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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 223"
COURSE NAME: "The Art and Architecture of Imperial Rome"
SEMESTER & YEAR: Summer Session II 2022
SYLLABUS

INSTRUCTOR: Aura Piccioni
EMAIL: [email protected]
HOURS: MTWTH 9:00 AM 10:50 AM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS:

COURSE DESCRIPTION:
The course focuses on the vibrant period between the 2nd century BC and the 4th century AD, which constituted the height of Roman power within a sprawling and culturally diverse Empire. It follows an overarching chronological format complemented by thematic investigations focused on particular media, locations, or traditions. In this way, portraiture and statues; mosaics; relief works; and wall painting will all be discussed for their intrinsic artistic value, for their stylistic development over time, and as shaped by the particular outlook of their patrons and their intended viewership. The course addresses themes like the impact of Greek art, elite and non-elite art, and what it meant to be 'Roman' in a multicultural empire.
SUMMARY OF COURSE CONTENT:

This course will focus on “the art of the Romans”, taking as its starting point the consideration of how we may actually define “Roman art”. This topic is multilayered and complex: Roman art was composite in nature—the result of various cultural stimuli—and will be studied in this course with reference to its social complexity from a chronological and geographical perspective.

Pre-Roman art and traditions will be considered, beginning with the Etruscans and reaching the peoples of the Italian peninsula and the Greeks of Southern Italy and Sicily. As such, the course will go beyond the 2nd century BC to consider art before the Romans. The various traditions form the foundation for the visual culture that emerged during the Republican period and contribute to the Bildsprache (i.e., the visual language) of the Empire. Particular focus will be given to the Augustan period, replete with official imperial propaganda and constituting the core of the iconography that would go on to be a source of inspiration over several centuries. The different artistic expressions throughout the Empire will be considered, including examples from locations as far flung as Athens and northern provinces, such as Raetia. The course will ultimately reveal how varied and heterogeneous as well as inclusive Roman art was, reflecting the own origins and society of the Romans, which may be accurately described as “eclectic”.

Various media (statues, monuments, paintings, mosaics, from the Etruscan times to the Late Antiquity: for instance, the Temple of Jupiter Capitolinus, Prima Porta Augustus, Ara Pacis) and social constructs (such as the domus) will be examined to explore the originality and development of Roman art in different times and social contexts.

LEARNING OUTCOMES:

Upon completing this course, students may expect to

·         Have acquired a general knowledge of the history of Roman art from the 2nd c. BC to the 4th c. AD

·         Recognize the most important monuments and works of art in the Roman world

·         Have a basic knowledge of Etruscan and Italic society

·         Have a basic knowledge of the artistic styles of particular provinces

·         Have improved their presentation and communication skills

·         Have developed their research skills

·         Have developed the skills required to write a scientific paper

TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
A History of Roman Art F. KleinerWadsworth0534638465TXT N5760 .K54 2010Notwithstanding year of publication.   
A Companion to Roman ArtB. Borg (ed.)John Wiley/Blackwell9781118886090Online resource    
Roman ArtN. H. Ramage, A. RamagePearson Prentice Hall9780136000976N5760 .R36Any edition.   
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
The Social History of Roman ArtP. StewartCambridge University Press9780521816328N5760 .S67 
The Cambridge Companion to the Age of Augustus K. Galinsky (ed.)Cambridge University Press9781139000833DG279 .C35 2005Especially to read (as indicated in the second assignment, s. course schedule): J. R. Clarke, “Augustan Domestic Interiors: Propaganda or Fashion?”, in: K. Galinsky (ed.), The Cambridge Companion to the Age of Augustus, Cambridge 2005, pp. 264–278.
Greek Sculpture and Roman TasteC. C. VermeuleBoston Museum Bulletin 65  To read for the first assignment (s. course schedule): C. C. Vermeule, “Greek Sculpture and Roman Taste”, Boston Museum Bulletin 65, no. 362 (1967) 175-192. In case of problems, please contact instructor.
Ancient Bronzes through a Modern Lens. Introductory Essays on the Study of Ancient Mediterranean and Near Eastern Bronzes S. EbbinghausHarvard Art Museums9780300207798 To read for the first assignment (s. course schedule): A. Stähli, “Roman Bronze Statuettes: Copies of Greek Sculpture?”, in S. Ebbinghaus (ed.), Ancient Bronzes through a Modern Lens. Introductory Essays on the Study of Ancient Mediterranean and Near Eastern Bronzes (Cambridge, MA, 2014) 133-145. The book chapter can be found online; in case of problems, please contact the instructor.
Octavian and the Thunderbolt: The Temple of Apollo Palatinus and Roman Traditions of Temple BuildingO. Hekster, J. RichClassical Quarterly 56.1   To read for the second assignment (s. course schedule): O. Hekster, J. Rich, “Octavian and the Thunderbolt: The Temple of Apollo Palatinus and Roman Traditions of Temple Building”, in Classical Quarterly 56.1 149–168 (2006).
Proceedings of the XXth International Congress on Ancient Bronzes. Resource, reconstruction, representation, roleP. Baas (ed.)BAR Publishing9781407355924Online resourceTo read for the third assignment (s. course schedule): C.-G. Alexandrescu, “Fragments of Large-Scale Bronze Statues in Context of So-Called Scrap Metal Deposits in Dacia and Moesia Inferior”, in P. Baas (ed.), Proceedings of the XXth International Congress on Ancient Bronzes. Resource, reconstruction, representation, role (Oxford 2019), 165-175. T. Nogales Basarrate, J. M. Murciano Calles, “Roman Bronzes of Augusta Emerita (Hispania). Representation: Iconography and Models”, in P. Baas (ed.), Proceedings of the XXth International Congress on Ancient Bronzes. Resource, reconstruction, representation, role (Oxford 2019), 211-221. In case of problems, please contact the instructor.
The Etruscan World J. Macintosh Turfa (ed.)Routledge9781134055234Online resourceTo read for the first and second assignment (s. course schedule): D. Briquel, “Etruscan Origins and the Ancient Authors”, in J. Macintosh Turfa (ed.), The Etruscan World (London 2013 or other editions) 36-55. G. Bagnasco Gianni, “Massimo Pallottino’s “Origins” in Perspective”, in J. Macintosh Turfa (ed.), The Etruscan World (London 2013 or other editions) 29-35. I. Edlund-Berry, “The Architectural Heritage of Etruria”, in J. Macintosh Turfa (ed.), The Etruscan World (London 2013 or other editions) 695-707.
A Companion to Greek ArtT. J. Smith, D. Plantzos (eds.)John Wiley & Sons9781118273319Online resourceTo read for the first assignment (s. course schedule): M. Squire, “Greek Art through Roman eyes", in T. J. Smith, D. Plantzos (eds.), A Companion to Greek Art (Hoboken 2012 or other editions) 599-620. Bibliography: C. Marconi, “Sicily and Southern Italy”, in T. J. Smith, D. Plantzos (eds.), A Companion to Greek Art (Oxford 2018) 369-396.

RECOMMENDED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
The Cambridge Companion to the Age of Constantine N. E. Lenski (ed.)Cambridge University Press0521818389DG315 .C36 2006 
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
• Preparation of and participation in in-class discussionsThis course will include frontal lectures but will also include seminar-type classes during which the students will be given the opportunity to discuss on key topics based on a bulleted list prepared for the “official” discussion every Thursday. Therefore, participation is essential, and students will be expected to take comprehensive notes during the lectures and discussions as a means of identifying which topics they should focus on using the bibliography given and the lectures. Students will be evaluated based on their attendance and their participation in discussion, questions, and answers on in-class assignments. Some time will be designated for informal discussion at the end of every lecture. 15%
• Assignments and presentations Once a week (Thursdays; Friday, in the week of the 4th July), readings (between two and five articles per week) on specific topics assigned a week in advance will be discussed in class. Students will be evaluated on their engagement in discussions based on a bulleted list prepared for the “official” discussion every Thursday.25%
• Individual short term paper (around halfway through the course, to decide after two weeks)Students must complete a short paper on a topic of their own choice approved by the instructor that describes a specific monument, work of art, or social issue relevant to the course. These papers must be orally presented to the other students in 15–20-minute time slots (including discussion time). Students must also submit the paper of their presentation to the instructor for evaluation, and they will be as well evaluated on their engagement in discussions following their peers’ presentations. These presentations will help students prepare for their final exam. 30%
• Final examThe final exam will include a picture question, requiring students to identify works of art, and essay questions based on the history of Roman art as encountered during the course. 30%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until ____________
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

Topics

1.      Introduction: What is “Roman”? For a definition of “Roman” art

2.      Before Rome: The Etruscans. A Brief Overview

3.      Magna Graecia and the Romans

4.      Republican art: The beginnings

- FIRST ASSIGNMENT:

C. C. Vermeule, “Greek Sculpture and Roman Taste”, Boston Museum Bulletin 65, no. 362 (1967) 175-192

A. Stähli, “Roman Bronze Statuettes: Copies of Greek Sculpture?”, in S. Ebbinghaus (ed.), Ancient Bronzes through a Modern Lens. Introductory Essays on the Study of Ancient Mediterranean and Near Eastern Bronzes (Cambridge, MA, 2014) 133-145.

M. Squire, “Greek Art through Roman eyes, in T. J. Smith, D. Plantzos (eds.), A Companion to Greek Art (Oxford 2012 or other editions) 599-620.

D. Briquel, “Etruscan Origins and the Ancient Authors”, in J. Macintosh Turfa (ed.), The Etruscan World (London 2013 or other editions) 36-55.

G. Bagnasco Gianni, “Massimo Pallottino’s “Origins” in Perspective”, in J. Macintosh Turfa (ed.), The Etruscan World (London 2013 or other editions) 29-35.

 

5.      A social history of Roman expansion: The Pre-Roman peoples of ancient Italy

6.      Hellenization/The Late Republican period

7.      The Principate (art and power; the establishment of ‘imperial portraits’ and ‘imperial propaganda’). Eclecticism of the Augustan Age. Art under the Julio-Claudian Dynasty and the Flavians.

8.      Power and the private sphere: Domestic displays of power. Evolution from Etruscan/Italic models, comparisons with Greek contexts. Mosaics/decorations in Roman houses.

- SECOND ASSIGNMENT:

I. Edlund-Berry, “The Architectural Heritage of Etruria”, in J. Macintosh Turfa (ed.), The Etruscan World (London 2013 or other editions) 695-707.

J. R. Clarke, “Augustan Domestic Interiors: Propaganda or Fashion?”, in: K. Galinsky (ed.), The Cambridge Companion to the Age of Augustus, Cambridge 2005, pp. 264–278.

O. Hekster, J. Rich, “Octavian and the Thunderbolt: The Temple of Apollo Palatinus and Roman Traditions of Temple Building”, in Classical Quarterly 56.1 149–168 (2006)

- CHOICE OF THE TOPIC FOR THE PRESENTATION (from selected topics)

 

 

9.      Roman painting: Beginnings in Etruscan and Greek Art, cross-cultural comparisons

10.  Roman Imperial sculpture: Evolution and meaning in Roman society. Portraiture etc.

11.  Rome and the northern provinces: particular emphasis on Raetian art

12.  The social impact of the Roman Empire: examples from the provinces (esp. Greece, society in Raetia/Britannia etc.)

- THIRD ASSIGNMENT:

C.-G. Alexandrescu, “Fragments of Large-Scale Bronze Statues in Context of So-Called Scrap Metal Deposits in Dacia and Moesia Inferior”, in P. Baas (ed.), Proceedings of the XXth International Congress on Ancient Bronzes. Resource, reconstruction, representation, role (Oxford 2019), 165-175.

T. Nogales Basarrate, J. M. Murciano Calles, “Roman Bronzes of Augusta Emerita (Hispania). Representation: Iconography and Models”, in Baas 2019, 211-221.

- DEADLINE TO HAND IN THE DRAFTS FOR THE PRESENTATIONS

 

13.  The making of a Roman city: examples from Rome, Pompeii, Athens

-STUDENT PRESENTATIONS BEGIN: PRESENTATIONS BY THREE STUDENTS DURING THE LESSON (to calculate 15–20 minutes each; presentations should include Power Points, and the papers be articulated around the main questions of social context and description of the issue; following the structure introduction-discussion-final questions to create discussions)

14.  Trajanic and Hadrianic Rome? Art on sarcophagi—PRESENTATIONS

15.  Art under Marcus Aurelius: portraits etc.—PRESENTATIONS

16.  Rome and the 3rd century AD. The Northern/Danubian provinces. Art under the Severi—PRESENTATIONS

 

17.  Ostia between the 1st and 3rd centuries AD—PRESENTATIONS

18.  Rome in the 4th century AD—PRESENTATIONS

19.  Review class—PRESENTATIONS

20. Review class—PRESENTATIONS (if not completed)

21.  Final exam