Yale Will Eliminate a Beloved Introductory Art Class for Being Too White, Male, and Western - "Enrollment has swelled for Yale University's introductory art history course, which covers "the Renaissance to the present." That's because the school plans to eliminate the popular class after the spring.According to The Yale Daily News, the art department has decided that the class might make some students uncomfortable due to the "overwhelming" whiteness, maleness, and straightness of the artists who comprise the Western canon (though that last label may be dubious). Indeed, the focus on Western art is "problematic," course instructor Tim Barringer told the student newspaper... In its final iteration, the course will "consider art in relation to questions of gender, class and race and discuss its involvement with Western capitalism," according to the latest syllabus. Art's relationship to climate change will also be a "key theme." "I'm really looking forward to seeing what works the students come up with to counteract or undermine my own narratives," said Barringer. Art students who wish to master the Western canon will still find plenty of other courses that satisfy their interests. But the removal of the introductory course makes it difficult for non-majors with a casual interest in the subject to study it... It has become more common in recent years for small cabals of students to rebel against liberal arts curricula that they feel are too focused on Western artists, authors, and thinkers. Students at Reed College, for instance, successfully pressured educators to disband an introductory humanities course. In that case, the activists demanded that all European texts be removed and replaced by non-European books as a form of reparations "for Humanities 110's history of erasing the histories of people of color, especially black people."... When a university eliminates an introductory art class because a tiny number of ideologues object to the whiteness and maleness of it all, it feels like they are declining to teach history because some people don't like what happened. The West's outsized influence on the events of the last several centuries may very well be problematic, but that doesn't mean it isn't real."
Despite this, we are told that decolonising/diversifying the curriculum is not a zero sum game, and that diversity is only ever a good thing. Then again, the course has already been infected so maybe this is a good thing
Presumably students undermining the narrative of oppression will not delight Barringer
Segments of Random Thoughts - Posts - "The Woke are rewriting history with extreme prejudice. The West cannot have any positive legacy. Because they don't want you to feel pride, only guilt."
Yale Med School To Stop Teaching Medicine Discovered By White Males | The Babylon Bee - "This has been lauded as a much-needed stand for diversity at Yale, especially by current med students who will now have much more time to deal with the stress of med school by watching Netflix."Yes, many people will get sick and die because of this, but it will be worth it for the woke points," one professor said. "We will now only teach medicine discovered by brave, oppressed, trans people of color." At publishing time, Yale University had announced that the entire campus would be bulldozed over after faculty discovered the school was founded by privileged white males."
Yale against Western Art
"Given the role that these two courses have played in exposing Yale undergraduates to the joys of scholarship and knowledge, one would think that the department would have amassed overwhelmingly compelling grounds for eliminating them. To the contrary, the reasons given are either laughably weak or at odds with the facts. The first reason is the most absurd: the course titles (“Introduction to the History of Art: Prehistory to the Renaissance” and “Introduction to the History of Art: Renaissance to the Present”). Art history chair Tim Barringer apparently thinks students will be fooled by those titles into thinking that other traditions don’t exist... If the titles are such a trap for the Eurocentric unwary, the department could have simply added the word “European” before “Art” and been done with it...
Barringer also claims that it was “problematic” to put European art on a pedestal when so many other regions and traditions were “equally deserving of study.” The courses that will replace the surveys will not claim to “be the mainstream with everything else pushed to the margins,” he told the Daily News. Leave aside for the moment whether the European tradition may legitimately form the core of an art history education in an American university. The premise of Barringer’s statement—that previously European art was put on a pedestal and everything else was pushed to the margins—is blatantly false. The department requires art history majors to take two introductory-level one-semester survey courses. Since at least 2012, the department has offered courses in non-Western art that can fulfill that requirement in lieu of the European surveys...
Nor would anyone surveying the art history catalogue think that Yale was “privileging” the West, as they say in theoryspeak. That catalogue is awash in non-European courses...
Those courses must also be sacked because it is impossible to cover the “entire field—and its varied cultural backgrounds—in one course,” as the Daily News put it. If this statement means that the span of time covered in each of the one-semester Western art classes is too large, non-Western survey courses are as broad or broader. “Chinese Painting and Culture” covers 16 centuries. “Power, Gender, and Ritual in African Art” covers nearly two millennia. “Introduction to the History of Art: Buddhist Art and Architecture” covers seven centuries. “Introduction to the History of Art: Sacred Art and Architecture” covers several millennia. None of these courses is facing extinction.
Barringer promises that the replacement surveys will subject European art to a variety of deconstructive readings designed to pull that tradition down from its alleged pedestal. The new classes will consider Western art in relation to “questions of gender, class, and ‘race,’” he told the Daily News in an email, carefully putting scare quotes around “race” to signal his adherence to the creed that race is a social construct. The new courses will discuss the involvement of Western art with capitalism. Most intriguingly, the relationship between Western art and climate change will be a “key theme,” he wrote.
Barringer’s proposed deconstruction of Western art illustrates a central feature of modern academia: The hermeneutics of suspicion (Paul Ricoeur’s term for the demystifying impulse that took over the humanities in the late 20 century) applies only to the Western canon. Western academics continue to interpret non-Western traditions with sympathy and respect; those interpreters seek to faithfully convey the intentions of non-Western creators and to help students understand what makes non-Western works great. So, while the replacement European art survey courses will, in Marissa Bass’s words, “challenge, rethink, and rewrite” art historical narratives, the department will not be cancelling its Buddhist art and architecture class due to the low representation of female artists and architects, nor will it “interrogate” (as High Theory puts it) African arts and cultures for their relationship to genocidal tribal warfare, or Aztec art and architecture for their relationship to murderous misogyny.
In the replacement European survey courses, however, Tim Barringer will ask students to nominate a work of art that has been left out of the curriculum or textbook, in order to challenge long-held views of art history. Barringer is looking forward to seeing how students will “counteract or undermine” his own narratives about Western art, he wrote in an online syllabus note. Will students in “Painting and Poetry in Islamic Art” be asked to nominate an excluded art work? Unlikely. The idea that a Yale undergraduate knows enough to “counteract or undermine” the expertise of Islamic scholars would be seen as ludicrous. Only with regards to the Western tradition are ignorant students given the power to countermand what was once the considered judgment of the scholarly profession.
Students exert pressure over what gets taught not just through explicit pressure but also through their mere existence, if they possess favored identity traits. The “diversity of today’s student body” guides the art history department’s curricular thinking, department leaders explained in a statement on the cancelled survey courses. But the ephemera of students’ race and sex have no bearing on the significance of the past. The sublimity of Chartres Cathedral, a focal point of Scully’s fall semester course, transcends the skin color of the latest round of freshmen. If the University of Lagos suddenly received a large influx of students from Idaho, that would not change how Yoruba bronzes would be taught or interpreted. It is only in the West where scholarship and pedagogy are held hostage to some students’ demographic profile.
Yale has cancelled other landmark courses on identity grounds. For decades, English majors were required to take a yearlong course called “Major English Poets.”... But that course was defenestrated from its gateway status for English majors in 2017...
Rather than push back against this ignorant nonsense, members of Yale’s English faculty validated its premise... Medieval and Elizabethan England simply did not have black poets writing in the English language, a pattern that continued through the Augustan and Romantic periods. Females were only slightly more represented, but none of them had the influence of the course’s focal authors...
Yale’s lust for curricular cancellations has picked up steam since Major English Poets lost its required spot in the English major. The art history department appears to be eliminating the Western art introductory courses on its own initiative, without the pretext of a student petition or other agitation. The only possible grounds for doing so is a political hatred for the Western tradition, since the axed courses were voluntary and surrounded by numerous non-Western alternatives. Barringer did not respond to an email asking for a preview of the mysterious relationship between Western art and climate change. He also chose not to reveal whether African, Asian, and South American art will now be “problematized” along with Western art.
The one-sided subjection of Western civilization to the petty tyranny of identity politics will only worsen. Yale is one of four universities to have received a $4 million grant to infuse the theme of race into every aspect of humanities teaching and scholarship. Brown, the University of Chicago, and Stanford are the other recipients of that Andrew W. Mellon Foundation bequest. (The Mellon Foundation, once a supporter of apolitical humanities scholarship, has been captured by the identitarian Left.) Race, Yale announced in its press release about the Mellon grant, is critically important and indisputably central to the humanities.
Actually, it is not. The humanities are about matters far more compelling than the trivialities of race, which in any case we are supposed to believe is not even real. For centuries, poets, painters, novelists, and architects sought to express essential truths about the human condition. Race may have played a role in a few classic works, such as Othello or The Heart of Darkness, but it was hardly “central” to the entire tradition. Those who seek to make it so do so in the pursuit of political grievance, not scholarly accuracy.
Some students know better, however. Once word got out that this year would be the curtain call for the two introductory Western art courses, students stampeded to enroll. Though the courses were not in fact a required gateway into the study of art history, it would have been perfectly appropriate to make them so. The primary obligation of education is to pass on a particular civilization’s cultural inheritance with love and gratitude. Yale, like nearly every other college today, has lost the will to do so. It has therefore negated its very reason for being."
The Real Problem at Yale Is Not Free Speech
"Poor people pretend to be rich to look cool. Go visit the Russians on Brighton Beach in their tank tops and gold chains. Rich people pretend to be poor to fit in. Go to San Francisco and play a round of “Homeless or tech billionaire.”
But bizarre effects emerge when signals are mixed up. In particular, I have seen bizarre effects from mixed-up wealth signaling structures...
On the surface, there is nothing wrong with haphazard and sometimes warped class signaling. But if you put on a façade for long enough, you end up forgetting that it is a façade. The rich and powerful actually start believing that they are neither of those things. They actually start believing that there is not much difference in status and resources between themselves and the upper-middle class, the middle class—and eventually, between themselves and the actual poor. They forget that they have certain privileges and duties that others do not. They forget that the inside joke was just a joke all along...
When these kids grow up, they end up at conferences where everybody lifts their champagne glasses to speeches about how we all need to “tear down the Man!” How we need to usurp conventional power structures.
You hear about these events. They sound good. It’s important to think about how to improve the world. But when you look around at the men and women in their suits and dresses, with their happy, hopeful expressions, you notice that these are the exact same people with the power—they are the Man supposedly causing all those problems that they are giving feel-good speeches about. They are the kids from Harvard-Westlake who never realized they were themselves the elite. They are the people with power who fail to comprehend the meaning of that power. They are abdicating responsibility, and they don’t even know it...
We mock each other over wealth and mannerisms, to the point that we forget how and why wealth is built in the first place. We forget the extent of our own power and start blaming an ephemeral elite beyond ourselves for the ills of society. And when something does need to be challenged in elite thought, not in the fake, recuperated way that Greta Thunberg ritually challenges an already-supportive crowd at Davos, but in the real way that carries personal risk—we bail. When we see an unfashionable truth that may risk criticism or ostracism, we forget our own position of strength and assume we cannot bear those risks. We give up the fight before it even starts—as if somebody else can or will fight it.
That is what can lead to societal dysfunction. But it is also a symptom of that dysfunction...
The appearance of bottom-up protest politics is always a bit of a false narrative...
What do all of these events have in common? Some had student support. Some did not. Some started as public outrage taken to the street. Some were completely internal. What they had in common was an administration and student body coordinated around an ideology that continually mutated to ensure moral entrepreneurship and a continued supply of purges, as new forms of human behavior or commonplace descriptors became off-limits. Some of this energy was genuine, some cynical...
Their point was that this was all to help poor people. Immigrants. People whose parents are from distant, impoverished lands. People of color. Changing “Master,” firing the dean, and firing professors was all for this.
Except this did so little to actually help any of these people that this could not possibly have been the main motivation.
None of this was actually to their benefit, except for the few activists willing to invest time and energy into the game. It is not easy to stay up-to-date with the new, ever-more-complex rules about what you are allowed to say to qualify as the bare minimum of sociable and sane. It is cognitively and socially demanding. I had to not just study psychology and computer science, but I had to stay up-to-date with the latest PhD-level critical theory just to have conversations...
If words like “Master” are deemed offensive based on questionable linguistic or historical standards, then this means other words and phrases can become offensive at a moment’s notice. Under these rules, only people in the upper ranks who receive constant updates can learn what is acceptable. Everybody else will be left behind.
The people best positioned for this are professors at elite universities. They are ingrained in the culture that makes up these social rules. They get weekly or even daily updates, but even they cannot keep up...
If even competent, qualified, liberal, well-meaning, tenured professors at Ivy League universities are in danger of losing their livelihood for arbitrary reasons just because they said something subtly wrong to the wrong student organization, then what hope do the rest of us have?...
A cynical observer might conclude that this is all just revolution as usual—a small clique of agitators seizing more and more power, and purging their enemies by virtue of their superior internal solidarity, a bold and demanding ideology, lukewarm popular moral support, and no real organized opposition. In some ways, that is what’s going on. They have the bold ideology, the ambient support, and no real opposition.
But importantly, they don’t have internal coordination by any means other than adherence to the ideology itself. Even members of the clique are never really safe. Anyone who contradicts the latest consensus version of the constantly mutating ideology, even if they have worked to its benefit or are otherwise obviously on side, gets purged. If you don’t keep up, you get purged...
For everyone who gets purged for a slight infraction, there are dozens who learn from this example never to stand up to the ideology, dozens who learn that they can attack with impunity if they use the ideology to do it, and dozens who are vaguely convinced by its rhetoric to be supportive of the next purge. So, on it goes...
Yale administrators had lofty goals. In an attempt to placate their own biases, the administrators and faculty forgot that they are the ones who are supposed to be teaching. Instead of expelling or suspending the small number of people actively undermining the student body and university as a whole, the university does nothing, or actively accelerates the process. The professors are the ones who leave. The radical clique feels emboldened.
Now we can begin to understand the real problem at Yale...
The faculty get pushed around by a small number of students, and administrators actively fire up conflict on their behalf. If an administrator wins favor among them, that administrator gains power. If administrators come to understand that they can gain power via this vector, it makes sense why they would chip away at existing holders of power: the people on the board, the donors, the alumni, and the traditions of the institution itself.
In effect, a large fraction of the administrators form a revolutionary class within the rest of the university structure. They use both their existing power and new ideological mandates to expand their own domain at the expense of other players. The purpose of the administrators is to shape, tear down, and rebuild the university on the institutional level, which lets them act on ideological goals in a way students and faculty generally cannot. The people filling these expanded roles often come from the student body itself, having served in student government or activist student organizations before transitioning into their bureaucratic roles after graduation. This is the human institutional structure behind the ideological phenomenon.
The result is an institution increasingly unable to carry out its own mission, as tuition rises to pay for more administrators, and ideological drama makes it harder and harder to actually teach. And now we are back at the original question. What was the point of Yale? What was the point of going to Yale? What is the point of elite institutions?...
The problems present at Yale are present at every other university, and schools outside of the United States look to elite American universities as role models."