Geography, Art and Material Culture
The Medieval World
AEAH 4805--Fall 2012
T-TH, 11:00-12:20
Dr. Mickey Abel
Office: Art Building, Room 213
Office Hours: Tuesday and Thursday 10:00-11:00
Email:
Course Description: A survey of Medieval art and architecture through the theoretical lens of Cultural Geography.
Required Textbooks: (all books may be purchased used on-line or at the university bookstore)
Marilyn Stokstad, Medieval Art, (Westview Press, 2004). (any edition is acceptable)
Cultural Geography, Atkinson, Jackson, Sibley, and Washbourne, eds. (Tauris, 2005).
Encyclopedia of the Middle Ages, Cantor, ed. (Viking Press, 1999).
Other reading materials will be placed on reserve or electronic reserve at Willis Library and can be accessed with the course number or the professor’s name.
Course Content:
While this survey course will cover the time period stretching between the 4th century and the end of the 14th century—the period known collectively as the Middle Ages and art historically sub-divided into a series of chronologically successive eras–Late Roman/Early Christian, Carolingian, Ottonian, Romanesque, and Gothic—it is a period that more generally is critically analyzed along cultural, religious, and political distinctions which provide us with a set of qualifiers –Christian, Byzantine, Islamic, Monastic, Courtly, and Secular. In order to fully comprehend the multi-dimensional and multi-faceted quality of this time period, this class will examine these categories and qualifiers through the lens of Cultural Geography. The emphasis will be on how art historians engaged in the study of the Middle Ages can benefit from the terminology, forms, themes, and methodologies of Geography. We will examine land as a cultural frontier, question the way we reconstitute physical boundaries, link landscape and memory, create subjectivities in and through built environments, situate objects and viewers in mythical or religious spaces, analyze the construction of place, and enhance reception of inclusive belong, movement, and contact.
Course Objectives:
While the medieval world will provide the subject matter, the primary goal of this class will be to foster an active critical approach to images, image making, and spatial configurations. Because our own modern world is inundated with visual imagery--most of which is absorbed passively–this critical approach is intended to expand the student’s repertoire of historical imagery while augmenting the development of visual literacy. One avenue to this goal will be the focus on the identification of the continuities left to us from the middle ages that inform our own cultural production. The underlying and overarching problem structuring this type of inquiry, however, will be the challenge to see, and thus understand, these medieval artifacts from within their own site- and time-specific context. Treating them as cultural documents, we will go beyond a simple chronological examination to develop a line of critical inquiry that will allow for the investigation of both production questions–particularly those emanating from the confluence of the interests of the artist, patron, and donor -- as well as reception issues, such as those surrounding audience and the dissemination of an intended message or function.
Course Structure:
In order to facilitate these goals, the format of the class will be divided between introductory lectures, class discussions based on assigned readings, and presentations of group assignments. In addition there will be an on-going writing project designed to foster a critical understanding of the documentary value of historical artifacts. This project is to be completed in three installments over the course of the semester. As an incremental assignment, the secondary goal of this project is to promote the student’s writing skills by focusing on the conveyance of a well-developed argument that has been structured on the close analysis of both written and visual sources.
Student Evaluation:
Your grade is comprised of four components:
1. Exams–Three exams worth 10% each...... 30%
2. Writing Assignment–Three worth 10% each…...... 30%
3. Final Group Project...... 20%
4. Class Participation–Attendance
Office visits
Daily Reviews
Class Discussion…...... 10%
5. “Extra-Ordinary” Credit……………………………………………...10%
Student Assessment:
Exams will be essay format. Students will be responsible for only those images found in their textbooks although many more images for comparison will be presented in lecture. These “lecture” images will be available to the student on the BLACKBOARD site assigned to our class. They can also be found in Visual Arts Data Base which can be accessed through the CVAD webpage using your student EUID number and password. While this class does stress a strong visual component, the primary intent of the exams is to allow the students to demonstrate their ability to think beyond their memorization skills. The expectation is that the student will apply theoretical concepts and extrapolate from historical data garnered from the textbooks, class lectures, and what has been discussed in class in regards to an image from a particular time period or geographical area to another image/s from those same parameters. In this case, images will be identified for the student in this portion of the exam.
Quizzes are always a possibility. If given, they will cover the more factual/technical side of our study—such as image identification, site locations, timelines, and vocabulary. They will pop-quizzes—i.e they will be unannounced and will not be available for make-up. The student should anticipate at least one prior to each exam. Short homework assignments may be assigned if the in-class discussion lags. So speak up and add your comments and questions to the discussion!
The student’s Participation requirement (10% of the final grade) can be met in a variety of ways:
ATTENDANCE will be taken by way of a sign-in sheet. This is the student’s responsibility. Bottom line--it is hard to participate if you are not in class and it is hard to justify the awarding of the10% for participation if you are not in attendance.
In addition to generally contributing to the class discussion, each lecture will begin with a brief, student-led REVIEW of the previous week’s lecture. This is meant to be ten minutes or less and will be delivered by a student of my choice, so keep your class notes up to date. I suggest that you compare notes before class with a classmate, particularly if you have missed a class. During the review your classmates can contribute to the material presented and/or question an unclear point. The purpose of this exercise is to keep us all on the same page.
Finally, I will ask that each student schedule an OFFICE VISIT during office hours. This is generally most helpful if scheduled prior to or just after the first exam.
Reading is an on-going assignment. Your readings are meant to prepare you for discussion, therefore you should read the pages assigned before you come to class. Lectures are designed to provide the foundation for these discussion sessions, but will be substantially different from the material provided by your readings. It is therefore recommended that notes be taken on both lecture and discussion material as you will be responsible for both on the exams.
Writing: Specific instructions for these essay assignments will be discussed in class with unique instructions for each of the three installments of this semester long project. This is meant to be an on-going project that should not be left to the last minute. Due dates for the three installments are listed on the semester calendar. The goal is to develop the skills required to present a thesis and structure an argument.
Installment I: Using one of the Cultural Geography concepts presented in the first section
of the class, critically analyze a “new” object to be placed in one of the first three chapters of the Stokstad textbook. Object is to be found in a library book held in the campus library.
Installment II: Using one of the Cultural Geography concepts presented in the second
section of the class, critically analyze a “new” object to be placed in one of chapters 4, 5, or 6 of the Stokstad textbook. Object must be found in an on-line museum catalogue.
Installment III: Using any of the Cultural Geography concepts presented in the class,
critically analyze one of the Original Documents listed on the course Bibliography. Consider this analysis as one of the “text boxes” to be placed in any of the chapters of the Stokstad textbook.
Group Presentation: As a group, present a 15 minute lecture on one of the Original Documents chosen for Writing Installment III illustrated with 5 new objects or places.
Extra-ordinary Credit: An “A” in this class requires EXTRA-ordinary work. Those expecting to receive an “A” will be expected, therefore, to perform more work than their peers. This work will consist of reading and commenting on scholarly articles that pertain to the weekly lectures. These articles are available on reserve at Willis library and are listed on the weekly schedule of classes. This “extra” work may not be used to substitute for regular assignments such as participation in a group project or taking an exam—it is not to be construed as ‘extra-credit. It is called “extra-ordinary credit” because it is meant to supplement and augment the student’s regular work in this class and in so doing demonstrate his or her desire to go beyond what is required and to excel. While there are articles suggested for each week of the semester, the review of only three articles is required for an “A” in the class—preferably one per exam cycle.
Attendance Policy:
Attendance will be taken on a regular basis. Attendance contributes to your participation grade, which is 10% of your final grade. It is not only difficult to participate if you are not in class, but difficult to make an “A” if your overall grade is lowered by 10%! Four (4) classes missed will be considered worthy for deduction of 10% from the final grade.
Cheating and Plagiarism Policy:
Cheating and Plagiarism are not tolerated by the University or by the professor and will result in disciplinary action for academic misconduct. Any act of dishonesty is forbidden by the Code of Student Conduct and will be punished with a course grade of “F,” plus a letter to the Dean of the College of Visual Arts and Design and the Dean of Students, who will investigate the matter further.
Student Fee:
There is a fee for all art history classes to cover the cost of the images. You have already paid this fee.
Course Risk Factor:
According to University Policy, this course is classified as a Category One Course. Students in this course will not be exposed to any significant hazards and are not likely to suffer any bodily injury. Students will be informed of any potential health hazards or potential bodily injury connected with the use of any materials and/or processes and will be instructed how to proceed without danger to themselves or others.
American Disabilities Act: “The College of Visual Arts and Design is committed to full academic access for all qualified students, including those with disabilities. In keeping with this commitment and in order to facilitate equality of educational access, faculty members in the College will make reasonable accommodations for qualified students with a disability, such as appropriate adjustments to the classroom environment and the teaching, testing, or learning methodologies when doing so does not fundamentally alter the course.
If you have a disability, it is your responsibility to obtain verifying information from the Office of Disability Accommodation (ODA) and to inform me of your need for an accommodation. Requests for accommodation must be given to me no later than the first week of classes for students registered with the ODA as of the beginning of the current semester. If you register with the ODA after the first week of classes, your accommodation requests will be considered after this deadline. Grades assigned before an accommodation is provided will not be changed. Information about how to obtain academic accommodations can be found in UNT Policy 18.1.14, at www.unt.edu/oda, and by visiting the ODA in Room 321 of the University Union. You also may call the ODA at 940.565.4323.
BUILDING EMERGENCY PROCEDURES: In case of emergency (alarm will sound), please follow the building evacuation plans posted on each floor of your building and proceed to the nearest parking lot. In case of tornado (campus sirens will sound) or other weather related threat, please go to the nearest hallway or room on your floor without exterior windows and remain their until an all clear signal is sounded. Follow the instructions of your teachers and act accordingly.
CENTER FOR STUDENT RIGHTS AND RESPONSIBILITES: Each University of North Texas student is entitled to certain rights associated with higher education institutions. See www.unt.edu/csrr for further information.
The Professor retains the right to change this syllabus with or without notice.
Semester Schedule—Three Sections of 5 weeks
Section One: The Early Middle Ages
Week 1, August 30th
Introduction to the Class
Week 2, September 4th
Geography and Cultural Appropriation
Reading: Stokstad, pp. 1-12. Cultural Geography: “Representation,” pp. 11-15; “Heritage,” pp. 141-152; and “Citizenship,” pp. 135-140.
Week 3, September 11th
Geography, Memory and Death
Reading: Stokstad, pp. 13-34. Cultural Geography: “Identity,” pp. 97-102; “The Body,” pp. 91-96.
Extra-ordinary Credit:.
· Cohen, Architecture and the After Life, “From Mausoleum to Martyrium,” Yale University Press, 1991, pp. 101-122;
Week 4, September 18th
Geography Birth and Rebirth
Reading: Stokstad, pp. 34-44. Cultural Geography: “Positionality,” pp. 16-26; Space/Place,” pp. 41-49.
Extra-ordinary Credit:
· Ousterhout, “The Temple, the Sepulcher, and the Martyrion of the Savior,” Gesta 29/1 (1990): 44-53.
Week 5, September 25th
Geography and Politics
****Writing Project I Due: Tuesday September 25th
Reading: Stokstad—pp. 45-74; 101-106. Cultural Geography: “Geopolitics,” pp. 65-71.
Extra-ordinary Credit:
· Kleinbauer, “Antioch, Jerusalem, and Rome: The Patronage of Emperor Constantius II and Architectural Invention,” Gesta XLV/2 (2006): 325-145.
· Leader, “The David Plates Revisited: Transforming the Secular in Early Byzantium,” The Art Bulletin LXXXII/3 (2000): 407-427;
· Andreescu-Threadgold and Warren Threadgold, “Procopius and the Imperial Panels of S.Vitale,” The Art Bulletin LXXIX/4 (1997): 708-723;