Course Description: Course Requirements

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1 Course Title: Uses and Abuses of Antiquity: Classical Models in the Visual Arts Course Code: MCAS AHVA 355 Subject: History of Art / Architecture / Classical Studies Credits: 4 Semester/Term: Semester J- Term Summer Course Description: Course Requirements: This course examines the classical tradition in western art and architecture through to the 20th century and the enduring appeal of classical models. Students consider not only the aesthetic concern with the classical past but also its constant exploitation for intellectual and political purposes, and how classical past was used to reflect upon the present. Students acquire familiarity with visual language of the classical age and trace its use from the fall of the Roman Empire to the 21 st century, and examine how Classical art has been manipulated for aesthetic, intellectual, social and political aims. Required Texts (available at the Arcadia Sicily Centre Library) 1. M. Wyke & M. Biddiss, The Uses and Abuses of Antiquity, Peter Lang ISBN: ; Cost: To Be Determined. 2. Summerson, J. The Classical language of Architecture, 2004 edition. ISBN: ; Cost: To Be Determined. Additional Readings Additional readings will be assigned by the instructor and made available in digital version on Blackboard. Tests and Papers Mid- term slide- test, 2 Presentations and 2 Papers, Final slide- test and essays. Assignments Course Requirements Percentages 1. Two papers (15%+15%) 30 % 2. Mid- term slide- test 10 % 3. 2 PPT Presentations (10% +10%) 20 % 4. Final slide- test and essays 30 % Arcadia University The College of Global Studies 1

2 5. Participation 10 % Total 100% Assessment Components a) The capacity of the student to identify, date, comment on and put into context a given work of art/monument/site is tested by the slide tests. b) The capacity to interpret and present what they have learnt about an artist/work/monument/site is tested orally in the presentations. c) The papers demonstrate the students capacity to consider the wider framework of the subject, choosing material in a relevant way and presenting it clearly and logically within its historical context. d) Students participation will be assessed based on the analytical quality of the comments and questions they contribute to the class, their engagement with reading assignments and lecture information and their willingness to share these with the group. Learning Outcomes and/or Expected Student Competencies and Assessment Measures: Learning Outcomes Discuss the use of the classical tradition in Western art and architecture through to the 20th century Identify, date, comment on and put into context a given work of art/monument/site Demonstrate the ability to choose material and present it clearly and logically within its historical context interpret and present information about an artist s work/monument/site Demonstrate the capacity to write clearly, correctly and logically using a wide number of sources to support the discussion. Course Requirement that will be used to assess the student s achievement of this outcome Papers and Participation Mid- term and Final Two papers 2 PPT Presentations Two Papers Course Outline: Session Topic Session 1 Introduction to the course Arcadia University The College of Global Studies 2

3 Session 2 Session 3 M. Wyke- M. Biddiss, Introduction: using and abusing antiquity, in The Uses and Abuses of Antiquity, (Peter Lang, 1999), S.L. Schein, Chap. 6, Our debt to Greece and Rome: Canons, Class and Ideology, in A Companion to Classical Receptions, Blackwells 2008 The Greek Artistic Heritage Ideals of Beauty Summerson, J., The essentials of Classicism, in The Classical Language of Architecture, Thames and Hudson, 2004 edition Vermeule, C., Graeco- Roman Statues: Purpose and Setting I, The Burlington Magazine, Vol. 110, No. 787 (Oct., 1968), pp Vermeule,C., Graeco- Roman Statues: Purpose and Setting - II: Literary and Archaeological Evidence for the Display and Grouping of Graeco- Roman Sculpture, The Burlington Magazine, Vol. 110, No. 788 (Nov., 1968), pp Roman Attitudes to Greek Art Henrichs,A. Graecia Capta; Roman views of Greek culture, Harvard Studies in Classical Guite, H., Cicero's Attitude to the Greeks, Greece & Rome, Second Series, Vol. 9, No. 2 (Oct., 1962), pp Showerman, G., Cicero's Appreciation of Greek Art, The American Journal of Philology, Vol. 25, No. 3 (1904), pp Bergmann, B.; Greek Masterpieces and Roman Recreative Fictions, Harvard Studies in Classical Philology, Vol. 97, Greece in Rome: Influence, Integration, Resistance (1995), pp Jerome J. Pollitt, The Impact of Greek Art on Rome, Transactions of the American Philological Association (1974- ), Vol. 108 (1978), pp Summerson, J., The grammar of Antiquity, in The Classical Language of Architecture, Thames and Hudson, 2004 edition Early Christian Attitudes to Pagan Art W. B. Stanford, Christianity and the Classics, Greece & Rome, Vol. 13, No. 37 (Jan., 1944), pp. 1-9 Hilda Buttenwieser, Popular Authors of the Middle Ages: The Testimony of the Manuscripts, Speculum, Vol. 17, No. 1 (Jan., 1942), pp Therese B. McGuire, Monastic Artists and Educators of the Middle Ages, Woman's Art Journal, Vol. 9, No. 2 (Autumn, Winter, 1989), pp. 3-9 Misunderstanding the past Alchermes, J., Spolia in Roman cities of the Late Empire. Arcadia University The College of Global Studies 3

4 Session 4 Session 5 Legislative rationales and architectural reuse, DOP 48 (1994) ; Paul Borchardt, The Sculpture in Front of the Lateran as Described by Benjamin of Tudela and Magister Gregorius; The Journal of Roman Studies, Vol. 26, Part 1 (1936), pp Philipp Fehl, The Placement of the Equestrian Statue of Marcus Aurelius in the Middle Ages, Journal of the Warburg and Courtauld Institutes, Vol. 37 (1974), pp Islam and the classical heritage Gocer, A., A Hypothesis concerning the Character of Islamic Art, in Journal of the History of Ideas, Vol. 60, No. 4 (Oct., 1999), pp , University of Pennsylvania Press Joseph Gutmann, On Biblical Legends in Medieval Art, in Artibus et Historiae, Vol. 19, No. 38 (1998), pp , IRSA s.c. Etman, A. Translation at the intersection of Traditions: The Arab reception of the Classics in A Companion to Classical Receptions, Blackwells 2008 Norman Sicily Hearder, H. Italy, a short history, Cambridge University Press, Cambridge 2005 p. 66 The High Middle Ages, Sicily under the Normans and Frederick II. Norwich, J.J. The Middle Sea, p On site class: Catacombs of San Giovanni. The early Christian Catacombs of Siracusa are given a new lease of life after the Norman conquest of Sicily in the 11 th cent. 1 st Report due Frederick II: a new Roman Emperor? Antonio Marongiu, A Model State in the Middle Ages: The Norman and Swabian Kingdom of Sicily, in Comparative Studies in Society and History, Vol. 6, No. 3 (Apr., 1964), pp (JSTOR) Abulafia,D. Frederick II, a medieval emperor, Pimlico London 2002 p.251, Culture at court O Shea, Sea of Faith, p Norwich, J.J. The Middle Sea, p.chap.ix Medieval Monarchs and Imperial iconography Panofsky E., Chap II Renaissance and Renascences in Western Art, Icon editions 1972 Walther Köhler, Emperor Frederick II., The Hohenstaufe, The American Journal of Theology, Vol. 7, No. 2 (Apr., Arcadia University The College of Global Studies 4

5 Session 6 Session 7 Session 8 Session ), pp On- site class Castello Maniace 13 th century castle in Ortigia, symbol of Imperial power and territorial control. Voza, C. A guide to Syracuse, pp. 121, 148 The Quattrocento sculpture and architecture Panofsky E., Chap IV Renaissance and Renascences in Western Art, Icon editions 1972 Loomis, L. R. The Greek Renaissance in Italy Panizza, L. Humanism Chap. 8 in The Cambridge History of Italian Literature Blunt, A. Alberti, in Artistic theory in Italy Patronage and Classical themes in 15th and 16th centuries Brown, D.: The Apollo Belvedere and the Garden of Giuliano della Rovere at SS. Apostoli. - JWCI 49 (1986) Paper 1 due The Cinquecento Allison, A.H.: Antique Sources of Leonardo's Leda. ArtB 56 (1974) Martin, T., Michelangelo s Brutus and the Classicising portrait bust in 16th century Italy, Artibus et Historiae, Vol. 14, No. 27 (1993), pp Kwakkelstein, M.W. The Model s pose: Raphael s use of Antique and Italian art, Artibus et Historiae, Vol. 23, No. 46 (2002), pp Mid- term slide test Semester Break Palladio and Palladianism Summerson, J., Sixteenth century linguistics, The Rhetoric of the Baroque in The Classical Language of Architecture, Thames and Hudson, 2004 edition Balmori, D. Architecture, landscape and the Intermediate structure, 1991 Student presentations Travellers in Italy, archaeological discoveries Summerson, J., The light of reason and of archaeology in The Classical Language of Architecture, Thames and Hudson, 2004 edition Winckelmann and Neoclassicism Fried M. Antiquity now, Reading Winckelmann on imitation. October, Vol. 37 (Summer, 1986), pp Potts, A.D.: Greek scuplture and Roman copies, 1. Anton Arcadia University The College of Global Studies 5

6 Session 10 Session 11 Session 12 Raphael Mengs and the eighteenth century. JWCI 43 (1980) Dora Wiebenson Subjects from Homer's Iliad in Neoclassical Art, The Art Bulletin, Vol. 46, No. 1 (Mar., 1964), pp Josephine L. Allen, Johann Joachim Winckelmann Classicist, The Metropolitan Museum of Art Bulletin, New Series, Vol. 7, No. 8 (Apr., 1949), pp Guest lecture Neoclassical Europe and USA Modern identity and classical associations Buford Pickens Mr. Jefferson as Revolutionary Architect: The Journal of the Society of Architectural Historians, Vol. 34, No. 4 (Dec., 1975), pp H. Trevor Colbourn Thomas Jefferson's Use of the Past : The William and Mary Quarterly, Third Series, Vol. 15, No. 1 (Jan., 1958), pp James Tobin Neoclassical Theory in America: J. B. Clark and Fisher, The American Economic Review, Vol. 75, No. 6, Centennial Essays and 1985 Survey of Members (Dec., 1985), pp Nationalism and the Antique in 19th century France and England, chap. 5. in Uses and Abuses of Antiquity, Wiebenson, D.: Subjects from Homer's Iliad in Neoclassical Art. ArtB 46 (1964) A new Athens Recreating the Past 19th- century visions of Ancient Greece Ernst Ziller: A German Architect in Athens of 19th Century Nazism Kohl, P.L. Nationalism and archaeology: On the Constructions of Nations and the Reconstructions of the Remote past, Annual Review of Anthropology, Vol. 27 (1998), pp Summerson, J., Classical into Modern in The Classical Language of Architecture, Thames and Hudson, 2004 edition Visions of Rome Elizabeth Prettejohn, Lawrence Alma- Tadema and the Modern City of Ancient Rome The Art Bulletin, Vol. 84, No. 1 (Mar., 2002), pp Fascism Mras, G.P.: Italian Fascist Architecture. ArtJ 21 (1961) Arcadia University The College of Global Studies 6

7 Session 13 Session 14 Session 15 Doordan, D. P. Political content in Italian architecture during the Fascist period, 1983 Diane Ghirardo, Architects, Exhibitions, and the Politics of Culture in Fascist Italy, Journal of Architectural Education (1984- ), Vol. 45, No. 2 (Feb., 1992), pp John Agnew, The Impossible Capital: Monumental Rome under Liberal and Fascist Regimes, Geografiska Annaler. Series B, Human Geography, Vol. 80, No. 4 (1998), pp Edwards, C. Possessing Rome: The Politics of Ruins in Roma Capitale, in Blackwell s Companion to Classical Receptions, Oxford 2008 Wyke, M. Sawdust Caesar; Mussolini, Julius Caesar and the drama of dictatorship, in Uses and Abuses of Antiquity Student Presentations Late 20 th century the classics in cinema and advertising Wyke, M. Are you not entertained, Classicists and Cinema, International Journal of the Classical Tradition, Winter 2003 p Last Hollywood movies: are they still epic? Troy, Gladiator and Alexander, Disney s version. Reviews of 300 done by P. Cartledge, Alexander done by Prof. Rose Paper 2 due Review session Final Examination Slide- test, 2 short essays Field studies - Catania, (Roman theatre, Castello Ursino, Amphitheatre) to study the classical monuments and understand how they have been exploited in the past Palermo, (Palatine Chapel, Cathedral, Monreale Cathedral), to focus on the use of classical references in medieval Norman art and architecture. Other Policies: Expectations Professional behavior is expected of all students. This includes preparation for classes, on- time attendance at classes, attendance at all group sessions and appropriate participation in the form of attentiveness and contributions to the course. Respect for the academic process is the major guiding principle for professional behavior and extends to all communications, including e- mail. Arcadia University The College of Global Studies 7

8 Attendance/Participation Prompt attendance, full preparation, and active participation in class discussions are expected from every student in every class session. Course Policies For e- mail communications, students must use their Arcadia University e- mail account. Students are responsible for any information provided by e- mail or through Intranet postings. Plagiarism Representation of another s work or ideas as one s own in academic submissions is plagiarism, and is cause for disciplinary action. Cheating is actual or attempted use of resources not authorized by the instructor(s) for academic submissions. Students caught cheating in this course will receive a failing grade. Fabrication is the falsification or creation of data, research or resources to support academic submissions, and cause for disciplinary action. Late or Missed Assignments Will not be accepted for grading. Prerequisites: Country and Program Connection: Students with Disabilities Persons with documented disabilities requiring accommodations to meet the expectations of this course should disclose this information while enrolling into the program, and before leaving the United States so that appropriate arrangements can be made. None. Uses and Abuses of Antiquity gives students the opportunity to learn about the heritage of the classical past in the western world through the monuments and works of art around them on the island of Sicily. Because of its long, complex history, Sicily is especially rich in museums, monuments and archaeological sites of all periods from the Greek to today which enhance learning. While examining a wider geographical area, the course uses the works of art and architecture in Sicily to provide a better understanding of the use and abuse of the classical past. Students can study first- hand, through on- site visits and field studies, how past and present have interacted and what role the past will have on Sicily s future. Arcadia University The College of Global Studies 8