DOCSLIB.ORG

Fall Semester 2007

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fall Semester 2007 South Portland, Maine 04106 Fine Arts Department Title: Survey of Western Art History II Catalog Number: ARTH155 Instructor: Virginia Rose Class Meeting: Tues/Thurs 1:30-2:45 E-mail: [email protected] Credit Hours: 3 Office/Phone: SEA Center Room 104, 741-5537 Office Hours: Tues & Thurs 3 – 4 pm, and by appt. Course Syllabus Course Description Art History Survey II is the second in a two-semester comprehensive examination of the development of Western art. We begin the course with a continuation of the development of the Renaissance, then progress chronologically, uncovering the evolution of themes, traditions, and influences within historical, social, political, technological and religious context. Class lectures will include slide presentations, movie/film screenings, active discussion, writing exercises, and a museum field trip. Topics to be covered in this class include the art and architecture of: the Late Gothic; Italian & High Renaissance; Northern Renaissance; Mannerism; Southern & Northern Baroque; Rococo; Neoclassism; Romanticism & Realism; Impressionism & Post-Impressionism, and Modernism to Postmodernism. Prerequisite(s): ARTH145. Course Objectives Upon successful completion of this course, the student will: Articulate a better understanding and awareness of visual art Describe historical and contextual developments of art and artists Engage in critical discussions related to art Identify and discuss the significance of the major works and artists of Western Art from the Renaissance to the present. Required Text: Stokstad and Cothren, Art History, 5th Edition, Portable edition Books 4 and 6 (optional: MyArtsLab) You may also opt to purchase the e-book version of this text, which comes with MyArtsLab. Please bring your textbook to class with you! Course Requirements Mid-Term Exam Artist Discovery Paper & Presentation Final Exam Museum Paper Short Essay & Reading Quizzes Participation Grading Criteria / Student Evaluation Student’s work will be evaluated on their knowledge of important time periods, cultures, artworks and artists; their contribution to class discussion and the quality of writing skills. Grading and evaluation will include attention to deadlines and requirements specific to the assignments, as well as attendance and participation. The course grades are weighted in the following manner: Short Essays & Quizzes 10% Artist Paper/Presentation 15% Mid-Term 25% Museum Paper 15% Final 25% Participation 5% 93-100 = A 83-86 = B 73-76 = C 61-66 = D 90-92 = A- 80-82 = B- 70-72 = C- 0-60 = F 87-89 = B+ 77-79 = C+ 67-69 = D+ Classroom Expectations Please be considerate of my time and that of your fellow students by refraining from rude, disruptive or disrespectful behavior. The following behavior will not be tolerated during class lectures: sleeping; reading; completing assignments for other classes; cell phone use and text messaging. Electronic devices are not permitted for use in class. If you are having any difficulties (at home, at work, on campus, with my teaching methods, taking notes, completing assignments, etc.), please let me as soon as possible. I cannot help you if I do not know there is a problem. Attendance & Missed / Late Work Policy Students are required to attend classes as stated in the college catalog. Attendance will be taken at the beginning of each class. If you miss more than THREE (3) classes, your grade will be negatively affected. FIVE (5) absences will result in a failing grade. Tardiness and leaving class early will also affect your grade: for every 20 minutes late, 1/3 of an absence will be added to your attendance. Work submitted late will be graded on a reduced point value scale. Plagiarism Statement If an instructor suspects that a student has knowingly committed a violation defined in the Maine Community College System Policy on Student Grade Appeals and Academic Misconduct, the instructor has the authority to review the alleged misconduct and determine the grade that the student should receive for the assignment and the course. The instructor may assign a failing grade for the assignment or course and may require the student to complete additional work for the course. The instructor may consult with the department chair and/or the College’s chief academic officer prior to making such decisions. If a student seeks to challenge an instructor’s determination, the student should submit a grade appeal. Grade appeal forms are available in the Advising Office on the South Portland Campus or in the administrative offices in the Learning Commons on the Midcoast Campus. An instructor may also refer the matter to the College’s disciplinary officer for review under the procedures of the MCCS Student Code of Conduct. The Learning Commons The library, tutoring and writing centers, and open study space are located on the second floor of South Portland’s Campus Center and in the Midcoast’s LL Bean Learning Commons and Health Science Center. Here you can find free academic support through individual and online tutoring, information literacy/research librarians, and professional academic strategy/planning mentoring. There are many desktop and laptop computers as well as printers, reserve textbooks, and other academic tools available for use within the Learning Commons. Services are offered by appointment or as drop-in assistance. To access services, visit My Learning in My Maine Guide. Students consistently report that the Learning Commons is an inviting and friendly place to seek academic support or study. Those who make use of the Learning Commons regularly have been shown to be more likely to succeed—take advantage of this exceptional resource for this, or any of your classes. End-of-Course Evaluation Students complete evaluations for each course attended at SMCC. Evaluations are submitted online and can be accessed through the student portal. Students can access the course evaluations beginning one week before the end of classes. The deadline for submission of evaluations occurs Monday at 5 p.m. following the last day of the class. You will receive an e-mail to your student e-mail account when course evaluations are available. ADA Syllabus Statement Southern Maine Community College is an equal opportunity/affirmative action institution and employer. For more information, please call 207-741-5798. If you have a disabling condition and wish to request accommodations in order to have reasonable access to the programs and services offered by SMCC, you must register with the Disability Services Coordinator, Sandra Lynham, who can be reached at 741-5923. Further information about services for students with disabilities and the accommodation process is available upon request at this number. Course policies about online testing are modified to suit each individual’s accommodations. SMCC Pay-for-Print Policy This policy identifies the cost per page for black and white as well as color printing in varying page sizes. Specifics of the policy are outlined below: Per Page Costs Each semester students receive a $20 printing credit. The balance resets at the end of the semester and any remaining credits are removed. The cost varies depending upon page size and whether printing is done in black and white or color. a. There is a $0.10 per page fee for standard 8.5” by 11” black and white documents. b. The reverse sides of duplex (double-sided) documents are free. c. There is a $.50 per page fee for standard 8.5” by 11” color documents. d. There is a $.20 per page fee for 8.5” by 14” (legal) or 11” by 17” (tabloid) black and white documents. e. There is a $1.00 per page fee for 8.5” by 14” (legal) or 11” by 17” (tabloid) color documents. Duplex charges (printing on both sides of a page) work in the following fashion: One page is $0.10, two pages are $0.10, three pages are $0.20, and four pages are $0.20, etc. The flipsides are free, but another sheet of paper is $0.10. Please be aware that a document with any color at all (when printed to a color printer) will by default be printed in color. You are responsible for setting the print job to print black and white if you do not need color. For directions, please go to the IT Help tab in My SMCC. How does it work? The College’s pay-for-print system monitors printing on all printers (including those in general access labs, library printers, the Academic Achievement Center, Noisy Lounge and technology labs). Students can check the number of pages they have printed by using the Printing Balance tool available on SMCC computers (located in the lower right corner of the screen, near the clock). Departments with work study students who need to print documents for the department should contact the HelpDesk at 741-5696 to have a special account set up. Refunds Print jobs are eligible for a refund in the event of mechanical or electronic error on the part of the printer, print server, or software used to submit the job. Jobs are not eligible for a refund in cases where the job was not set up correctly, was submitted multiple times, or the student is not satisfied with the result. To request a refund, please bring the offending print to the IT Department in the basement of the Ross Technology Center. Refunds will be granted in the form of a credit to the student’s account. Why is SMCC charging for printing? The pay-for-print system is an effort to control escalating printing costs. Charging for printing helps offset the increasing cost of supplies and encourages students to conserve resources. To find ways to reduce your printing charges, please go to the IT Help tab on My SMCC. If you have questions about the pay-for-printing policy or your printing charges, please contact the HelpDesk at 741-5696 or send an email to [email protected].
Load more

Recommended publications
  • Proquest Dissertations
    THE RISE OF THE COURTIER-ARTIST: THE POLITICAL CAREERS OF PETER PAUL RUBENS AND DIEGO VELAZQUEZ IN PHILIP IV'S SPAIN A Thesis Presented to The Faculty of Graduate Studies of The University of Guelph by NICOLE GRIEVE In partial fulfillment of requirements For the degree of Master of Arts January, 2008 © Nicole Grieve, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-41824-6 Our file Notre reference ISBN: 978-0-494-41824-6 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • MF-Romanticism .Pdf
    Europe and America, 1800 to 1870 1 Napoleonic Europe 1800-1815 2 3 Goals • Discuss Romanticism as an artistic style. Name some of its frequently occurring subject matter as well as its stylistic qualities. • Compare and contrast Neoclassicism and Romanticism. • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art medium known as photography 4 30.1 From Neoclassicism to Romanticism • Understand the philosophical and stylistic differences between Neoclassicism and Romanticism. • Examine the growing interest in the exotic, the erotic, the landscape, and fictional narrative as subject matter. • Understand the mixture of classical form and Romantic themes, and the debates about the nature of art in the 19th century. • Identify artists and architects of the period and their works. 5 Neoclassicism in Napoleonic France • Understand reasons why Neoclassicism remained the preferred style during the Napoleonic period • Recall Neoclassical artists of the Napoleonic period and how they served the Empire 6 Figure 30-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris. 7 Figure 29-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris. 8 Figure 30-3 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842. 9 Figure 30-4 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, 6’ 7” long. Galleria Borghese, Rome. 10 Foreshadowing Romanticism • Notice how David’s students retained Neoclassical features in their paintings • Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism 11 Figure 30-5 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804.
    [Show full text]
  • Art List by Year
    ART LIST BY YEAR Page Period Year Title Medium Artist Location 36 Mesopotamia Sumerian 2600 Standard of Ur Inlaid Box British Museum 36 Mesopotamia Sumerian 2600 Stele of the Vultures (Victory Stele of Eannatum) Limestone Louvre 38 Mesopotamia Sumerian 2600 Bull Headed Harp Harp British Museum 39 Mesopotamia Sumerian 2600 Banquet Scene cylinder seal Lapis Lazoli British Museum 40 Mesopotamia Akkadian 2254 Victory Stele of Narum-Sin Sandstone Louvre 42 Mesopotamia Akkadian 2100 Gudea Seated Diorite Louvre 43 Mesopotamia Akkadian 2100 Gudea Standing Calcite Louvre 44 Mesopotamia Babylonian 1780 Stele of Hammurabi Basalt Louvre 45 Mesopotamia Assyrian 1350 Statue of Queen Napir-Asu Bronze Louvre 46 Mesopotamia Assyrian 750 Lamassu (man headed winged bull 13') Limestone Louvre 48 Mesopotamia Assyrian 640 Ashurbanipal hunting lions Relief Gypsum British Museum 65 Egypt Old Kingdom 2500 Seated Scribe Limestone Louvre 75 Egypt New Kingdom 1400 Nebamun hunting fowl Fresco British Museum 75 Egypt New Kingdom 1400 Nebamun funery banquet Fresco British Museum 80 Egypt New Kingdom 1300 Last Judgement of Hunefer Papyrus Scroll British Museum 81 Egypt First Millenium 680 Taharqo as a sphinx (2') Granite British Museum 110 Ancient Greece Orientalizing 625 Corinthian Black Figure Amphora Vase British Museum 111 Ancient Greece Orientalizing 625 Lady of Auxerre (Kore from Crete) Limestone Louvre 121 Ancient Greece Archaic 540 Achilles & Ajax Vase Execias Vatican 122 Ancient Greece Archaic 510 Herakles wrestling Antaios Vase Louvre 133 Ancient Greece High
    [Show full text]
  • Jan Lievens (Leiden 1607 – 1674 Amsterdam)
    Jan Lievens (Leiden 1607 – 1674 Amsterdam) © 2017 The Leiden Collection Jan Lievens Page 2 of 11 How To Cite Bakker, Piet. "Jan Lievens." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. Jan Lievens was born in Leiden on 24 October 1607. His parents were Lieven Hendricxsz, “a skillful embroiderer,” and Machtelt Jansdr van Noortsant. 1 The couple would have eight children, of whom Jan and Dirck (1612–50/51) would become painters, and Joost (Justus), the eldest son, a bookseller. 2 In 1632 Joost married an aunt of the painter Jan Steen (1625/26–79). 3 At the age of eight, Lievens was apprenticed to Joris van Schooten (ca. 1587–ca. 1653), “who painted well [and] from whom he learned the rudiments of both drawing and painting.” 4 According to Orlers, Lievens left for Amsterdam two years later in 1617 to further his education with the celebrated history painter Pieter Lastman (1583–1633), “with whom he stayed for about two years making great progress in art.” 5 What impelled his parents to send him to Amsterdam at such a young age is not known. When he returned to Leiden in 1619, barely twelve years old, “he established himself thereafter, without any other master, in his father’s house.” 6 In the years that followed, Lievens painted large, mostly religious and allegorical scenes.
    [Show full text]
  • Caroline Murat: Powerful Patron of Napoleonic France and Italy
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2014-07-10 Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Dahlin, Brittany, "Caroline Murat: Powerful Patron of Napoleonic France and Italy" (2014). Theses and Dissertations. 4224. https://scholarsarchive.byu.edu/etd/4224 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Heather Belnap Jensen, Chair James Swensen Mark Magleby Department of Visual Arts Brigham Young University June 2014 Copyright © 2014 Brittany Dahlin All Rights Reserved ABSTRACT Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin Department of Visual Arts, BYU Master of Arts Caroline Bonaparte Murat created an identity for herself through the art that she collected during the time of her reign as queen of Naples as directed by her brother, Napoleon, from 1808- 1814. Through the art that she both commissioned and purchased, she developed an identity as powerful politically, nurturing, educated, fashionable, and Italianate. Through this patronage, Caroline became influential on stylish, female patronage in both Italy and France. Caroline purchased and commissioned works from artists such as Jean-August-Domonique Ingres, François Gérard, Elizabeth Vigée LeBrun, Antonio Canova and other lesser-known artists of the nineteenth century.
    [Show full text]
  • Open Access Version Via Utrecht University Repository
    Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p.
    [Show full text]
  • Wreck: Gericault and the Body in Pieces
    Art Appreciation Lecture Series 2019 Being human: The figure in art Géricault’s The Raft of the Medusa Mark Ledbury 12 / 13 June 2019 Lecture summary: This lecture examines one of the great works of nineteenth-century Art, Géricault’s Raft of the Medusa, 200 years after the painting was first seen. It explores Gericault’s fascination with bodies, but also the political and cultural impact of a painting in its time and beyond. The wreck of the Medusa through incompetence and fear , the subsequent appalling suffering of the occupants of the Raft, caused scandal in the France of the recently restored Monarchy , and Gericault used both his fascination with human and animal bodies and his training in neo-classical studios to very powerful effect in a painting of enormous scale, ambition and effort. Slide list: 1. Théodore Géricault, The Raft of the Medusa, (Oil on canvas, 1817-19, 4,91 m. x 7,16 m, Paris: Louvre) 2. Horace Vernet, Portrait of Géricault, (Oil on Canvas, 1822 or 3, New York, Metropolitan Museum) 3. J-A-D Ingres, Grande Odalisque (1812-18, Oil on Canvas, Paris: Louvre) 4. A-L Girodet, Pygmalion (1818-19, Oil on Canvas, Paris: Louvre) 5. Achille Etna Michallon, The Death of Roland (oil on canvas, 1818, Paris: Louvre) 6. Géricault, Horse Studies,(Graphite on Paper, c.1812-14, Getty Museum, Los Angeles) 7. Géricault, Charging Chasseur, or An Officer of the Imperial Horse Guards Charging 1812, Oil on Canvas, Paris, Louvre 8. Géricault, Wounded Cuirassier leaving the Battle (1814, Oil on Canvas, Paris: Louvre) 9.
    [Show full text]
  • Theories of War and Peace
    1 THEORIES OF WAR AND PEACE POLI SCI 631 Rutgers University Fall 2018 Jack S. Levy [email protected] http://fas-polisci.rutgers.edu/levy/ Office Hours: Hickman Hall #304, Tuesday after class and by appointment "War is a matter of vital importance to the State; the province of life or death; the road to survival or ruin. It is mandatory that it be thoroughly studied." Sun Tzu, The Art of War In this seminar we undertake a comprehensive review of the theoretical and empirical literature on interstate war, focusing primarily on the causes of war and the conditions of peace but giving some attention to the conduct and termination of war. We emphasize research in political science but include some coverage of work in other disciplines. We examine the leading theories, their key causal variables, the paths or mechanisms through which those variables lead to war or to peace, and the degree of empirical support for various theories. Our survey includes research utilizing a variety of methodological approaches: qualitative, quantitative, experimental, formal, and experimental. Our primary focus, however, is on the logical coherence and analytic limitations of the theories and the kinds of research designs that might be useful in testing them. The seminar is designed primarily for graduate students who want to understand – and ultimately contribute to – the theoretical and empirical literature in political science on war, peace, and security. Students with different interests and students from other departments can also benefit from the seminar and are also welcome. Ideally, members of the seminar will have some familiarity with basic issues in international relations theory, philosophy of science, research design, and statistical methods.
    [Show full text]
  • S&S Icono-Diagnosis: a Challenge Between Medicine And
    S&S Senses Sci 2019: 6 (2) 747-752 doi: 10.14616/sands- 2019-6-747752 Article Icono-diagnosis: a challenge between medicine and art Vito Franco Former Professor of Pathology - Università degli Studi di Palermo Correspondence: Prof. Vito Franco - Email: [email protected] Received: 23 May 2019; Accepted: 27 May 2019; Published: 30 June 2019 Abstract. The representation of human body in paintings and sculptures can be analysed with a medical look in order to find out any kind of diagnosable disease. This activity has been designed as icono-diagnosis. Many types of genetic and acquired medical conditions have been diagnosed in fine art works by several authors and recorded in the medical literature. The present report illustrates some examples and, tentatively, classifies main pathologic conditions in art representations. Keywords: Icono-diagnosis, fine arts, paintings, sculptures, diseases. Introduction and context Icono-diagnosis represents the retrospective image-based diagnosis of pathologies on figurative arts. The term was coined in 1983 by A. Pontius, a clinical professor of psychiatry at Harvard Medical School, who studied the Cook islands’ prehistoric art, searching for the diagnosis of Crouzon’s malformation (craniofacial dysostosis type I which is characterized by craniosynostosis, hypertelorism, exophthalmia, external strabismus, “parrot-beaked nose”, short upper lip, hypoplastic maxilla and a relative mandibular prognathism determining a mid-facial hypoplasia aspect (1). However, earlier medical literature reported several example of this practise in paintings and sculptures (2) with the translation from the images to a certain pathologic condition, just as two different languages. www.sensesandsciences.com Franco Sci 2019; 2: 747-752 A medical diagnosis in the artistic field can be provided only via a thorough direct visual evaluation and assessment of the canvas or the sculpture (3).
    [Show full text]
  • GRADUATE PROGRAM in the HISTORY of ART Williams College/Clark Art Institute
    GRADUATE PROGRAM IN THE HISTORY OF ART Williams College/Clark Art Institute Summer 2003 NEWSLETTER The Class of 2003 at its Hooding Ceremony. Front row, from left to right: Pan Wendt, Elizabeth Winborne, Jane Simon, Esther Bell, Jordan Kim, Christa Carroll, Katie Hanson; back row: Mark Haxthausen, Ben Tilghman, Patricia Hickson, Don Meyer, Ellery Foutch, Kim Conary, Catherine Malone, Marc Simpson LETTER FROM THE DIRECTOR CHARLES w.: (MARK) HAxTHAUSEN Faison-Pierson-Stoddard Professor of Art History, Director of the Graduate Program With the 2002-2003 academic year the Graduate Program began its fourth decade of operation. Its success during its first thirty years outstripped the modest mission that shaped the early planning for the program: to train for regional colleges art historians who were drawn to teaching careers yet not inclined to scholarship and hence having no need to acquire the Ph.D. (It was a different world then!) Initially, those who conceived of the program - members of the Clark's board of trustees and Williams College President Jack Sawyer - seem never to have imagined that it would attain the preeminence that it quickly achieved under the stewardship of its first directors, George Heard Hamilton, Frank Robinson, and Sam Edgerton. Today the Williams/Clark program enjoys an excellent reputation for preparing students for museum careers, yet this was never its declared mission; unlike some institutions, we have never offered a degree or even a specialization in "museum studies" or "museology." Since the time of George Hamilton, the program has endeavored simply to train art historians, and in doing so it has assumed that intimacy with objects is a sine qua non for the practice of art history.
    [Show full text]
  • Classical Reception in Contemporary Women's
    CLASSICAL RECEPTION IN CONTEMPORARY WOMEN’S WRITING: EMERGING STRATEGIES FROM RESISTANCE TO INDETERMINACY by POLLY STOKER A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Classics, Ancient History, and Archaeology School of History and Cultures College of Arts and Law University of Birmingham April 2019 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The reader who rewrites remains a vital interlocutor between the classical past and the modern classicist. However, the neglect of the female reader in classical reception studies is an omission that becomes ever more conspicuous, and surely less sustainable, as women writers continue to dominate the contemporary creative field. This thesis makes the first steps towards fashioning a new aesthetic model for the female reader based on irony, ambivalence, and indeterminacy. I consider works by Virginia Woolf, Alice Oswald, Elizabeth Cook, and Yael Farber, all of whom largely abandon ‘resistance’ as a strategy of rereading and demand a new theoretical framework that can engage with and recognize the multivalence of women’s reading and rewriting.
    [Show full text]
  • Art Appreciation Name ______Final Presentation Project-SEE and CONNECT-200 Points
    Art Appreciation Name _____________________________________ Final Presentation Project-SEE AND CONNECT-200 Points Share your observations and what you SEE and CONNECT about art. This addresses the Communi- cation, Critical Thinking, Teamwork, and Social Responsibility requirements of a CORE course. There will be no formal final exam. (if that’s okay? ;^>) Don’t forget: Kindness, Curiosity, and Connection. • Each will be assigned to a Team determined by Ms. Millis. • Ms. Millis will set up a discussion forum for each Team. • Each will select ONE work from the following lists, Chapters 18-21. (Ms. Millis will present Ch. 17. • Each selection will be accompanied by one to two connections from the text OR Houston. • Each Team will create a short PPT of the works for that Chapter AND present the information to the class. Beginning next week. The presentation will be uploaded to Eagle Online. • Each Team will prepare a FIVE QUESTION QUIZ to be given at the end of the class that day. • Each Team will cite their sources at the end of their PPT and Ms. Millis will create a template AND an example of what the PPT should include. April 15-Chapter 17: The Ancient World-Ms. Millis April 22-Chapter 18: The Age of Faith April 29-Chapter 19: Renaissance through Baroque May 6-Chapter 20: 18th and 19th Centuries May 13-Chapter 21: 1900 to the Present See & Connect Clearly deficient Below average Average work; Above Exceptionally fine work; Total Grading Rubric- presentation, style work; noticeably good, average work; superior presentation, & content with weak with unexceptional superior in one vis.
    [Show full text]