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Program and Power in Ancient Art

Course: ARTH 009 Instructor: Sarah J. Scott

Fulfills the College Writing Requirement E-mail: sjarmer@sas.upenn.edu

Location: Jaffe 302 Office: Jaffe B-1

Time: T/TH 12-1:30 Office Hours: T 1:30-2:30 & by appointment

Mailbox: Jaffe, in main hall

Course URL:

Blackboard URL:

Course Description (catalogue): Expression of power has long been the focus of propaganda for rulers. Such expression is commonly manifest in visually stimulating architectural programs sponsored by such rulers. Cultures of ancient Mesopotamia, Minoan Crete, Mesoamerica, Greece, and Rome, were all fueled by rulers' drive to impress and hold power over the population through visual persuasion. This visual manifestation plays an important role today, but is used in conjunction with textual traditions. Visual persuasion and expression of power was used for the same means in ancient cultures, but the messages had to be conveyed with less reliance on text; the architecture, imagery, and spatial arrangements were mediums through which a ruler's power was expressed. This course will examine the use and incorporation of visual propagandistic expression in the ancient cultures and empires of Mesopotamia, Crete, Mesoamerica, Greece, Rome, and Iran. We will also examine how the same techniques of visual persuasion are used today in political, memorial, and even corporate programs. Students will be encouraged to describe, discuss, and elaborate upon these modes of expression through various writing projects. Reading material will include a wide variety of subject matter and writing styles, to serve as a platform from which the students learn to become their own writing critics. Beginning with a basic introduction to Art Historical writing conventions students will learn to look upon and write about one distinct work of art. From this elemental project, students will develop a research project, every step of which will be modeled through class discussion, peer and instructor reviews, and class presentations. Whether the student is experienced in writing or not, every individual will come away from this seminar an improved writer, better capable to tackle upper level class writing assignments in any discipline. Students will also come away from this seminar a more active member of the visual world that surrounds them; the use of written expression is vital in consideration of our world today.

Course Description (revised):

Expression of power has long been the focus of propaganda for rulers. Such expression is commonly manifest in visually stimulating architectural programs sponsored by such rulers. Cultures of ancient Mesopotamia, Minoan Crete, Mesoamerica, Greece, and Rome, were all fueled by rulers' drive to impress and hold power over the population through visual persuasion. This visual manifestation plays an important role today, but is used in conjunction with textual traditions. Visual persuasion and expression of power was used for the same means in ancient cultures, but the messages had to be conveyed with less reliance on text; the architecture, imagery, and spatial arrangements were mediums through which a ruler's power was expressed. This course will examine the use and incorporation of visual propagandistic expression in the ancient cultures and empires of Mesopotamia, Crete, Mesoamerica, Greece, and Rome. Students will be encouraged to describe, discuss, and elaborate upon modes of expression through various writing projects. Reading material will include a wide variety of subject matter and writing styles, to serve as a platform from which the students learn to become their own writing critics. Beginning with a basic introduction to Art Historical writing conventions students will learn to look upon and write about one distinct work of art. From this elemental project, students will develop a research project, every step of which will be modeled through class discussion, peer and instructor reviews, and class presentations. Whether the student is experienced in writing or not, every individual will come away from this seminar an improved writer, better capable to tackle upper level class writing assignments in any discipline. Students will also come away from this seminar a more active member of the visual world that surrounds them; the use of written expression is vital in consideration of our world today.

Goals and Objectives: We will be learning about some of the most fascinating civilizations of the ancient world through the eyes of art historians, archaeologists, and anthropologists. This is the content with which you will come away from the course. Active reading, researching, and writing are the mechanisms by which you will gain the course content. You will use these mechanisms during your entire educational career and throughout your whole life. They are skills that will make you better able to actively participate in today’s world. Our goals will thus be the following:

• Gain an understanding of several ancient cultures, and the material world they created and valued

• Learn to read, both introductory texts and scholarly articles, critically

• Achieve the ability to discuss and write about art objects

• Become adept at researching, organizing, and writing an original scholarly paper

• Familiarize yourself with the process of presenting your research in a classroom situation

Our Methods: The teaching philosophy of this instructor is based on learning through active participation of the students. Our class meetings will comprise a variety of learning activities. There will be a number of instructor-led presentations/lectures. We will hold active discussions about articles we have all read, which will follow with further elaboration about both the content matter of the articles as well as the writing. Writing workshops, occuring almost every class period, are designed to highlight specific issues of writing which you will be expected to incorporate into your assignments. We will split up into groups to embark upon various projects, including short presentations and peer reviews of each other’s work. Student presentations are meant to be an informal, active discussion, resulting in clarification of the material and refining of students’ ideas for written assignments. Interactive learning is a main component of this course; peer review and instructor-student private conferences will facilitate students’ improvement in writing skills. Trips to museums will be incorporated into the course as well.

Course requirements: Over the course of the semester you will complete an independent research project. It is toward this end that many of the supplementary assignments are designed. Therefore, doing your best on all the assignments, paying attention to detail, asking questions, and actively engaging in every part of this class is important. If you stay on the wagon throughout the semester, your perseverance will be rewarded. In addition to the main research project there will also be 2 additional, shorter, formal papers, and a number of other informal assignments. The informal assignments are REQUIRED, and are designed to help you with your formal papers. (see below for specific assignment instructions) It is on the basis of these formal papers (3), informal assignments, and class participation that you will receive your grade for the course.

Grading Criteria:

Formal Paper 1: 10%

Formal Paper 2: 10%

Formal Paper 3: 25%

Informal Assignments: 45% (9 x 5% each)

Class Participation: 10%

(peer review 5%)

(discussion/attendance 5%)

Classroom Policies: Class attendance is of utmost importance for this class, and counts toward a portion of your grade. It is not a lecture class where you get notes from a friend and expect to be caught up. Absence will put you behind and leave you without information vital to our end goals. You will be allowed one (1) unexcused absence during the semester, and after that your participation grade will be adversely affected. You are expected to be on time as well, and any tardiness will be considered an absence. Any absence due to illness must be accompanied with a note from the Health Center.

I expect you to show as much respect to your classmates as you do to me; you will learn as much from them as anyone. We are not just a class but a community and team of researchers. The power of many is greater than one.

Papers will be handed in at the beginning of the class in which they are due (except for assignments not due on meeting days; see schedule below). Papers turned in late will receive a 10 point deduction per day. Extensions will be granted only in special cases.

Plagiarism is unacceptable. An instance of this horrendous crime will result in the failure of the assignment and appropriate University disciplinary procedures (see Penn’s Code of Academic Integrity; ).

Blackboard Site; For the majority of the course, we will be utilizing Penn’s Blackboard, or Course Web, as a springboard. After the initial disbursement of this version of the syllabus, updated versions, assignments, due dates, calendars, announcements, and required readings will be placed on the Blackboard site. You are responsible for checking this site, and using it on a regular basis to keep up with the course work. Be aware of it and use it.

Required Texts:

Available at Penn Book Center (34th St. between Sansom and Walnut):

Scarre, Christopher and Brian M. Fagan. Ancient Civilizations. New York: Longman, 1997.

Stokstad, Marilyn. Art History. New York: Harry N. Abrams, 2001.

Barnet, Sylvan. A Short Guide to Writing About Art. New York: Longman Inc, 2000.

On Reserve at Fisher Fine Arts Library:

Kostof, Spiro. A History of Architecture: Settings and Rituals. New York: Oxford University Press, 1995.

Articles on Blackboard site and one hard copy on Reserve at Fisher Fine Arts Library:

Russell, J. M. ‘Bulls for the Palace and Order in the Empire: The Sculptural Program of Sennacherib’s Court VI at Nineveh’. Art Bulletin (1987).

Friedman, F. ‘The Underground Relief Panels of King Djoser at the Step Pyramid Complex’ JARCE (Journal of the American Research center in Egypt) 32 (1995), pp 1-42.

M.A.S. Cameron, “The ‘Palatial’ Thematic System in the Knossos Murals.” In The Function of Minoan Palaces, ed. R. Hagg and N. Marinatos, 320-328. Stockholm, 1987.

Miller, Mary Ellen. ‘Chapter 2: Structure I and the Murals, in The Murals of Bonampak. Princeton; Princeton University Press, 1986.

Cohen, B. ‘Herakles and Olympia.’ Art Bulletin v. 76, 1994.

Diane Favro, “Reading the Augustan City”, In Narrative and Event in Ancient Art, ed. P. Holliday, 1993, 230-257.

Mario Liverani, “The Ideology of the Assyrian Empire”. In Power and Propaganda, ed. M.T. Larsen. Copenhagen, 1979, pp. 297-318.

Julian Reade, “Ideology and Propaganda in Assyrian Art” Mesopotamia, no. 7 (1979), 329-343

Gates, M. ‘The Palace of Zimri-Lim at Mari’. Biblical Archaeologist 1984 47 (2), 77-88.

Pollitt, J.J. ‘The Meaning of the Parthenon Freize’ Studies in the History of Art, v. 49, 1995.

Shaw, M.C. ‘Sea Voyages: The Fleet Fresco from Thera and the Punt Reliefs from Egypt.’ In The Wall Paintings of Thera, ed. S. Sherratt. Athens, 2000, pp. 267-282.

Tyldesley, J. ‘Propaganda in Stone’. In Hatchepsut, the Female Pharoah. London: Viking, 1996, pp. 165-176.

There are many other wonderful texts that you may want to read once we get into the material. See the ‘further reading’ section at the end of this syllabus, and be sure to ask me about other suggestions. There is an ocean of information out there on any possible topic you might choose.

Course Schedule:

|Class Day |Class Agenda |Reading DUE |Assignment DUE |

|Thursday 9/5 |Welcome | | |

| | | | |

| |Timeline, Ancient complexes, overview| | |

| | | | |

| |The writing process | | |

| |Mesopotamia: Sennacherib’s Palace |1. Scarre & Fagan, Ch. 8 |Informal 1; Russell and Friedman |

| | |2. Russell, ‘Bulls for the Palace… | |

|Tuesday 9/10 |Egypt: Djoser’s Stepped Pyramid | | |

| | |3. Scarre & Fagan, Ch. 4 | |

| |Writing Workshop: Thesis |4. Friedman, ‘The Underground Relief Panels…’ | |

| |Aegean: Palace of Knossos |1. Scarre & Fagan, Ch. 9 |Informal 2: Cameron and Miller |

| | |2. Cameron, ‘The Palatial Thematic System…’ | |

|Thursday 9/12 | | | |

| |Mesoamerica: Bonampak |3. Scarre & Fagan, Ch. 15 | |

| | |4. Miller. ‘Structure I…’ | |

| |Writing Workshop: Intro paragraph | | |

| |Greece: Olympia, Temple of Zeus |1.Scarre & Fagan, Ch. 10 |Informal 3; Cohen and Favro |

| | |2. Cohen, ‘Herakles and Olympia.’ | |

|Tuesday 9/17 |Rome: Campus Martius | | |

| | |3. Scarre & Fagan, Ch. 11 | |

| |Writing Workshop: Summary/Analysis |4. Favro, ‘Reading the Augustan City’ | |

| |Mesopotamia Content Lecture I |1. Stokstad, Ch. 2, Art of the Ancient Near East | |

| | | | |

|Thursday 9/19 |Egypt Content Lecture I |2. Stokstad, Ch. 3, Art of Ancient Egypt | |

| | | | |

| |Aegean Content Lecture I |3. Stokstad, Ch. 4, Aegean Art | |

| |Mesoamerica Content Lecture I |1. Stokstad, Ch. 12, Art of the Americas before |Draft of Formal 1 (essay critiques) |

| | |1300 |due, email to peer groups, hard copy to|

|Tuesday 9/24 |Greece Content Lecture I | |me. |

| | |2. Stokstad, Ch. 5, Art of Ancient Greece | |

| |Rome Content Lecture I | | |

| | |3. Stokstad, Ch. 6, Etruscan Art and Roman Art | |

| |Set up Peer Groups | | |

|Class Day |Class Agenda |Reading DUE |Assignment DUE |

| |How Art History works |Barnett, Writing About Art, ch. 1-2 |Peer Review I |

| |Writing Workshop: Formal Analysis | | |

|Thursday 9/26 |Part 1 | | |

| | | | |

| |Peer review, Formal 1 | | |

| |Upenn Museum trip | |Informal 4; object presentation |

| | | | |

|Tuesday 10/1 | | | |

|Wednesday 10/2 |Conferences (to be scheduled), Formal| | |

| |1 | | |

| |Writing Workshop: Using Sources |Barnett, Writing About Art, ch. 7-8 | |

| |Library Trip | | |

|Thursday 10/3 | | | |

| | | | |

| |Mesopotamia content lecture II |1. Kostof, The Rise of the City (ch. 3 pp. 43-66) |Final Formal 1 (essay critiques) due |

| | | | |

|Tuesday 10/8 |Writing Workshop: Concluding | | |

| |Paragraphs | | |

| |Egypt content lecture II |1. Kostof, The Architecture of Ancient Egypt (ch.| |

| | |4, pp. 67-90) | |

|Thursday 10/10 | | | |

| |Writing Workshop: Wordiness | | |

| |Mesoamerica content lecture II | |Informal 5; patron/artist dialogue |

| | |1. Kostof, pp. 233-241 & 435-439 | |

|Tuesday 10/15 |Writing Workshop: Transitions | | |

| | | | |

| |Aegean content lecture II |1. Kostof, Bronze Age Cities (ch. 5, pp. 91-114) | |

| |Writing Workshop: Bad Writing | | |

|Thursday 10/17 | | | |

| |Greece content lecture II |1. Kostof, Polis and Akropolis (ch. 7, pp. | |

| | |137-160) | |

|Tuesday 10/22 |Writing Workshop: Writing Review I | | |

| | | | |

| |Rome content lecture II |1. Kostof, Rome: Caput Mundi (ch. 9, pp. 191-216) |Draft of Formal 2 (visual analysis) |

| | | |due, email to peer groups, hard copy to|

|Thursday 10/24 |Writing Workshop: | |me. |

| |Writing Review II | | |

| | | | |

| | | | |

| | | | |

|Class Day |Class Agenda |Reading DUE |Assignment DUE |

| |Peer review, Formal 2 | |Peer Review II |

|Tuesday 10/29 | | | |

| |In-class discussion of chosen | |Informal 6; Choose your culture |

| |cultures | | |

|Wednesday 10/30 |Conferences, Formal 2 | | |

| |Writing Workshop: Writing about |Kostof, Ch.1, pp. 3-20 |Informal 7; choose your complex |

| |Architecture | | |

|Thursday 10/31 | | | |

| |Writing Workshop: Making prose your | | |

| |own | | |

| | |1.Liverani, ‘The Ideology of the Assyrian Empire’ |Final Formal 2 (Visual Analysis) due |

|Tuesday 11/5 |Writing Workshop: | | |

| |Writing about ideology and propaganda|2.Reade, ‘Ideology…’ | |

| | | | |

| | |3. Tyldesley, ‘Propaganda in Stone’ | |

| |Presentations I | |Informal 8; culture PRESENTATIONS |

|Thursday 11/7 | | | |

| |Presentations I | |Informal 8; culture PRESENTATIONS |

|Tuesday 11/12 | | | |

| |Mesopotamia: Mari Palace |1. Gates, ‘The Palace…’ | |

| | | | |

|Thursday 11/14 |Greece: Parthenon |2. Pollitt, ‘The Meaning of the Parthenon Frieze’ | |

| | | | |

| |Aegean: |1. Shaw, ‘Sea Voyages…’ | |

| |Thera, Xeste 3 | | |

|Tuesday 11/19 | | | |

| |Egypt: Deir el-Bahari | | |

| | | | |

| |Writing Workshop; Comparison | | |

| |Presentations | |Informal 9 |

|Thursday 11/21 | | |Presentation II |

| |Presentations | |Informal 9 |

|Tuesday 11/26 | | |Presentation II |

| |Thanksgiving Break | | |

|Thursday 11/28 | | | |

|Class Day |Class Agenda |Reading DUE |Assignment DUE |

|Monday 12/2 | | |Draft of Formal 3 (research paper) due.|

| | | |Email to your peer groups, and hard |

| | | |copy |

| | | |in my mailbox. By 9:30 AM at the |

| | | |latest!!! |

| |Peer review, Formal 3 | |Peer Review III |

|Tuesday 12/3 | | | |

| |Get together in class, independently.| | |

|Thursday 12/5 |Final Class | | |

| |Group discussions of final papers | | |

| |Wrap-up | | |

| | | | |

|Friday 12/6 |Conferences, Formal 3 | | |

| | | | |

| | | | |

|Monday 12/16 | | |Final Formal 3 (research paper) due |

Additional Reading List

*Book is on reserve in Fine Arts Library

Mesopotamia

Background:

*Collon, D. Ancient Near Eastern Art. Berkeley: University of California Press, 1995. Fine Arts; N5345.C69 1995

Frankfort, H. The Art and Architecture of the Ancient Orient. New Haven: Yale University Press, 1970. Fine Arts: N5345.F7 1996

Groenewegen-Frankfort, H.A. Arrest and Movement: Space and Time in the Art of Ancient Near East. Cambridge: Harvard University Press, 1951. Fine Arts and Museum: N7430.F7

Hallo, W.W. and W. K. Simpson. The Ancient Near East: A History. Fort Worth: Harcourt Brace, 1998. Van Pelt; DS 62.2.H3 1998

Jacobsen, T. The Treasures of Darkness: A History of Mesopotamian Religion. New Haven: Yale University Press, 1976. Van Pelt; BL2350 .I7 J3

*Kuhrt, A. The Ancient Near East. 3000-330 BC vols. I and II. London: Routledge, 1995. DS 62.23 .K87 1995.

Roaf, M. Cultural Atlas of Mesopotamia. Oxford: Facts on File, 1996.

Egypt

Background:

Aldred, C. Egyptian Art. New York: Thames and Hudson, 1980. Fine Arts and Museum: N5350 .A56

Hawass, Z. “Programs of the Royal Funerary Complexes of the Fourth Dynasty”, In D. O’Connor and D. Silverman, eds. Ancient Egyptian Kingship. Leiden: 1995, 221-62. Museum; DT61 .A624 1995

Drenkhahn, R. “Artisans and Artists in Pharoanic Egypt. In J. Sasson ed., Civilizations of the Ancient Near East. New York: 1995,331-43. Museum reference; DS57 .C55 1995

*Robins. G. The Art of Ancient Egypt. Cambridge: Harvard University Press, 1997. Museum; N5350 .R63 1997.

Shafer, B.E., ed. Religion in Ancient Egypt. Ithaca: Cornell University Press, 1991. Museum and Van Pelt; BL2441.2 .R35 1991

Trigger, B.G., et. al. Ancient Egypt: A Social History. Cambridge: Cambridge University Press, 1983. Museum; DT83 .A656 1983

Smith, W.S. The Art and Architecture of Ancient Egypt, 2nd ed. New Haven: Yale University Press. Museum; N5350 .S5 1998

*Silverman, D.P. Ancient Egypt. New York: Oxford University Press, 1997. Museum DT61 .A59 1997

Aegean

Background:

Crowley, J.L. ‘Images of Power in the Bronze Age Aegean.’ In Politeia: Society and State in the Aegean Bronze Age, ed. R. Laffineur and W.-D. Niemeier, 475-491. Liege: University of Leige, 1995. Museum; DF220 .A274 v.12

*Dickenson, Oliver. The Aegean Bronze Age. Cambridge: Cambridge University Press, 1994. Museum; DF220 .D49 1994

Hallager, E. and B. P. ‘The Knossian Bull – Political Propoganda in Neo-Palatial Crete?’ In Politeia: Society and State in the Aegean Bronze Age, ed. R. Laffineur and W.-D. Niemeier, 547-559. Liege: University of Leige, 1995. Museum; DF220.A274 v.12

*Hood, Sinclair. The Arts of Prehistoric Greece. New Haven: Yale University Press, 1978. Fine Arts; N5310.5 G8 H66

*Preziosi, D. and L.A. Hitchcock. Aegean Art and Architecture. Oxford: Oxford University Press, 1999. Fine Arts; Nn5660 .P73 1999

Mesoamerica

Background

Berrin, Katherine, and Esther Pasztory. Teotihuacan: Art from the City of the Gods. New York: Thames and Hudson, 1993. Museum F1219.1.T27 T463 1993

Fash, William Leonard. Scribes, Warriors and Kings: The City of Copan and the Ancient Maya. London, Thames and Hudson, 1991. Museum F1435.1.C7 F37 2001

Miller, Mary Ellen. Maya Art and Architecture. World of Art. London: Thames and Hudson, 1999. Museum F1435.3.A7 M55 1999

*Miller, M.E. Art of Mesoamerica. New York : Thames & Hudson, 2001. Museum F1219.A7 M55 2001

*Pasztory, Esther. Pre-Columbian Art. Cambridge: Cambridge Univ. Press, 1998. Fine Arts E59.A7 P39 1998

Schele, Linda, and Mary Ellen Miller. The Blood of Kings: Dynasty and Ritual in Maya Art. New York: Braziller, 1986. Fine Arts F1435.3.A7 S34 1986

Greek

Background:

*Biers, The Archaeology of Greece: An Introduction, 2nd edition. Ithaca: Cornell Univ. Press, 1996. Museum; DF77 .B58 1996

Boardman, John. Greek Art, 4th ed. Rev & exp. World of Art. London, Thames and Hudson, 1998. Fine Arts; N5630 .B58 1996

Fullerton, Mark D. Greek Art. Cambridge: Cambridge Univ. Press, 2000. Museum and Van Pelt; N5630 .F855 2000

*Pollitt, J.J. The Art of Ancient Greece; Sources and Documents . Cambridge: Cambridge Univ. Press, 1990. Fine Arts; N5630 .P56 1990

*Ridgeway, Brunilde Sismondo. The Archaic Style in Greek Sculpture. 2nd ed. Chicago: Ares, 1993. Fine Arts and Museum; NB90 .R56

*Sacks, David, and Oswyn Murray. Encyclopedia of the Ancient Greek World. New York: Facts on File, 1995. Fine Arts reference; DF16 .S23 1995

Roman

Background

Cornell, Tim, and John Matthews. Atlas of the Roman World. New York: Facts on File, 1982.

*D’Ambra, Eve. Roman Art. Cambridge: Cambridge University Press, 1998. Fine Arts; N5763 .D36 1998

Grant, Michael. Art in the Roman Empire. London: Routledge, 1995. Fine Arts; N5760 .G74 1995

*Kleiner, D.E.E. Roman Sculpture. New Haven: Yale University Press, 1992. Fine Arts; NB115 .K57 1992

*MacDonald, W.L. The Architecture of the Roman Empire. New Haven: Yale University Press, 1986. Fine Arts; NA310 .M2 1982

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