Yale will stop teaching a storied introductory survey course in art history, citing the impossibility of adequately covering the entire field — and its varied cultural backgrounds — in one course.
The article states that this decades old introduction to art history class “once touted to be one of Yale College’s quintessential classes” was previously taught by some famous Yale scholars.
But this change is the latest response to student uneasiness over an idealized Western “canon” — a product of an overwhelmingly white, straight, European and male cadre of artists.
The final rendition of the course is to be held this Spring and will “seek to question the idea of Western art itself — a marked difference from the course’s focus at its inception.”
Art history department chair and the course’s instructor Tim Barringertold the News that he plans to demonstrate that a class about the history of art does not just mean Western art. Rather, when there are so many other regions, genres and traditions — all “equally deserving of study” — putting European art on a pedestal is “problematic,” he said.
While Barringer thinks the course “is of profound cultural value” he goes on to say, “But I don’t mistake a history of European painting for the history of all art in all places.”
Instead of this singular survey class, the Art History Department will soon offer a range of others, such as “Art and Politics,” “Global Craft,” “The Silk Road” and “Sacred Places.” Barringer added that in two or three years, his department will offer a substitute class to “Introduction to Art History.” But the new class “will be a course equal in status to the other 100-level courses, not the introduction to our discipline claiming to be the mainstream with everything else pushed to the margins,” Barringer said.
Since the announcement of the elimination of the class, student demand to enroll in the final Spring offering has skyrocketed; however, the class can only accept 300 students.
In his syllabus note to potential students on Canvas, an online course management tool, Barringer wrote that the emphasis would be placed on the relationship between European art and other world traditions. The class will also consider art in relation to “questions of gender, class and ‘race’” and discuss its involvement with Western capitalism, Barringer wrote. Its relationship with climate change will be a “key theme,” he wrote.
One student critical of the move to eliminate the class was cited in the article:
“My biggest critique of the decision is that it’s a disservice to undergrads,” Mahlon Sorensen ’22 said. “If you get rid of that one, all-encompassing course, then to understand the Western canon of art, students are going to have to take multiple art history courses. Which is all well and good for the art history major, but it sucks for the rest of us, which, I would say, make up the vast majority of the people who are taking [HSAR 115].”
The decision to get rid of this survey art history course resembles the English Department’s move to “decolonize” its degree requirements in 2017. At the time, the department made a sequence titled “Major English Poets” optional for majors… But in an interview with the News in 2018, humanities professor and then-Director of Undergraduate Studies of the program Kathryn Slanski said while many of the authors discussed in the program are “dead white men,” everyone can learn from their texts as long as they perform nuanced and analytical readings.
The article wraps up with a quote from the Director of Undergraduate Studies, Marissa Bass:
Yale’s History of Art department is deeply committed to representing the intellectual diversity of its students and its faculty, and we believe that introductory surveys are an essential opportunity to continue to challenge, rethink and rewrite the narratives surrounding the history of engagement with art, architecture, images and objects across time and place,” Bass said. “These surveys and those that we will continue to develop in the future are designed in recognition of an essential truth: that there has never been just one story of the history of art.”
I wonder if Marisa Bass was rubbing her hands together with Jewish glee over the elimination of this Art History class. Taking this to its logical conclusion, it is only a matter of time before the teaching of any White cultural history is eliminated altogether.
Beside criticism from some unnamed students, where else within Yale could the call for such changes be coming from? Beside the above quotes from (((faculty))) perhaps another Yale Daily News article of 13 January 2020, titled “Yale expands faculty diversity funding” may give some clues.
Yale’s Faculty Excellence and Diversity Initiative, a University-wide effort to recruit and retain a diversity of professors, will be renewed for an additional five years with a $35 million boost to its budget…The initiative, created in late 2015, dedicated millions of dollars to make competitive offers to tenure-track faculty members that can “enrich the excellence and diversity” of the University, according to its website…With the additional monetary commitment, the program’s budget will grow from $50 million to a total of $85 million.
The president of Yale University, Peter Salovey, had this to say about the faculty diversity program:
We are making an emphatic statement about our commitment to recruiting the most distinguished scholars, who will help diversify Yale, transform their fields, create knowledge to improve the world, and inspire our students to lead and serve all sectors of society,” he wrote.
Faculty diversity has become a key issue for the University in recent years. In 2016, Salovey called the lack of minority representation among professors Yale’s “single biggest problem.” According to the Office of Institutional Research, there are roughly two male ladder faculty members in the FAS for every female — meaning that there are nearly 200 more men than women in such positions.
And then there is this quote from Larry Gladney, FAS Dean of Diversity and Faculty Development:
Diversity efforts — especially those spearheaded by the initiative — contribute to a more dynamic, representative university environment…students often perform better “where they see more of themselves reflected in the faculty teaching and mentoring them.” Other advantages include broadened classroom discussions, improvements in scholarship and exposure to demographics that more closely match life outside of college, he added.
According to Gladney, additional diversity efforts are ongoing. Once its charge is officially issued, the President’s Committee on Diversity, Equity and Inclusion could deliver “game-changing recommendations for the campus on how to better achieve the diverse and inclusive environment we want for faculty, students and staff,” he said.
Here is a little background on Yale President Peter Salovey as found on Wikipedia:
Peter Salovey is an American social psychologist who previously served as Yale’s Provost Dean of Yale Graduate School of Arts and Sciences and Dean of Yale College. (The Saloveys are descendants of the Soloveitchik rabbinic family and Peter Salovey’s brother, Todd, is the associate artistic director of the San Diego Repertory Theater and on the theater and dance faculty at the University of California, San Diego).
Peter Salovey is one of the early pioneers and leading researchers in emotional intelligence. He, along with his colleague, John D. Mayer, significantly expanded the scope of the concept of emotional intelligence and authored several of the field’s seminal papers, arguing that people have widely ranging abilities pertaining to emotional control, reasoning and perceptivity. Against earlier theories of intelligence that conceived of emotion as rival to reasoning, Salovey and Mayer contended that emotion could motivate productive outcomes when properly directed. Outside Yale, Salovey has served on the National Science Foundation’s Social Psychology Advisory Panel, the National Institute of Mental Health Behavioral Science Working Group, and the NIMH National Advisory Mental Health Council. Salovey served as President of the Society for General Psychology and Treasurer of the International Society for Research on Emotion.
Emotional Intelligence is the capability of individuals to recognize their own emotions and those of others, discern between different feelings and label them appropriately, use emotional information to guide thinking and behavior, and manage and/or adjust emotions to adapt to environments or achieve one’s goal(s).
Studies have shown that people with high EI have greater mental health, job performance, and leadership skills although no causal relationships have been shown and such findings are likely to be attributable to general intelligence and specific personality traits rather than emotional intelligence as a construct.
Criticisms have centered on whether EI is a real intelligence and whether it has incremental validity over IQ and the Big Five personality traits.
Every day it becomes more clear that the college environment is becoming toxic to White college-age young people, even among elite universities. This is just another example of Jews eliminating White history and carrying out their White genocide program. The Antifa movement is just one example of the philosophy of Emotional Intelligence Jewish claptrap which throws out logic and reasoning to create unthinking, self-absorbed emotional drones. Questions arise about how government and intelligence agencies might be using psychological practices that come out of Jewish controlled institutions like the National Science Foundation’s Social Psychology Advisory Panel, the National Institute of Mental Health Behavioral Science Working Group, and the NIMH National Advisory Mental Health Council to continue the Jewish supremacist White genocide onslaught.