ATH 321.601/701–Writing Intensive Dr. Barbara Wisch Spring 2011 Wednesdays 6–8:30 pm Dowd Fine Arts 206 Office Hours: TR 1:10–2:40 pm and 4:10–4:40 pm; W 5–6 pm and by appointment Dowd Fine Arts Center 220, 753–4100 Email: [email protected] Framing W0MEN in ART “Did women have a Renaissance?” asked historian Joan Kelly in 1977. She questioned whether within the traditional periodization of history, the concept of “the Renaissance” had any meaning for the history of women. Kelly noted that in the fifteenth and sixteenth centuries, the material position of women weakened considerably despite their literary idealization. Moreover, scholarly understanding of the period was both focused and constructed upon the high culture of élite males. This seminar will explore answers to Kelly’s query from diverse perspectives and methodologies derived from art history, social history, women’s history, and gender studies. We will examine certain supposedly “natural” conditions and try to unravel their cultural constructions. We will look more broadly across history, from ancient Greece and Rome to the pre-Enlightenment. The course will study a broad range of images—both famous and lesser known—from the ancient world through the early modern period as well as consider ramifications for the twenty-first century. We will also analyze the historical contexts that formed an integral part of the experience of these images. From birth to marriage to death, works of art as gifts and as memorials celebrated the most important passages through a woman’s life. We will enter the female sickroom, examining women’s disease—the so-called “uterine furies”—and contrast images of male melancholia, the disease of genius. From prostitutes to brides, from virtuous housewives to widows, from nuns to spinsters, from queens to witches, from biblical heroines to the femme fatale, images of women and works of art both made by women and commissioned by women represent significant arenas of study. In addition, we will be privileged to hear the “living” voice of a prominent female scholar, Mary D. Garrard, whose work you will be reading during the semester. And during our celebration of Women’s History Month, we will meet a contemporary artist, Denise Pelletier, whose work is deeply engaged with issues central to this course. Ultimately, Framing Women in Art will relate works of art to the continuing debate concerning women’s roles, expectations, and capabilities. TEXTS Laurinda S. Dixon, Perilous Chastity: Women and Illness in Pre-Enlightenment Art and Medicine (Ithaca: Cornell University Press, 1995). Required. Paola Tinagli, Women in Italian Renaissance Art: Gender, Representation, Identity (Manchester and New York: Manchester University Press, 1997). Suggested. 2 PREPARATION and CLASS ATTENDANCE Each weekly meeting will focus on paradigmatic examples of art that necessitate the integration of these works into the vibrant tableau of the social, cultural and religious life of the historical periods under study. Each student will present several short, in-class reviews of specifically assigned readings and will lead the related discussion. However, all the assigned readings will be read by all the members of the class, unless otherwise specified, so informed and intelligent discussions can take place. In-class presentations and class participation will count for 60% of the course grade. Therefore, class attendance is mandatory. Only documented incapacitating illness or family emergency will be an acceptable excuse, and then only once during the semester. Your final grade will be decreased incrementally per additional absence. EXPECTATIONS for WEEKLY IN-CLASS PRESENTATIONS Password for the E-reserves: WISCH321 Cite the article or book you have read: author, title, source, date of publication. Since the discussions tend to focus on specific works of art, you must “introduce” these works to the class: artist (if known), subject matter, date, medium, size, original location, patron. You are to present the works of art in a powerpoint presentation. Digital images may be found on Artstor or other web sources, such as the Web Gallery of Art or Google Image. You may also use the ELMO. The Artstor database of digital images and the Jstor database of full text articles from scholarly journals in the arts and sciences are available from Memorial Library’s homepage. Click on “Find Articles,” then “Databases by Title.” Summarize quickly the author’s intentions, i.e. the specific subject matter and how it relates to the main reading that everyone has done. Then present the author’s conclusions about the specific works. You might want to pose questions to the seminar that have developed from your reading. You will also want to consider the author’s methodology, such as the use of primary sources (original documents, contemporary descriptions, etc.) and secondary sources (later art historical analyses). You should also offer a critical appraisal of the author’s argument: Does it make sense? What seems to be missing? How might you improve it? You are not expected to have done all the research to provide new conclusions, but you are expected to think carefully about what the author has hypothesized. Presentations are vastly improved by the use of accurate notes to which you should refer. Simply highlighting a photocopy does not provide the organization of the material in a concise and accurate fashion. 3 RESEARCH PAPER The other 40% of the course grade will be based on a research paper and an illustrated presentation of that material to the class. The paper is to be ten typed pages (double-spaced, Times New Roman, 12 point font, 1¼ inch margins, all pages numbered in the upper right corner). The paper must also include black/white illustrations (detailed captions are not necessary since the full identifying information will be in text) as well as proper endnotes and bibliography according to Art Bulletin form. Illustrations, endnotes, and bibliography are in addition to the ten pages of text. You must turn in a hard copy; an electronic copy is not acceptable. If you do not adhere to all of these basic specifications, your term paper grade will automatically be lowered one grade “level” (for example, from B+ to B). Due at the latest on Monday, May 16, noon, in my office, Room 220, Dowd Fine Arts Center, or in my mailbox in the Art Dept. Office, Room 222. All borrowed books and materials must be returned by that date. No late papers will be accepted! Failure to turn in the paper on time without an official university excuse in writing will result in a grade of “zero” averaged into the course grade. • Research paper topic approved by February 23 • Basic bibliography (typed) of three sources due by March 2. No more than one online source may be used in addition to scholarly books and articles. An article in Jstor is considered a scholarly source, not an “online” source. Wikipedia is not a scholarly source and may not be used as a reference in your paper. Interlibrary Loan is also an essential tool, but you must order books and articles well in advance. See a Research/Reference Librarian for help. • In-class presentations April 20 and 27 and May 4. • Paper due (at the latest) on May 16th, noon, in DFA 220 or 222. ACADEMIC HONESTY Every student should be aware of the policies set out in Chapter 340 of the SUNY Cortland College Handbook (http://www.cortland.edu/president/handbook.pdf). Those rules will be enforced in this class. “Students are expected to submit and present work that is their own with proper documentation and acknowledgement when the work of others” (Chapter 340.02). As stated in the guidelines, plagiarism (intentional as well as inadvertent), cheating on examinations, or other forms of academic dishonesty will be punished. Any student thought to be cheating will be confronted, and college policies on academic dishonesty will be pursued. My policy is that the student will receive a grade of “zero” on the exam or paper, and most likely a failing grade in this course. 4 SUGGESTIONS for PAPER TOPIC (in addition to the topics discussed in class and listed on the syllabus) • She’s a saint! Women who were canonized, or female saints as role models • St. Mary Magdalene, the penitent prostitute • Sumptuary laws and the art of dress • The education of women: depictions of women reading and/or female authors • The mistress at court • Black widow or merry widow? Images of mourning • “Matronage,” or women as patrons of art • Nuns as artists and patrons • Women rule! Exceptions to the patriarchy Matrilineage in ancient Egypt Cleopatra VII Semiramis, queen of Assyria and founder of Babylon Esther, queen of Persia I, Claudia: The empress in ancient Rome Depicting the queens of France (French and foreign-born) The Faerie Queen: Elizabeth I of England Margaret of York Margaret of Austria, regent of the Netherlands Depicting dynastic ambitions • Arachne’s progeny and the distaff: Images of spinning and/or the spinster • Women as printmakers • Depictions of women in the workplace DISABILITIES If you are a student with a disability and wish to request accommodations, please contact the Office of Student Disability Services located in B–40 Van Hoesen Hall or call (607) 753–2066 for an appointment. Information regarding your disability will be treated in a confidential manner. Because many accommodations require early planning, requests for accommodations should be made as early as possible. 5 ATH 321.601/701–Writing Intensive Dr. Barbara Wisch Spring 2011 Wednesdays 6–8:30 pm Dowd Fine Arts 206 Framing Women in Art SCHEDULE I. January 26: Introduction II. February 2 (Lady’s Day, or Feast of the Purification): Is Biology Destiny? or “The things that you’re liable to read in the Bible…” (George and Ira Gershwin, “It Ain’t Necessarily So” from Porgy and Bess, 1935) February 9: Ellen McCabe, senior assistant librarian and bibliographer for the humanities, Memorial Library, SUNY Cortland, will conduct an instructional session on research methods III.