JCU Logo
JOHN CABOT UNIVERSITY

COURSE CODE: "AH 363"
COURSE NAME: "Barbarians, Monks and Kings: Early Medieval Art and Architecture"
SEMESTER & YEAR: Spring 2014
SYLLABUS

INSTRUCTOR: Lila Yawn
EMAIL: [email protected]
 HOURS: TTH 10:00 AM 11:15 AM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: One previous course in Art History or permission of the instructor. Partially on-site, possible activity fee.
OFFICE HOURS:
COURSE DESCRIPTION:

 

To study, ponder, discuss, and write new scholarly literature about:

·       The forms and functions of visual culture in Early Medieval Europe, c. 550 CE – 1000 CE, and their place in the medieval economy.

·       The early medieval sense of beauty and the cultural forces and inter-cultural exchanges (with Byzantium, Islam) that shaped it; and the medieval (vs. Renaissance) hierarchy of media, including calligraphy.

·       The biographies of early medieval objects over time, from the prehistory of their inception to the present

·       How early medieval art is used today in politics, national identity building, and as an inspiration for contemporary art.
SUMMARY OF COURSE CONTENT:

This seminar examines the arts of Western Europe from the Migrations of Late Antiquity (300s-500s CE) to rise of a new Roman Empire under the leadership of the Frankish kings (Charlemagne and company) and their successors down to the Saxon Emperors of the late 900s and early 1000s CE.  Special foci:

 

·       Luxury arts and performance:  metalwork, textiles, ivories, gems, illuminated books and calligraphy and coronations, liturgies, funerals, processions, and the other rituals and spectacles that motivated much medieval art making

·       Landscape and cityscape:  what did medieval cities and towns look like?  What impact did human activity have on the landscape?  How is archaeology currently changing the common view of what it was like to live in early medieval Europe?

·       Cross-cultural interchange between ancient Roman, Byzantine, Islamic, and other non-European visual traditions.

·       The relationship between medieval and modern aesthetics and the Middle Ages and European national identity today. What does Willem de Kooning’s art have in common with ninth-century painting from Rheims?  How is medieval imagery used to build national identity in the twenty-first century?

 

Other features:

 

·       A beginner’s mini-course in medieval palaeography:  how to read medieval writing (the basis of modern writing); how it changed over time.  No background in Latin or other medieval languages is necessary.

·       On-site research, including a class field trip in Rome (Friday, Feb. 21st)  to study early medieval jewelry, textiles, manuscripts, and archaeological sites first hand.

 

Pre-Requisite:  One course in Art History

 
LEARNING OUTCOMES:
Students above under "course aims."
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Early Medieval Art (Oxford History of Art)Nees, LawrenceOxford University Press0192842439     
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
ProfessionalismPreparation, participation, punctuality, initiative, engagement, curiosity, productivity of ideas, independent site and museum visits, facilitation of discussion, creative contributions over and above the basic course requirements.  This component may also include other assignments that the instructor reserves the right to institute during the term (e.g. required written summaries of readings) in service of the class dynamic.15
Research ProjectAn object biography submitted in multiple phases, tracing the life of an early medieval luxury object (manuscript, textile, ivory, jewelry, etc.) from the extracting and procuring of the materials, through the production and early use of the object and its subsequent vicissitudes down to the present day. The project will be presented in two short progress reports (bibliography with summaries and 5-minute presentation to the class, with powerpoint) and a final formal presentation (20 minutes, with powerpoint) and summary paper. 35
Midterm examinationIn-class, closed-book exam (1 hr. 15 min.) consisting of slide identifications, slide commentaries, essay15
Final examinationIn-class, closed-book exam (2 hrs. 15 mins.) consisting of slide identifications, slide commentaries, essay20
Entries for database of early medieval signs and aesthetics in contemporary contextsStudents through the term will document (through photos, drawings, downloads) instances of the use of early medieval visual language in modern contexts, especially politics, art, advertising, and film, citing appropriate medieval comparanda. For each submission, a short summary (150-250 words) is required. Grades will be based both on the quality of the submissions and the quantity.15

-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 cour
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 at all class meetings is mandatory. Course progress and evaluations will depend heavily upon active participation.

The course functions as a seminar and so its content is largely student generated. Absences from each 1 hr. 15 min. session will

detract automatically from the final course by one deduction in the grade scale (e.g. from A- to B+) per absence beyond two.

Three late arrivals or one arrival more than ten minutes into the class period equals an absence. Special longer sessions (e.g.

field trip) equal multiple class sessions.
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

No.

Mo.

Dy

Topic

Required reading

Assignments due

Recommended reading

1a

1

14

Course requirements & philosophy; chronology, hierarchy of media, medievalism; projects

 

 

T. Mommsen, "Petrarch's conception of the 'Dark Ages'," Speculum 17 (1942), 226-242.

1b

1

16

The Roman Language of Art

Syllabus; Nees, Intro. & Ch. 1

 

Ammianus Marcellinus (16.10) on Constantius II's visit to Rome in 357: http://lexundria.com/amm/16.10/y .  Samples of Old Roman and New Roman writing at:  http://medievalwriting.50megs.com/writing.htm

2a

1

21

The Earliest Christian Art

Nees Ch. 2

Send proposal for  object biography to instructor via email

J. Snyder, Medieval Art, New York, 1989, Ch. 1 (Frohring Library  N5975.S58 - reserves); Peirce's theory of the sign, esp. 1.1-1.3: http://plato.stanford.edu/entries/peirce-semiotics/

2b

1

23

Conversion

Nees, Ch. 3

 

Snyder, Medieval Art, Ch. 2; Gregory of Tours on the conversion of Clovis: http://www.fordham.edu/Halsall/source/gregory-clovisconv.asp

3a

1

28

Resources and research methods I

Library lesson - JCU

 

 

3b

1

30

Art for Aristocrats

Nees, Ch. 4; P. Wells, Barbarians to Angels: The Dark Ages Reconsidered, New York/London, 2008, pp. 47-69.

 

 Snyder, Medieval Art, Chs. 3 & 5;

4a

2

4

Endings and Beginnings

Nees, Ch. 5; P. Well, Barbarians to Angels, pp. 3-12.

Database entries, round 1 - show and tell

 Edward Gibbon, The Decline and Fall of the Roman Empire, Chapter 38 (excerpt): http://www.fordham.edu/halsall/source/gibbon-fall.aspp

4b

2

6

Early Medieval Mystery Objects & Curatorial Sleuthing

Elfriede R. Knauer, "A Man's Caftan and Leggings from the North Caucasus of the Eighth to Tenth Century: A Genealogical Study," Metropolitan Museum Journal, Vol. 36 (2001), pp. 125-154; Stephen V. Grancsay, "A Viking Chieftain's Sword," The Metropolitan Museum of Art Bulletin, New Series, Vol. 17, No. 7 (Mar., 1959), pp.173-181

 

P. Hunt, "Late Roman Silk: Smuggling and Espionage in the 6th century CE," Philolog - Classical connections, commentary and critique:  http://traumwerk.stanford.edu/philolog/2011/08/byzantine_silk_smuggling_and_e.html

5a

2

11

Student research

 

Bibliography 1 / progress reports

 

5b

2

13

Craftsmanship and Artistry

Nees, Ch. 6

 

Snyder, Medieval Art, Chs. 11-12

6a

2

18

Research Visit:  The Norwegian School Library on the Janiculum

Identify at least one book in the Norwegian School Library that will be useful for your research project or database entries:  http://www.reteurbs.org/search~S12/

 

 

6b

2

20

Saints and Holy Places

Nees, Ch. 7; P. Geary, Furta Sacra, pp. 44-55 ("Professionals")

 

M. W. Helms, "Before the Dawn. Monks and the Night in Late Antiquity and Early Medieval Europe," Anthropos, Bd. 99, H. 1. (2004), pp. 177-191 (Jstor)

7a-b, 8a

2

21

Special Friday meeting 9:00-13:30 Midterm exam pt. 1 + Museum of the Early Middle Ages (EUR), Santa Maria Antiqua, and/or other site visit

 

Midterm exam, pt. 1

 

8b

2

25

Sacred Geographies

D. Trout, "Theodelinda's Rome: 'Ampullae', 'Pittacia', and the Image of the City," Memoirs of the American Academy in Rome, 50 (2005), 131-150 (Jstor).

Midterm exam, pt. 2 due

M. Finch, "The Cantharus and Pigna at Old St. Peter's" Gesta, 30/1 (1991), 16-26 (Jstor)

9a

2

27

Holy Images

Nees, Ch. 8; H. Belting, Likeness and Presence, Ch. 4 (Frohring Library N7850 .B4513).

 

Snyder, Medieval Art, Ch. 8; midterm exam, pt. 2 due

9b

3

4

Student research

 

Bibliography 2 / progress reports

 

10a

3

6

Word and Image

Nees, Ch. 9. Study script samples of National and Pre-Caroline Hands at http://medievalwriting.50megs.com/writing.htm

 

Snyder, Medieval Art, Chs. 5 and sections on manuscripts in Chs. 12, 13.

10b

3

11

The Birth of Our Writing: Caroline Minuscule Other Early Medieval Scripts

Michelle Brown, A Guide to Western Historical Scripts from Antiquity to 1600, University of Toronto Press, 1993, sections on early medieval scripts up to Caroline minuscule. Try transcribing these 2-3 of these passages: http://ciham.ish-lyon.cnrs.fr/paleographie/search.php?l=en&difficulty=1

Palaeography tutorial:  http://medievalwriting.50megs.com/writing.htm .

 Palaeography tutorial:  http://medievalwriting.50megs.com/writing.htm .

11a

3

13

Art at Court

Nees, Ch. 10; M. Hardt, "Royal Treasures and Representation in the Early Middle Ages," in W. Pohl & H. Reimitz eds., Strategies of Distinction:  The Constructon of Ethnic Communities 300-800, Boston, 1998, 255-80.

 

 

11b

4

1

Expressive and Didactie Images

Nees, Ch. 11

Database entries, round 2 - show and tell

Snyder, Medieval Art, Ch. 13

12a

4

3

Towards a New Age

Nees, Chs. 12 & Conclusion

 

Snyder, Medieval Art, Ch. 14

12b

4

8

Student presentations

TBA

 

 

13a

4

10

Student presentations

TBA

 

 

13b

4

15

Student presentations

TBA

 

 

14a

4

17

Student presentations

TBA

 

 

14b

4

22

Final review of database; summary and conclusions

 

Papers due

 

Date/time TBA

Final exam