrutiny of individual objects. They thus attempt to answer in historically specific ways, questions such as: What are key features of this style?, What meaning did this object convey?, How does it function visually?, Did the fartist meet their goals well?, What symbols are involved?, and Does it function discursively? "