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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 363H"
COURSE NAME: "Barbarians, Monks and Kings: Early Medieval Art and Architecture (This course carries 4 semester hours of credits. A minimum CUM GPA of 3.5 is required)"
SEMESTER & YEAR: Spring 2015
SYLLABUS

INSTRUCTOR: Lila Yawn
EMAIL: [email protected]
HOURS: TTH 1:30PM 2:45PM
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 and evoked today in popular culture (film and television, video games, dress, music), politics (e.g. party symbols and rhetoric; national identity building), and 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 class field trip in Rome to study early medieval jewelry, textiles, manuscripts, and archaeological sites directly

. A collaborative research project on medieval imagery in modern media, especially film (e.g. Lord of the Rings; Game of Thrones)

Pre-RequisiteOne course in Art History or permission of the instructor

Note that AH363H carries Honors credit.  On Honors courses and credit, see:  http://www.johncabot.edu/academics/honors-courses.aspx

Students wishing to receive Honors credit for the course may carry out an extra project.  Specifically, in consultation with the professor and other members of the class, honors students will curate a public presentation of the class's database of early medieval signs and aesthetics in contemporary contexts. The presentation may take the form of an article for the JCU Public Website, a short film, an evening lecture, or an exhibition or display on campus.

This additional assignment is graded on a "grant of Honors credit/no grant of Honors credit" basis and is not calculated into the final grade for the course. For the granting of Honors credit, students should produce work of a quality that would receive a B (3.00/4.00) or higher and this will be noted on their transcripts. 


LEARNING OUTCOMES:
See above under "course aims."
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Early Medieval Art (Oxford History of Art)Nees, LawrenceOxford University PressISBN-13: 978-0192842435 ISBN-10: 0192842439     
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Professionalism / discussionPreparation, 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 consisting of short answer questions and slide identifications, plus an take-gome essay. Note: students who successfully complete the 8-minute writing exercise at the beginning of each class meeting will be exempt from the take-home essay portion of this exam.15
Final examinationIn-class, closed-book exam (2 hrs. 15 mins.) consisting of slide identifications, slide commentaries, essays. Note: students who successfully complete the 8-minute writing exercise at the beginning of each class meeting during the second half of the term will be exempt from one of the two essays of this exam.20
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. The class may opt to select one or more films (e.g. The Lord of the Rings) or other modern phenomena (e.g. Goth culture; political rhetoric) to analyze. 15
Honors ProjectStudents wishing to receive Honors credit for the course may carry out an extra project. Specifically, in consultation with the professor and other members of the class, honors students will curate a public presentation of the class's database of early medieval signs and aesthetics in contemporary contexts. The presentation may take the form of an article for the JCU Public Website, a short film, an evening lecture, or an exhibition or display on campus. This additional assignment is graded on a "grant of Honors credit/no grant of Honors credit" basis and is not calculated into the final grade for the course. For the granting of Honors credit, students should produce work of a quality that would receive a B (3.00/4.00) or higher and this will be noted on their transcripts. 0% (see explanation)

-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 evaluate theory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture and reference 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. 

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.

Topic

Required reading

Recommended reading

Assignments due

1a

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

 

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

 

1b

The Roman Language of Art

Syllabus; Nees, Intro. & Ch. 1

Ammianus Marcellinus (16.10) on Constantius II's visit to Rome in 357

 

2a

The Earliest Christian Art

Nees Ch. 2

 

Send proposal for  object biography to instructor via email

2b

Conversion

Nees, Ch. 3

Gregory of Tours on the conversion of Clovis: http://www.fordham.edu/Halsall/source/gregory-clovisconv.asp

 

3a

Resources and research methods I

Library lesson - JCU

 

 

3b

Art for Aristocrats

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

 

Database entries

4a

Endings and Beginnings

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

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

 

4b

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

Student research

 

 

Bibliography 1 / progress reports

5b

Craftsmanship and Artistry

Nees, Ch. 6

 

 

6a

Resources and research methods II

Research Visit:  The Norwegian School Library on the Janiculum

 

 

6b

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.

Midterm exam 

7 & 8

Midterm exam (9:15) + Early medieval luxury arts: 10:30 am - 4:30 pm (approx.): Museum of the Early Middle Ages (EUR); Biblioteca Angelica; and/or other sites to be confirmed

 

 

Midterm exam

9a

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

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

 

9b

Holy Images

Nees, Ch. 8; H. Belting, Likeness and Presence, Ch. 4.

 

 

10a

Student research

 

 

Bibliography 2 / progress reports

10b

Word and Image

Nees, Ch. 9

Snyder, Medieval Art, pp. 191-252.

 

11a

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.

 

Database entries

11b

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.

 

 

12a

 

Nees, Ch. 11

 

 

12b

Towards a New Age

Nees, Chs. 12 & Conclusion

 

 

13a

Student presentations

TBA

 

 

13b

Student presentations

TBA

 

 

14a

Student presentations

TBA

 

 

14b

Student presentations

TBA

 

Papers due

Final exam