ARTH 101-102 is no longer the only art history course required to finish the art studio major; instead, any two art history courses will be accepted.
That's a mistake. You need a basic understanding of what's come before–Art 101 and 102–before you can create cutting edge art for today. Sorry, but there are no shortcuts.
Agreed. But you can see that this change was almost inevitable, given how similar changes have happened in English and History over the last 25 years.
Question: What department is likely to change next? It needs to be a department that is big enough to offer enough courses so that the cannon is not really necessary. Political science?
With English and History are you referring to changes only in Williams' departments, or, are you referring to undergraduate requirements in general?
And, to whomever majored in English or History at Williams, what's changed, and how has it been an improvement. I ask for positives because it's easy to come up with negatives.
I nominate math. About time we ended the dominance of white male Eurocentric calculus.
This is one province in a much, much larger curricular debate; one might want to look at the history of requirements for the Physics and Philosophy majors, over the past twenty-five years, to get just a sense of it.
Indeed, there is no substitute for a basic understanding of what has come before– and its damn presumptuous to think that what's taught in ARTH 101-102 is a sufficient substitute.
I'm not inside the "closed doors," — why are the doors closed to a discussion like this?– but moving to a "no requirement" requirement (any two courses is not a requirement, other than a requirement to "keep it in the department") is usually the result of departmental polarization between hard-liners of the "canon" and a "we cannot presume to decide, no canon" faction.
You can see how the votes go– from my (limited) experience I'm not sure whether I would characterize this as characteristic of people who really can't talk to each other (it is the academy), of generational differences, of left and right– or a larger, academy-or-wider difficulty.
What's the problem with the canon? See von Ranke's quip– the canon serves a lot of interests, besides how things happened; it's political. How did the NYT put it, about why Paul Samuelson could get a job at MIT but not Harvard, Yale, Princeton? Walker Evan's pictures– aren't they– well, you look at them hard, at least, and know the history, there are some questions that need to be asked.
OK, so what I'm saying here is you have plenty of situations of disrespect and dismissal. The old prof things that the canon he had to learn is the only path (and under attack by barbarians); the newer profs think the canon is… politically constructed, dead white males, and embodies a series of lies.
They're both right to some extent– and I'm operating at a a level of high summary, without having done enough detail work to give a quite accurate picture.
Ten years ago, after all, a woman going to graduate school at Berkeley had to worry about a male committee member writing that she was "a good hostest," after all; Chancellor Birgenau was still clueless enough to sit down for his first meeting at UCB's Women's Center and attempt to being, in all earnest, with a phrase so off-tone as "now, Ladies." (One might as well say Fraulein in today's Germany, without an ear to irony or sarcasm).
I have not idea why I'm reading this now… i'm way too tired.. perhaps one never fully disconnects from mental states only associated with the endgame of an academic term..
my main association to what you wrote is that i'm surprised you didn't mention UChicago's changes to its core.
to recognize and appreciate change or progress one needs to be aware of what came before.
One of the series of questions we probably should put on the list of things to ask ourselves: should Frantz Fanon's The Wretched of the Earth be part of the canon? Why or why not?
And– what– does that question, have to do with this debate?
To the best of my knowledge (90% confident) Williams gives no actual course credit for any AP classes. At most they can be used in place of certain prerequisites for higher level courses. Many incoming students have a years worth of AP credits and none are counted towards a Williams degree.
@ephling: Yes, Williams gives no credit towards graduation for AP classes, but may give major credit.
@'10: a lot of ARTH courses don't show any prereqs.
While I agree that a canon is chock full of politics, you need something to give you a vocabulary. You can't understand Charles Moore's buildings (e.g., the Williams College Art Museum addition) unless you understand his references to other architects and buildings. You have to understand what's come before to improve it, or comment on it, or satirize it, or refute it.
The Romantic belief that inspiration/insight springs from primeval ignorance is just plain wrong. Every discipline has its canon; while we can debate what should be included, I don't think anyone disagrees about the need. Which is why Williams' moving away from a base level requirement that all majors need to take mystifies me.
1) There is no longer a center of the art world in New York or Paris or London. There is no cultural center. It is policentric and these centers overlap.
2) There is no "mainstream" that majestically moves from tradition downstream to the present.
3) There are many, many, many types of art history and they flow together and the model is, in this case, more like a delta than a grand canal.
4) Due to unprecedented mobility and access, the challenge for today's artists is not learning a fairly simple model and shaping it in some way in their art, but to absorb a vastly complex amorphous world of art and extracting some small piece of it to suit their art-making needs.
You need a basic understanding of what's come before–Art 101 and 102–before you can create cutting edge art for today. Sorry, but there are no shortcuts.
While I'm not sure how I feel about the challenge to the canon ( I thought Williamson brought up some good points), I do disagree that a formal study of art history is a necessary component to creating wonderful art. Understanding art, writing about it, and teaching it, is very different from creating it. And while a formal education might be considered a plus for the practicing artist, it certainly isn't a prerequisite for great work.
Williams is not an art school (ie, an institution devoted to creating practitioners of the fine arts). As an educational institution devoted to the principles of the "liberal arts," there is a compelling interest in generating graduates conversant with the canon.
The Music department currently requires students to take 4 Music Theory and Musicianship courses and 3 Music in History courses – this is the sequence required of all majors, along with a two-semester elective and a senior seminar. Prospective majors are recommended to finish 5 of the 7 required courses by the end of sophomore year.
You could argue that one could be a good musician without either theory or history, and you might be right, but I think that misses the point.
If you are addressing me here, then you missed my point, which had specifically to do with Guy's comment, not your post or the changes to the canon.
Well, I think we're going to agree to disagree. How can you write a great novel if you aren't familiar–at least in a rudimentary way–with Austen and Dickens and Hemingway, etc.?
The architectural profession tried to ignore its past for about 50 years, and it was a disaster. Architectural history had been taught in architecture schools in the U.S. since the late 1800's. When Mies van der Rohe and Gropius fled Germany, came to the U.S., and made the Bauhaus School big in the U.S. in the 50's and 60's, they were anti-history in a big way. Current architects didn't need to waste their time learning about past architects and past buildings–they were harbingers of a new regime, where form followed function and "Less is more." Everyone started to live in glass boxes, the I-beam was about as decorative as you could get, and architectural history was dropped as a requirement in many architectural schools.
And then a funny thing happened. After awhile, people revolted against being shut in glass boxes. They wanted buildings with decorations, with soaring vistas, with a variety of spaces strung together. In short, they wanted new buildings that were a lot like the old buildings they knew and loved–but the current architects didn't know how to build them, because they'd never been taught the lessons of the past.
The revolt against the Bauhaus–led by architects such as Charles Moore, Donlyn Lyndon, Robert Venturi, and Bob Stern–leaned heavily on allusions to the past. Architecture became playful, more joyous, and paid homage to great buildings of the past. And–surprise, surprise–architectural history got put back in the school of architecture curriculum.
You have made a great argument for why we should pursue the study of art history, one with which I fully agree, but it doesn't address my point that there is cutting edge art produced by many who haven't that aspect of formal education. There are endless examples from cave art to outsider art to lots and lots of contemporary artists. Granted, there are fewer of these examples in architecture and music, but they exist. Tadao Ando, the architect for the Clark addition, is one that comes to mind.
Can we broaden that a bit, because the "novel" may be a Western literary form (I'm not sure). Let's pose the question: how can you write great literature if you aren't familiar with Austen and Dickens and Hemingway?
That question assumes that a Tibetan writer, who has never read English language novels, cannot write great literature.
Williams is not saying that studio artists don't have to take two semesters of art history. They are saying that "these" two semesters — a survey course covering a limited slice of art (Western art) — are not the only valid entry points.
Why not make a two-semester survey of Chinese art mandatory? Or a two-semester survey of African art? Has Williams been putting its studio art majors at a disadvantage by requiring that they take the Western art survey, thus making it more difficult for them to study the art history of a different culture (perhaps more relevant to their own artistic vision)?
These are questions that academics wrestle with in any number of departments, not just for curriculum development, but for hiring as well.
@hwc: took the words out of my mouth. well said.
Yup. I have to say I agree with HWC @ 22 as well.
Not only should an art major be allowed to focus on a specific area of interest, it is likely that many of the art students who arrive at Williams are already pretty well versed in the history of western art. I would think that changing this requirement will make the dept. a more desirable destination for the studio major, which will only enhance the entire department.
I suggest actually reading the opinion piece that started this thread. Here are a few excerpts.
Ronit linked it in the post. Actually, I read it for the second time today because I saw it on the website a couple of days ago. IMO, Williamson speaks eloquently on behalf of the changes, and after all, s/he is a current studio major!
My issue with the art major, which isn't brought up here, is that one of the requirements is Introductory Drawing. It's a prerequisite for any of the other studio courses.
Although I'm not certain all potential studio majors would have been exposed to art history (in any form) before they arrived at Williams, I am fairly certain that they would have been engaged and productive with their art.
It would be rare to become a studio major and have Intro Drawing be the first exposure to studio work.
@Parent '12: You are (both) bringing back memories of the second course in the Architecture sequence at Berkeley.
Over the summer, the (studio) drawing course ran concurrently to the (architectural) (drawing) course, on the floor above. If it were not that 100B takes about 60hrs/week (well, if you're lucky) over the summer, I would have spent a lot more time up there.
Of course, there are things such as contingencies and pre-requisites. (They're clearer in Physics, but. If someone (in Germanistic) shows you when perspective drawing was imported to Germany, and the other series of migrations of technique and spacial form (the garden city) from England to Germany, it helps to know what perspective drawing is, in architecture, concretely.
Germany today– is that garden, in a way that England never became. I don't want to stray into Guy's comments on the BauHaus, but… downtown Berlin, or Mannheim, today, is so remarkably different, so organic, when compared to the cold concrete of the United States… the ideas were the same, the schools the same, but.
But that's technique– and I didn't mean to go to technique, first.
Some platitude about good questions was about to come out of my mouth. But there are a series of possible lessons which come from such an experience, as mine in Architecture (without drawing) at Berkeley..
What we might call the work habits, or workflow of architecture students, are quite different than those of a Physics student or Rhetoric student. I can't quite craft a sentence, that touches what I want to express about it.
you have to skip forward, to get the whole picture. Speer has to struggle for the language, too. Political thought. Moral thought. Arrogance. The lack of breadth in his education, his perspective, his interests. Though it doesn't stop there, when he considers and trys to offer an Apologia.
Of course, Speer lies about what he knew, and where he was, when– so take his Apologia for what you will. Writing his memoirs in Spandau, and after his release– he is always still the "Gentleman Nazi" sitting in in the dock at Nurmberg, the tenuous excuse of being a gentleman all that spares him from the Gallows. But one might say, it explains the occupational hazards of thought, of the architectural mileau.
Hausmann, and Goethe– each, for instance, have that "young man in a studio" moment, which is also about what what architecture as an endeavor is. Goethe, in his travel notes, goes into things a bit more, in quite a bit more depth.
Goethe is obvious his structures– it's a travel log. It helps to know that, say, Daybreak is also one. (You can map everything in it, to specific locations; and get a reasonable idea of what Nietzsche was discussing with Salome, at the time things were drafted).
Then you– or I at least– started seeing travels logs, or something like travel logs, everywhere. Certainly if you read Freud's letters, and then re-read his published work; and then think of Freud, reading Ree and Nietzsche.
Have I lost the thread of architecture? Unfortunately not.
The story in Europe is somewhat different. I can't assemble it in my head; I probably don't have more than a smidgen knowledge it takes to try.
But my understanding is that in Western Europe, too, there occurred a version of the withdrawal of humanism from architecture, to a sort of pure formalism, –; and there are side stories to be told, as well, such as the abandonment of the city and village, for the 'suburban' type –; and the few bits of noise I've heard out of the architecture students at the Sorbonne, made me thing that the pendulum may be swinging back, to the notions of idea Form that play in all of this.
But– let's not loose site– as Ronit pointed out in our other thread– ideas, are dangerous.
But back to the canon.
I think we have to ask ourselves, what a canon is, what a canon is for, what a canon does– and attempt to articulate that in various way.
About two hours ago, here at Belmont, I spotted a student with a Norwegian phrase-learning book– the kind popular about three decades ago– he was on the first ten pages, which is about as far as I'd expect he'll get.
I gave the young man the same dismissal Edson Chick gave me. Pfft. You're certainly not going to learn Norwegian like that.
@Guy Creese '75: Thanks for expressing that so well. I agree completely. I am all for expanding the canon rather than getting rid of it.
[I]n order to think critically about the canon, there must be an understanding of non-canonical art as well. For example, an understanding of Cubism is incomplete without recognizing the influence of African masks on Picasso.
@Guy Creese '75: After my flight of solipsistic academic pedantry above, I'm not sure I'll be able to listen to anyone besides myself for several days– much less listen to anyone else.
There's something unsatisfying about that– which I think, reflects an inability to choose, to direct– a very particular moment in American academics.
WRT your comment on "politics" above– I don't think I expressed the claim. It is indeed possible that we're just talking about internal and personal conflicts, which have no necessary relationship to the subject matter or its structure; or, say, that we're seeing an artificial or artifactual phenomenon– that academia/society suddenly opens up to women and others in new ways, these people look back at the 'canon' and see only 'white males,' and resent that for personal and not substantive reasons.
Hmm. Just changed tense in translation there– more than tense– 'happened,' to 'are'. English has no becoming tense, and Middle High German– didn't have the canon of grammar!
Which is why I used Fanon's work (other than some old threads by David). Because the argument is not that the 'condemned of the world' are condemned by pure happenstance– rather that they are condemned by a particular, political order.
@Jr. Mom: Thanks for quoting the initiating author a bit.
I think the flip of resistance here would be– non-canonical art? If you don't know African Art, enough to understand quite a bit more than the influence of African masks on Picasso then you don't know the canon; you're a provincial.
Nor will it hugely affect the art students who choose not to take [Art 101-102], as important canonical artists and terms are in any case such a central part of the study of techniques in media such as drawing and painting.
I would think that a vast majority of incoming art majors at Williams College have a pretty strong grasp of the Western canon, whether it has been achieved through a comprehensive art history class, and/or years of exposure to, and experience with, art classes and lessons that are rooted in this tradition, and/or simply absorbed in the way that any very bright person can accumulate knowledge on a subject for which they are passionate. This is not to say that these classes aren't amazing and valuable (heck, I would like to take them and western art is something on which I am well-versed) but I can understand the value in allowing experienced studio majors the ability to focus on specific interests. As I said before, I believe this flexibility in the requirements will draw more studio majors, which will only enhance the department.
Other considerations which haven't been touched on much in this discussion, are the dramatically changing demographics of the student body, and the larger (or would that be smaller) world in which we live and conduct business…and in which all kinds of new and diverse art is (very rapidly) being made.
I know you don't appreciate critical comments from me, so I hesitate to say this, but seriously? Does that assumption hold in other majors? Would it hold for incoming majors in philosophy, or computer science, or math, or physics, or history? Let's skip all the basic stuff because they probably know it already?
@Ken Thomas '93: As long as we're throwing names around, you could say that if you only know about African masks you are also a provincial. Hence, the argument presented by Guy above for expanding the canon to take in a more global approach, rather than encouraging things to become more fragmented. Non-Western provincialism is not an improvement to Western provincialism.
I just got a chance to listen to the Robert Storr talk. Terrific! (I would love to get the text for that.) What he says about the artist's trajectory, how they absorb information and move from one point to another, is crucial to understanding how and why flexibility in the program makes total sense.
There is no formula when it comes to creative genius and real innovation. And the individuals who think there might be, will be left to studying history, rather than making it.
@Ronit: What's the counter-argument to that? I'm not sure.
Two experiences, however, are in my mind. (A few more are coming in focus).
The first is that of a student I knew at Berkeley, who had grown up in occupied Hungary. She rebelled against going to school, taught in Russian; she had no formal instruction in Hungarian; eventually, she was jailed for her small acts of resistance, such as not conforming to the dress code in high school.
The other, is that of the individuals I have come to know in Flanders, who only, truly, know a dialectial version of Flaams, as their language, passed to them through oral learning, and who struggled or rejected, and failed, when taught in — well, fifteen years ago, it would have been some common version of "high Dutch," a constructed language, politically imposed– or not.
There is something to these experiences– which hardly comes across in the concept of "authenticity"– which is "provincial," but not in the sense you seem to have taken me to mean and imply, above.
@Ken Thomas '93: I don't find anything wrong with provincialism, I simply accept that it exists. I did interpret your use of the word 'provincial' as meaning something like 'narrow-minded'… and I believe there's no one more narrow-minded than the cosmopolitan who knows no particular neighborhood very well.
But if we're going to charge those who study Western art with provincialism (in a pejorative sense or otherwise), then, yeah, that charge goes both ways. Not sure what it means. I just want to push back strongly against the idea that allowing art students to ignore Western art history for their four years at Williams makes things less provincial.
Was that a swipe at art historians?
I don't have a problem with critical comments, especially when they are rooted in a genuine desire to promote discussion rather than shut it down. Your snide innuendo suggests otherwise.
1. I think it's utterly ridiculous and naive to suggest that it's okay to allow art students to ignore Western art history because they probably already know all about it (while at the same time asserting that students are more global and diverse now, which, if true, makes it all the less likely that they will be familiar with Western art history).
2. I think the comment about individuals who will be left to "studying history, rather than making it" is very interesting, because it hints at some tension between art historians and studio artists ('practitioners'). Is it something like: studio artists resent art historians for presuming to have some (any) authority over 'their' subject, and they resent being told that they must study art history taught by non-practitioners? Is that it?
And, I don't even know how to reply to you. Twice now you have quoted me, then followed with statements and questions that have little connection to what I have said. I don't know if you are being intentionally misleading, or just hasty and careless.
We're probably at the point where I would do well to pull out several lexicons and concordances, and spend some time studying the usages of words and terms which express ideas similar to that of "provincial*" in the statements, above. (Alas I'm still hoping to get an hour of basic Russian and an hour of advanced Spanish in tonight).
Okay, slow down, please. Let me look at the comment you posted (43) as I was posting 44, and I will atttempt to reply. Give me a couple of minutes, please.
^^^ Ich bitte Ihnen– une Pause– bitte, bitte sehr, bitte schoen!!
And referencing Guy Creese– are we talking at each other, or to each other?
There was, but thanks for dropping it.
2. I think the comment about individuals who will be left to "studying history, rather than making it" is very interesting, because it hints at some tension between art historians and studio artists ('practitioners'). Is it something like: studio artists resent art historians for presuming to have some (any) authority over 'their' subject, and they resent being told that they must study art history taught by non-practitioners? Is that it?
Did you listen to the talk that HWC posted? Because that comment was a response I had to Storr's talk, specifically, what he says about artists, their career trajectory, and the creative process in general. I am glad you find it interesting, but utterly confused by much of what you read into it.
And speaking of how you choose to read meaning, Ronit, if you are so taken with what Guy said at #31, then why absolutely no recognition of Williamson's words? She says much of the same thing, but even more eloquently, IMO, (sorry Guy!) and most importantly, from the point of view of someone within the department.
Instead, you link to her with hardly any reference. This from someone who has often reprimanded other posters for not providing recognition of an author, with some of their original words posted clearly on the front page.
You even take a potshot at her, commenting that "there are a few art history professors whose opinions on this move I would love to read", while including the reprimand "unfortunately, none were quoted in the article". What about the value of having heard from a current studio major?
Yeah, I guess your jumping all over me wasn't entirely personal this time. You seem to have a beef with Williamson as well.
I am very much enjoying reading up on Robert Storr.
He seems to be somewhat of an expert on self-taught artists. He wrote an essay for this exhibition, which I have been unable to locate so far. His expertise is fitting, considering he was self-taught in art history. Since he has a wealth of degrees, I suppose this must come down to something as simple as he probably didn't take Art History 101.
I'm not sure that art and theory were ever that close to begin with. There are some artists who read theory seriously but not all that many. And some of the theoretical writing that was done about artists was very important, but what people now call theory is a vast field and a relatively small amount of it bears directly on art, or at least on art production.
I'm interested in people who make good art, whenever they make it, and I think a lot of the best artists today are late bloomers. I'm a big fan of both Raoul De Keyser and Tom Nozkowski, who I put in the Venice Biennale . Tom is 65 and Raoul is 78 and neither one of them really hit it until they were way past the age when most people think it would be the end of your career.
Thanks for the links, JR mom. I enjoyed hearing Storr's short graduation speech and I'm enjoying your links, especially that long interview.
We were fortunate to sit through three interesting honorary degree recepients that day. Along with Storr was Alberto Mora (Cuban-American General Counsel of the Navy who blew the whistle on cruelty at Gitmo) and Patricia Wise (Asian American Biology researcher and Provost/Executive Vice President of the University Washington system). I thought Wise was probably (and may have been) a candidate for Swarthmore's presidential search. We were also fortunate that they were all held to a strict 10 minute time limit!
Apparently, mild criticism (of Williamson's article) and pointing out something missing from the article = reprimand, which Merriam Webster defines as a "severe or formal reproof". Very well then.
You are welcome. Thanks for inspiring my search.
The 10 minute limit was great! Storr fit a lot into it, talking fast and resorting to notes, but I liked what he chose to focus on. He gives his audience (and artists!) the benefit of the doubt, there, and in his writings.
The fact that your only reference to Williamson's piece was to point out what it was missing, amounts to more of a reprimand than it would have been if you had given her any sort of recognition to begin with.
Now please, either join into the discussion or not.
If you want perfect examples of "severe overreaction", I suggest you take a look at your own commentary, especially in this thread.
Not to mention the irony of your accusing me of "shutting down discussion". I may be guilty of a lot of things, but that is not one of them. In fact, you far exceed me in those capabilities, and are exhibiting the best of them here.
The whole thing with Storr, is that the way he views artists, his insights into how they learn, how they move from one subject to the next, etc. is key (IMHO) to understanding why flexibility in the course requirements might be a very good thing for the studio major.
I'm taking a break from on-line holiday shopping. I didn't expect to see more here. Clearly, the Storr links are a must.
If you don't mind, could you write in one comment what your point is in relation to the link in your original post. (what was your mild criticism?) I took your original post as a statement of fact, a change in the art studio major. But, it seems as if you have an opinion about the opinion piece that the student wrote.
I understand that Guy believes it's important to take the intro course in Art History, regardless of whether one intends to be an art history or studio major. Others, such as Jr M, who focused on studio work, point out that artistic work of high caliber can occur without taking a formal art history course. She actually wrote a lot of thoughtful comments about becoming an artist, which brought to my mind the nature of creativity and exploration. Then, others brought up thoughts about "canons" in general.
Not to make this too much of a round on canons, when you brought up musical training many comments ago, it brought to mind a bit of snobbishness that I came across many years ago on the part of classical musicians who study an instrument in relation to singers. The gist of it was that singers weren't musicians because they just sang. And, there are highly regarded singers who supposedly don't read music. Pavarotti always comes to mind.
I only bring this up here, not specifically to you, but because I wonder if there's an undercurrent of that type of attitude when distinguishing between the requirements or demands for the two art majors.
I predict that the changes in these requirements not only results in attracting many more studio majors, but also a very positive shift in the art that is produced at Williams. Which will benefit both the Art History program, and the Studio program.
All of this would make for a great study, especially if it involves tracking results in the department for a few years, starting now.
Not to make this too much of a round on canons . . .
Ditto on the "round" and great summary of the thread. Thanks.
I have some thoughts on what you said but first want to second that I would really like to see Ronit come back to the discussion.
This would be interesting to hear Guy's take. Swarthmore's studio art majors are required to take four semesters of art history as opposed to two at Williams.
However, only one of the four sememsters must be the survey of Western Art (or Mediterranean and European art as the course description calls it).
There is a heavier requirement overall, but less requirement to focus on the specific European part of the canon.
It should be noted that Swarthmore's intro art sequence is a bit different. Instead of a two semester sequence of Western Art, the intro starts with one of several First Year Seminars — ranging from Philly architecture to Picasso to Rembrandt to Michelangelo to Frank Lloyd Wright, depending on the year — followed by the one-semester survey of Western Art in spring of freshman year. The FYS would be were the fundamentals of art history methodology and critique are introduced, in a seminar format capped at 12 students.
"Ars longa. vita breve …". But I could be wrong.
That's interesting about Swarthmore's art history requirement for studio majors.
For clarification, is the purpose of the FYS in general, regardless of discipline, to learn and practice writing, analysis, and argument?
In consultation with their advisors, students in this concentration will be encouraged to take additional courses both in art history and other disciplines. These courses should be broadly related to their artistic interests outside of the studio concentration, enriching their interdisciplinary understanding and engagement within a liberal arts curriculum. This expectation will be especially high for honors thesis candidates.
Cool article but the link starts on the second page of the story. Want me to fix it?
^^^These courses from the Amherst requirements, are particularly intriguing.
I made a rather mild push against the music major requirements back when I was a student, arguing that the music major should be structured like the religion major, with a methods course combined with a very sketchy historical survey (much like REL 101) at the beginning. Or perhaps not at the very beginning, because some of the methods in the study of music do require some technical music theory background to appreciate, but close to the beginning. Then students could choose some smattering of history to study more closely.
I am sure the e-mail I wrote to Professors Moore and Roberts is long lost.
What I did not know then is that the curricula in both religion and music are both quite heavily influenced by what the national organizations have to say about what curricula should look like.
For example, the chemistry department is never going to adopt a smorgasboard approach like the physics department. Why not? Because any student going to graduate school will need a degree which is certified by the American Chemical Society, and the ACS will only certify a degree if the department granting it requires certain topics to be covered for all majors. Physics departments (and the APS) are willing to look at each graduate applicant's individual record to see if they have taken the right courses, but the chemists are – well I was going to say too lazy – but it might not be laziness, but politics over control of undergraduate curricula.
It seems there is a bit of disagreement here, about the meaning of words, and what they do.
That's interesting about the "certification" aspect for curricula, especially for chemistry. I know the physics major requirements are basically a core of at least 6 sequential courses. And, based on the website info about alumni, the graduates do well as far as grad school.
The concern for the studio art majors would be whether they were sufficiently prepared to do an MFA. I know there's a professional association that would weigh in on that, but I can't remember it's name nor the exact extent of its influence.
My reaction had much to do with what isn't on the page. That comment on it's own, is no big deal, but it followed a post that did not even mention Williamson's name or feature even one word of what she wrote. Framing (or not framing) a post in that way is especially atypical of Ronit, which made it seem (to me) intentional. Even then, I did not bring it up until there was so much kudos given to Guy's commentary, with again, absolutely no recognition of Williamson's similar great points.
I also thought that Williamson made a very worthy argument, one that would have been given more consideration if she had been acknowledged in the post.
I would be very interested to hear what Ronit felt about the piece… aside from the fact that Williamson did not cite any profs.
In this picture from the '55-'56 academic year are the Trinity plus One. The one is Frank Anderson Trapp completing his 5th year at Williams. In the 1956 academic year he left for Amherst where many years later he retired as the William Rutherford Mead Professor of Fine Arts, Chairman of the Department of Art, and Director of the Mead Art Museum at Amherst College.
In Art 1-2 , the professors were as much a part of the canon as the artists.
Great photo…and reminder of the magic wrought by a great teacher. I have pored through some of the Varnedoe stuff and Faison writings to see if I could find some quotes specifically pertinent to this thread without much luck…so far!
Please join in the conversation. I apologize if I over-reacted. I admit it is a (huge) failing of mine. I don't want to rehash why or what or whom, because I think that will only make it worse. You are such a valuable part of every conversation on this site, and much as you make me crazy, I also cannot imagine a situation in which you won't talk to me, or join into a conversation just because I am present.
A pet peeve of mine is college departments that think everyone reading their website knows all the acronyms and codes. They should be forced to write the requirements for a major in plain English.
The one that gets me every time is Wiliams referring to Div I, Div II, and Div III as if everyone in the world has memorized which one is sciences, which one is social sciences, and which one is humanities.
The curse of the academics.
Agreed. And the one not getting it would be me, HWC.
1) To give new college students an immediate taste of seminar-style learning that includes student-directed presentations, etc.
2) To introduce students in a department to the academic ways of (for example) English literature, or History, or Physics, or Art History, or Linguistics. In many departments, the first-year-seminars have replaced the traditional introductory courses.
The idea is that the specific subject matter isn't as important as getting brand new college students to dive headfirst into "fun" academic/intellectual debate instead of the large lecture courses that push freshman away from full academic engagement.
So, for example, the gateway first semester course for potential physics majors is not the large survey course, but 12 student seminars meeting for three hours once a week on Special Relativity and space/time continuum with students, working in teams, preparing and presenting problem sets, and a lot of study group work with the professors. They want to give new students a real taste of what it is really going to be like as a Physics major — something the intro survey courses can't do.
In art history, you can effectively bring new students into the world of art history with a semester on Picasso or Rembrandt or Frank Lloyd Wright. It doesn't matter because you are going to be making "art history" type connections between those artists and their influences, so the process of studying them is the same.
They try to come up with seminars that will be appealing. For example, today's high school kids love Pride and Prejudics, so a First Year Seminar on Jane Austen is hugely popular.
That's the theory at least. Like anything else, it works great sometimes, probably falls short other times.
And, it's probably the Div III types who remember because they're avoiding Div I & II.
btw, I actually do remember because I can't believe that philosophy is labeled Div II.
That's a great theory. It's application obviously depends on who's organizing the seminar.
I wonder how many kids get scared away from an area that they loved because of a difficult time in a FYS.
I don't know what the three divisions are. I've been stopped in my tracks reading committee reports from Williams, scurrying to go figure out what department they are talking about. It's almost impossible to look up. It's buried in the course catalog.
I did not mean to communicate any implicit judgments in my citation, only that these words seemed to be the source of a dispute– with the hope that we might look at this issue somewhat neutrally and analytically.
I did find it of note that Williamson's own words were not summarized– though this is ephBlog, and, well, this is ephBlog. I'm not sure of the potential value at this moment of talking about "Patterns of Culture," though the topic is relevant.
I've never picked up any sense that this is a problem. For the most part, the FYS are on "fun" topics and aren't known as the most demanding courses. Plus, they are usually taken first semester when everything is pass/fail. I guess a student could struggle with the boutique-scale active participant style of learning, but the seminars are really designed to pull "back row" type students into the game, I think.
I think the opposite happens more often — a student ends up in a FYS (either by lottery or serendipity) and ends up majoring in that department. That happended to my daughter — took two first year seminars in a department because the topics were interesting and ended up majoring in the department. Either way is fine. My daughter also took the Physics major first-year seminar on Special Relativity and loved it. Great professor. Great course. Did well in the course. Study groups with seniors. One-on-one office hours sessions with the prof. Fantastic experience. And, she knew by the end of the semester, beyond a shadow of doubt, that she did not want to be a physicist. She said she watched "those physics boys" argue with the professor about relativity (an obviously losing argument) and knew in her bones that she didn't want to hang with "the physics boys" for the rest of her life. That's the ideal scenario. I think the Physics Department would say the seminar did exactly what it was intended to do.
There is nothing like having to negotiate the transport systems of five cities you don't know, in as many weeks. Even London is dreadful if you don't know what lines the individual stations are on– it's unbelievable to me, that cities such as Gent and Heidelberg and Wodz, simply do not have anything approaching effective maps of the transport system, which could be read by an outsider.
I guess you could repeat this for American cities– well, those which have non-automotive transportation systems– I'm just less likely to notice, because I'm familiar with them.
I find mapping systems amazing because– speaking of 'emic' and 'etic' knowledge– so often, they reveal the boundaries of communications possibilities, a 'map' more of what is implicit knowledge, of what is and is not communicated. The 'locals' often think everything is simple and clear and logical– because they've been living in the system for decades– but to any truly external, disassociated party, the system is often bizarre, and can require truly obscure and byzantine pieces of knowledge to negotiate.
Bowling Green Kentucky has a wonderful one-way street, which is a two-lane major thoroughfare between the downtown and a major highway, which it flows onto.
From the major highway, the one-way street is a left turn– against the direction of traffic. From this position, there is no marking on the one-way for one-and-a-half blocks, meaning there is no reason for anyone who is not familiar– highly familiar– with the geography of the area, not to make a left onto the one-way, and potentially face fast-moving oncoming traffic.
Bowling Green has figured out that about 70% of its traffic accidents involve an out-of-town vehicle– an amazing skew, if you consider miles driven/accident. Or that is to say, some people did a study and delivered the message of those results.
Do I need to spell the rest out?
For the purposes of the requirement, courses are grouped into three divisions: Division I, Languages and the Arts; Division II, Social Studies; and Division III, Science and Mathematics. A full listing of the subjects in each division appears below.
LOL. You planned that, right?
@90: I think this is a case where translation – any translation – does more harm than good. One simply needs the foreign nature of foreign words to impress upon one's mind that other languages group concepts differently.
Then again, if the foreign language in question was Arabic, which I understand none of, rather than German, which I have some hope of puzzling out, I might have a different reaction.
And, she knew by the end of the semester, beyond a shadow of doubt, that she did not want to be a physicist. She said she watched "those physics boys" argue with the professor about relativity (an obviously losing argument) and knew in her bones that she didn't want to hang with "the physics boys" for the rest of her life.
This prompted an unusual memory for me, one that will age me for sure.
Anyway, I must have been very, very young (!)…but there was a short period of time in which I vaguely remember my parents going off at night for neighborhood "bomb shelter meetings". It was a very regular thing…a part of the evening schedule…and then it suddenly just stopped, and they returned to hanging out at home with us, but for the occasional bridge club meeting.
At that point I distinctly remember someone asking my dad why they weren't going to the "meetings" anymore. My dad paused, looked around, smiled a little… winced a little…and then said something to the effect of…if the people going to those meetings were the same people he'd be cooped up with in a bomb shelter…for G*d knows how long…then he'd just as soon get blown to high heaven like the rest of regular folk.
Heh…sorry…off-topic…I think. Back to the subject at hand.
The large lecture courses proved to be the classes with which my son had the hardest time in freshman year. I am pretty sure he thought the opposite would be true. In contrast, one of his buddies dove right into a tutorial his first Fall semester, and absolutely relished it.
And, she knew by the end of the semester, beyond a shadow of doubt, that she did not want to be a physicist. She said she watched "those physics boys" argue with the professor about relativity (an obviously losing argument) and knew in her bones that she didn't want to hang with "the physics boys" for the rest of her life. That's the ideal scenario. I think the Physics Department would say the seminar did exactly what it was intended to do.
Did anyone on the physics faculty talk to her about this?
A lot of people, myself included, intuit that a certain form of macho-ness in the disciplinary culture is a barrier to women becoming mathematicians and physicists and would love if someone could figure out how in the world to study it and confirm our intuitions.
I wonder if hwc's daughter indeed– well, caught the right lesson here.
A story, if you will.
If you start climbing the Koenigstuhl at 1PM, and you take the shortcut, and you are a moderate climber, and you are taking pictures, you are going to get to the top somewhere between five and six.
If between six and seven was when you promised to be in dinner 45km away– "American time–" you may wish to consider taking the bus down.
The final bus leaves at 18:22. German time.
You can however reasonably– by reasonably, I mean without coming down a average 30% grade on uneven rocks in the dark– get down from the Koenigstuehl until well after midnight. There is a bus from the high-energy-particle lab until then, and if you know the way– its an easy hour's walk across the mountain paths, and can be done in a quarter-hour at a decent run.
The 18:22, however, takes a wandering route past many rural stops, to the lab, and then enters the town from the north.
The night I was last there, a group of about 10 Physics students got onto the bus.
Physics students are, of course, phenomenological observationalists. Often, phenomenological observationalists with special equipment. They are also often somewhat quizzical.
This particular coterie– I expect that they are not used to someone observing them, intently, on their journey down from the lab on the Koenigstuehl. Much less an observer in a suit, who has just climbed the Koenigstuehl, carrying 12.5kg of gear, some of which is only somewhat clandestinely takng measurements of them.
So you may imagine our quarter-hour or so of cross-cultural confrontation. I stare at members of their group with a rather odd observational intensity; members of their group stare back, wondering what this object is that stares back so intensely, as if it only encounters objects such as us at long intervals; we state at each other, and begin to test a series of nonverbal communications protocols.
In any case– four of them were female. They got off the bus, this particular night in November, at the station just before the Dienstcentrum, with two of the males of the species; the rest traveled to the center of Heidelberg, and exited there.
And perhaps "male" and "female," with all they imply in English, are dangerous translations, of the events. The concept of German masculinity, well, speaking of, things being grouped differently.
So, re the western art focus, Williams two semester class, (with one class devoted to 3 dimensional work, the second to 2 dimensional) appears to be unique, with most other comparable schools offering a one-semester survey. Do I have that correct, as far as anyone else might know?
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Back in 2004, a group of people living on the Southside of Atlanta wanted a relevant and irresistible church environment where they could safely bring their friends who did not go to church – a church similar to North Point Community Church (NPCC) in Alpharetta and it's campus Buckhead Church in Buckhead. They were willing to drive to Alpharetta or Buckhead to attend, but knew their un-churched friends and neighbors that lived on the Southside probably wouldn't.
In the summer of 2004, this dedicated, small group of people began meeting every other Sunday night. The leadership team of NPCC encouraged and advised this group, and in the fall of 2004 asked them to become a Strategic Partner with North Point Ministries. This small group became Southside Church. They continued meeting in small groups until September of 2005 when worship services were launched with over 500 people attending the opening worship service.
Since that time, God has grown Southside to an average of 1,800 people who regularly attend but our hope and prayer is to reach the estimated 100,000 un-churched people who live within a 15-mile radius of our campus in Peachtree City.
About God: We believe in one God who exists in three distinct persons: Father, Son, and Holy Spirit. We believe that Jesus Christ is the second member of the Trinity (the Son of God) who became flesh to reveal God to man and to become the Savior of the lost world.
About Mankind: We believe that mankind was created in the image of God to have fellowship with Him but became alienated in that relationship through sinful disobedience. As a result, man is incapable of regaining a right relationship with God through his own effort alone.
About Salvation: We believe that the blood of Jesus Christ, shed on the cross, provides the sole basis for the forgiveness of sin. Therefore, salvation occurs only when people place their faith in the death and resurrection of Christ as sufficient payment for their sin.
About the Christian Life: We believe that every Christian should live for Christ and not for himself. By obedience to the Word of God and daily yielding to the Spirit of God, every believer should mature and be conformed to the image of Christ.


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NAI FMA Realty
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rmeginnis@naifma.com
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Investment, Health Care / Medical, Office, Tenant Representation
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Richard Meginnis is President of NAI FMA Realty. In addition to overseeing the Brokerage Division, Richard has remained a top producer for the company and one of the top commercial real estate brokers in Lincoln and the region. Richard specializes in investment, office, medical and industrial real estate brokerage. He focuses primarily on and has extensive experience in corporate services, site selection, land assemblage and development projects. Richard holds the SIOR designation.
Richard brings over 25 years of experience in the commercial real estate industry, representing a variety of public and private companies, owners, investors and developers in all aspects of commercial real estate. He has represented several national clients in securing multi-market commercial acquisitions as well as dispositions throughout the U.S.
Richard's strength is helping his clients identify and align their real estate requirements with their strategic business, financial and operational objectives. As a tenant/buyer representative, Richard has planned and implemented location strategy for national retailers, as well as find the perfect location for an entrepreneur opening their first business. As a landlord representative, Richard has experience with individual investors, national shopping center owners, and developers, as well as corporate disposition and bank-owned property assignments.
Achievements and Awards: Midwest Real Estate News' Commercial Real Estate Hall of Fame, 2011 Honoree REALTORS Association of Lincoln, Commercial Service Award National Association of REALTORS, 2011 National Commercial Award (1 of 25 Recognized) 2016 Lincoln Independent Business Association (LIBA) Community Impact Award.
Richard is the current serving on the Lincoln City Council.
Bachelor's Degree, Economics, University of Utah, Salt Lake City, Utah
Professional Associations & Designations
Earned the Society of Industrial and Office Realtors (SIOR) designation Leadership Lincoln, Fellow Realtors Association of Lincoln, Member, Commercial Brokers Committee Member and Past Chairman of Governmetal Affairs Committee Lincoln Chamber of Commerce - Governmental Affairs Committee Member NAI FMA Realty representative on Lincoln Partnership for Economic Development Mayor's Economic Task Force, Infrastructure Task Force Lincoln Public Schools Construction Review Committee Midlands Multiple Listing Service - Past President Lincoln Public Schools' Board of Education - Past President Cornhusker Better Business Bureau - Past President Lincoln Independent Business Assoc. (LIBA) - Past President
Represented the seller, Ameritas Life Insurance Corp., of a 118,612-square-feet office development in Omaha, NE for $18 million. Fully occupied and anchored by TD Ameritrade
Represented Wells Fargo Properties in the $14.7 million sale of the Wells Fargo Center, Commerce Court and Rampark Parking Garage in Lincoln, NE totaling 561,514-square-feet
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Landlord representative for Ameritas Life Insurance Corp.'s prestigious Wells Fargo Center, a 260,000 square foot Class "A" office building in downtown Lincoln
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NEW YORK (CNNMoney.com) -- Microsoft Corp. unveiled a new operating system for mobile phones Monday, marking its latest move to reclaim a leading position against rivals Apple, Research in Motion and Google.
Just a few years ago, Microsoft (MSFT, Fortune 500) was embedded in about a quarter of all smartphones sold. It's now in less than 10%, with competition coming from the iPhone and BlackBerry. Google (GOOG, Fortune 500)'s Android has only made a crowded space even tougher for Microsoft.
Microsoft's new operating system is made up of "live tiles" that are updated in real time.
Now, after months of speculation, Microsoft has confirmed that 7 will be a tiles based interface and include live access to Facebook, plus its own offerings X-Box Live for gaming and Zune for music and photos. Its search engine Bing is also included.
Microsoft says it looks like nothing on the market and the advantage lies with consumers gaining instant access to all these offerings on their smartphones.
Microsoft CEO Steve Ballmer told CNN that this is a major push for the company to get back in the mobile space. He said 7-based smart phones will be manufactured by the likes of Qualcomm, Samsung, LG, HTC, HP, Dell, Sony Ericsson, Toshiba, and Garmin-Asus.
The variety of hardware partners will provide customers with choice in a "one size does not fit all" mobile world, said Microsoft's senior vice president of mobile communications business Andy Lees. For instance, he said, some phones will be equipped with keyboards, while other will not.
But all phones running the new operating system will include certain features, such as 4-point multitouch. Lees said Microsoft will reveal the range of phones closer to the holiday season launch.
The phones will be available on multiple networks, including T-Mobile, Sprint, and Verizon, as well as international carriers such as Telefonica, Vodafone, SFR, Telestra and Telecom. Lees said carriers will be able to enable their own innovations, software and services to work with the Windows operating system.
He added that Microsoft has "deeply engaged" partnerships with AT&T, which launched the first Windows Mobile smartphone in the United States 2003 and is the exclusive carrier for Apple's iPhone. Lees also called out Microsoft's partnership with France Telecom Group's Orange, which introduced the first Windows-based smartphone phone in 2002.
The features of the new operating system are a "step in the right direction," said Todd Day, mobile and wireless at Frost & Sullivan. But he cautioned that Microsoft's business model could wind up being an obstacle to the success of the 7 Series.
Unlike Google's Android, which is open source and available to manufactures for free, Microsoft requires handset makers to purchase licenses.
"The revenue model is shifting, and it could be a real catch that Microsoft's system charges licensing fees when everyone else is offering open source operating systems," said Day, adding that mobile operating systems generate profit through advertising sales and search revenue.
Despite the criticism, Ballmer said Microsoft has no plan to alter its model.
"I think there's something clean and simple and easy to understand about our model: we build something, we sell that thing," he said during the Web cast. "My parents, like most other parents, say, 'When something is free, you take a look and find out where the real cost is.' Our plan is clear and direct, and we plan on staying with the model we're on."
One way Microsoft can compete, Day said, is by connecting its mobile operating system to its PC operating system.
"Right now, the mobile product is a completely separate product from Windows 7, but I wouldn't be surprised to see them integrate the two, and I think it would help them," Day said. "Documents on your home computer would be accessible through the cloud on your Windows mobile phone, and the look and feel would be similar so users could interact with their phones like they do with their their computers at home."
The Windows Phone 7 Series' software experience is designed to "fundamentally focus on what's most important to each individual user," said Joe Belfiore, Microsoft's corporate vice president for Windows Phone Program Management, during a Web cast from Barcelona.
The operating system's start screen is made up of several "live tiles" that are updated in real-time. So instead of seeing an icon for a Facebook application, Belfiore explained that users will be able to browse through their contacts and get live updates from their Facebook, Windows Live and other social media services in one hub, without moving in and out of various applications.
Users will be able to create live tiles on their start screens for contacts to get constant updates for certain individuals.
Though the iPhone has been outselling the Windows Mobile devices for two years, it recently beat Microsoft in terms of active smartphone users, according to data from comScore.
At the end of 2009, BlackBerry continued to hold the lead with 41.6%, followed by the iPhone with 25.3% and Microsoft came in third with 18% of the smartphone market share.
While Google (GOOG, Fortune 500)'s Android still ranks fifth behind the Palm, its market share climbed the most during the fourth quarter, rising to 5.2% from 2.5% in September.
-- CNNI's Jim Boulden contributed to this report.


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text:
110145 La Cultura,Lead catholics,drag queen,religion,spain news /g,">").replace(n,t.Em.replacer);return o="
Home Other News La Cultura Spanish Catholics outraged by Virgin Mary drag queen performance
Spanish Catholics outraged by Virgin Mary drag queen performance
The debate brings into question respect for freedom of expression
Laura Duckett
6 Mar, 2017 @ 10:23
CATHOLICS in Spain have been left outraged after a drag queen performed as the Virgin Mary and danced to Madonna's 'Like a Prayer' at the Las Palmas Drag Gala competition during Carnival.
The performance, by Nelson Rodriguez (aka Drag Sethlas), has provoked an embittered debate, and at its centre is Bishop Francisco Casas, who accused Rodriguez of 'frivolous blasphemy'.
The enraged bishop went as far to say that the incident had left him sadder than he had been on the day of the Spanair crash which killed 154 people in 2008, a comment which has upset some of the victims' family members.
He said: "(There is) Respect for freedom of speech but there is also respect for legitimate religious feelings.
"We have the right to be respected."
Bishop Casas called for a mass to be held on Friday, and Broadcaster TVE have since removed footage of the performance from its website.
In his defence, Rodriguez said: "There was no intention of offending anyone. It was simply something people wanted to see."
The carnival runs from February 19 to March 5, and has been celebrated over the past five centuries, with the Drag Gala now on its 20th edition.
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chas 6 Mar, 2017 @ 14:22 At 14:22
"We have the right to be respected." Respect, of course, cuts both ways.
stefanjo 6 Mar, 2017 @ 16:53 At 16:53
Very true chas. But have you noticed the Prophet doesn't have the Mickey taken? Wonder why that is?
Angus 9 Mar, 2017 @ 10:23 At 10:23
"We have the right to be respected." – Actually no, I do not need to respect anyone who believes in fairies.
zabaot 11 Mar, 2017 @ 11:03 At 11:03
I dare to say that most religious people, no matter what religion would find this show sacrilegious. Not much different from a black mass, using symbols invertedly.
Spanish-Cuban actress Ana de Armas bags first Oscar nomination for her portrayal of the original blonde bombshell Marilyn Monroe
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Tickets on sale until summer for star hiking trail Caminito del Rey in Spain's Malaga—including two major holiday dates
Company that runs Gibraltar BID project winds down as businesses rebel against costs


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text:
Some of the works in the Apocrypha derive their literary form primarily from their relationship to biblical texts. In no case is this relationship in the form of a phrase-by-phrase commentary, unlike some rabbinic midrashim (see above, G.19), but the types of association are different in each case.
2. Rewritten Bible
1 Esdras is a Greek translation of a version of the biblical book of Ezra incorporating material from Chronicles and Nehemiah. It is uncertain whether it is best to explain the book by suggesting that the author possessed something like the Masoretic Hebrew text of Chronicles, Ezra, and Nehemiah before he wrote and then adapted it for his own purposes, or that he translated an independently preserved Hebrew text of the biblical books, but if the former is the case, 1 Esdras constitutes a free reworking of the biblical account similar to the relationship of the book of Jubilees to Genesis and relationship of the Temple Scroll found at Qumran to Deuteronomy.
3. Additions to Biblical Books
The passages inserted into the Hebrew book of Esther and now found in Greek Esther serve to enhance the dramatic and religious appeal of the original version and to bolster its historicity through the citation of verbatim copies of royal edicts. The author of these additions has made no attempt to alter or comment on the biblical story, but only to increase its impact in the spirit of the original. The Prayer of Manasseh, in which the king admits his sins and begs forgiveness from God, was similarly intended to supplement the biblical account in 2 Chronicles because 2 Chr 33:18–19 mentions that such a prayer is recorded elsewhere. The difference in this case is that the prayer was not preserved in the text of Chronicles in the Septuagint but only as a separate text.
4. Imitation of Biblical Books
Baruch is a hortatory prophecy so similar in tone and content to the Hebrew book of Jeremiah that it was treated by some Christians from the second century CE as a supplement to the biblical book. This notion was doubtless aided by references in the book of Jeremiah to Baruch as the prophet's secretary and references to the Babylonian exile in Baruch itself. The book of Baruch contains rather disparate material (narrative, prayer, instruction in the form of a poem about Wisdom, and comfort for the people in a poem about Zion), but all the elements are familiar from the prophetic books of the Bible.


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text:
Basketball Klosterneuburg ist ein Basketballverein aus Klosterneuburg, dessen Herrenmannschaft, die BK Dukes, in der höchsten österreichischen Spielklasse ÖBL spielt. Das Damenteam, die BK Duchess, spielt in der AWBL bzw. ASWBL. Mit insgesamt zehn Meistertiteln der Herren, zuletzt in der Saison 2011/12, und acht Meistertiteln der Damen ist Klosterneuburg einer der erfolgreichsten Basketballvereine in Österreich. Mit der Saison 2019/20 starteten die BK Dukes in ihre 50. Bundesliga-Saison und sind damit das Rekordteam der ÖBL.

Geschichte
Der Basketballsport in Klosterneuburg hat eine lange Tradition. Im Jahr 1952 wurde Basketball als Sektion des damaligen KSV (Klosterneuburger Sportverein) gegründet. Das entsprechende Gründungsmatch fand am 16. August 1952 gegen Union Babenberg statt und bereits ein Jahr später folgte der eigenständige Weg als Verein unter dem Namen "1. KBC" (1. Klosterneuburger Basketballclub) mit Herren und Damenteams.

Seit 1970 ist Klosterneuburg durchgehend (als einziger Verein in Österreich) in der A-Liga vertreten. 1977 fusionierten die beiden erfolgreichen Klosterneuburger Teams 1. KBC und Asturia zum heutigen "BK Klosterneuburg". Vom großen Erfolg gekrönt wurde die Fusion schließlich am 16. April 1978 in einer restlos ausverkauften Babenbergerhalle. Im Finale zwischen dem BK Klosterneuburg und dem UBSC Wien setzten sich die Außenseiter mit 69:68 durch und Klosterneuburg wurde der erste österreichische Basketballmeister, der nicht aus Wien kam.

Mit dem ersten Meistertitel 1978 beginnt die die "Goldene Ära" des Klosterneuburger Basketballsports und Anfang der 1980er Jahre auch die Übersiedelung in die neue Heimstätte Freizeitzentrum Happyland. Mit 8 Meistertiteln in Folge (1983–1990) wird der BK Klosterneuburg zum absoluten Rekordmeister der Österreichischen Basketball Bundesliga. Kein anderes Team der ABL kann bis heute auf eine ähnliche Erfolgsserie verweisen. Dazu kommen 32 Europacup-Spiele (5 Siege – 27 Niederlagen) und der Erfolg als 2-facher Donaupokal-Sieger (Vorgänger der Superliga).

Den letzten großen Höhepunkt bei den Herren feierte der BK Klosterneuburg (genau 60 Jahre nach Gründung des Vereins) mit dem Meistertitel 2012. Dazu kamen der erste Cupsieg in der Vereinsgeschichte (2013) der BK Dukes sowie der 2-fache ABL Supercup Sieg (2012, 2013). Bei den Damen konnte der Verein vier Pokalsiege (2019, 2020, 2021, 2022) sowie zwei Meistertitel 2021 & 2022 feiern.

Heute betreut der BK Klosterneuburg neben den 2 Bundesligateams (BK Dukes und BK Duchess) und einem Landesligateam (BK Sixers) insgesamt 13 Nachwuchsteams direkt im Verein (Mädchen und Jungen) sowie Basketballspieler in allen 8 Volksschulen in Klosterneuburg. Damit zählt der BK zu den aktivsten Nachwuchsförderern der Stadtgemeinde Klosterneuburg und zu den größten Basketballvereinen in Österreich! Für die professionelle Nachwuchsbetreuung vor Ort sorgt zusätzlich das 1985 gegründete Basketball Bundesjugendzentrum, wo junge Talente entsprechend gefördert werden und auf dem Weg zum Spitzensport optimal unterstützt werden. Die Heimhalle des BK Klosterneuburg, das "Dukes Castle" im Happyland, bietet Platz für 1.000 Zuschauer.

Spielstätte
Die Mehrzweckhalle des Freizeitzentrums Happyland liegt im Klosterneuburger Aupark, einem Erholungsgebiet in unmittelbarer Nähe des Bahnhofs Klosterneuburg-Kierling. Die BK Dukes tragen dort seit 1979 ihre Heimspiele aus. Die Basketballhalle ist bei den Fans auch als "Dukes Castle" bekannt. Im Sommer 2014 wurde die Halle von der Stadtgemeinde Klosterneuburg generalsaniert. Neue Tribünen, HD-fähiges Licht für die TV-Übertragungen und viele weitere technische Neuerungen machen die Basketballhalle zu einer der modernsten in Österreich.

Namensgebung
Der Verein heißt Sportunion Basketball Klosterneuburg.

Das Bundesliga-Herrenteam heißt Dukes ("Herzöge"), das Bundesliga-Damenteam heißt Duchess ("Herzogin"), während die zweite in der Landesliga Niederösterreich spielende Mannschaft Sixers ("Sechser") heißt, die auch im Niederösterreich Cup antritt. Die Nachwuchsteams der Buben und der jungen Erwachsenen heißen unter Hinzufügung der Höchstaltersgrenze Basketdukes ("Korbherzöge") und die Mädchen heißen Basketduchess ("Korbherzogin").

Beide Bundesliga-Teams haben oder hatten Namenssponsoren, die in Österreich sehr häufig wechseln können. Aufgrund der Natur des zeitlich (eng) begrenzten Namenssponsorings, dessen Erwähnung nach Ablauf der Vertragslaufzeit nicht mehr stattfinden soll, bei gleichzeitig mangelhafter Geschichtsschreibung, finden sich selten belastbare Namenskonventionen. Die Damen spielten bereits als "BK Tecto Klosterneuburg", "BK Hornets Klosterneuburg", "BK Systemlogistik Duchess" und "BK Jocher's Duchess", bzw. aktuell als "BK Raiffeisen Duchess". Die Herren spielten schon als "BK NÖ Brandschaden" (bis 1984/85) und in weiterer Folge als "BK NÖN" (1985–1988), "BK Toshiba" (1988–1990), "BK Nissan" "BK Kalendermacher Klosterneuburg", "Xion Dukes", die "yourgoody Dukes" (Bedeutung leider unbekannt) oder aktuell (2019/2020) die "BK IMMOunited Dukes".

Damen
Im Gegensatz zum Herren-Team von Basketball Klosterneuburg, den Dukes, sind nicht die Spielerinnen selbst, sondern das Damen-Team als ganzes eine "Herzogin" (=Duchess). Die Damen wurden als eigenständiger Verein von 1998 bis 2003 sechsmal in Serie Meister der Austrian Women Basketball League. 2004 wurden sie als "BK Duchess" im Verein integriert. Seitdem wurden vier Cupsiege (2019, 2020, 2021, 2022), 5 Vizemeisterschaften (2006, 2011, 2012, 2014, 2019) sowie zwei Staatsmeistertitel 2021 & 2022 als Erfolge gefeiert.

Nachwuchs
Die Basketdukes bzw. Basketduchess sind der Nachwuchs von Basketball Klosterneuburg und beschäftigen sich mit der Betreuung von Jugendlichen. Es werden Burschen ab acht Jahren durchgängig in allen Altersstufen betreut (U10, U12, U14, U16, U19). Mädchenteams gibt es für die Altersstufen von 10 bis 19 Jahren.

Im Jahre 2006 wurde die Nachwuchsarbeit des Vereins im Basketballmagazin Fullcourtpress zur besten Österreichs gewählt. Nach einem Punktesystem wurde die Anzahl der Erfolge in der ÖMS (Österreichische Meisterschaft) und die Anzahl der Mannschaften gewertet.

Erfolge
Die Basketballer aus Klosterneuburg haben im Jahr 1978 zum ersten Mal den Meistertitel erringen können. Von 1983 bis 1990 gelang es ihnen, achtmal in Folge den Titel zu holen. In den Jahren 1983 und 1986 konnte der Donaupokal gewonnen werden. Sie stellten damit das dominierende Team des österreichischen Basketballsports der 80er Jahre dar.

2012 gewannen die Dukes nach 22 Jahren wieder den Meistertitel, den Supercup 2012 sowie 2013 den Chevrolet Cup. Damit erreichten sie als zweite österreichische Mannschaft das "Titel-Tripel". Im Herbst 2013 konnten sie den Titel im Supercup 2013 verteidigen.

Die Duchess gewannen den Meistertitel der Damen achtmal von 1998 bis 2022 sowie neunmal den Cup. In der NÖ Landesliga gewannen die BK Sixers 24 Mal den Landesmeistertitel bei den Herren und viermal mit den Damen.

Weblinks
 www.bk-klosterneuburg.at
 Facebook - BK Dukes
 Facebook - BK Duchess
 Facebook - BK Nachwuchs/Next Generation
 Instagram - BK Dukes
 Instagram - BK Duchess
 Instagram - BK Nachwuchs/Next Generation
 Basket Dukes (Nachwuchsmannschaften)
 BK IMMOunited Dukes Klosterneuburg at Eurobasket.com
 Basketball Superliga
 Basketball Damen Superliga
 Österreichischer Basketballverband

Sport (Klosterneuburg)
Klosterneuburg
Gegründet 1952
Sportverein (Niederösterreich)
Organisation (Klosterneuburg)

redpajama_set_name: RedPajamaWikipedia


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