080062 UE Show Must Go On": Transdisciplinary Approaches to Byzantine Visual Culture (2018S)
Continuous assessment of course work
Labels
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
- Registration is open from We 07.02.2018 10:00 to Tu 13.02.2018 10:00
- Deregistration possible until Fr 09.03.2018 10:00
Details
max. 20 participants
Language: English
Lecturers
Classes (iCal) - next class is marked with N
BLOCKED in MARCH. This is an intensive, blocked course; it is advisable NOT to attempt other exams or to write seminar papers parallel to this course.
- Friday 02.03. 10:00 - 13:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
- Saturday 03.03. 10:00 - 13:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
- Friday 09.03. 10:00 - 13:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
- Saturday 10.03. 10:00 - 13:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
- Friday 16.03. 10:00 - 13:05 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
- Saturday 17.03. 10:00 - 13:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
- Friday 23.03. 10:00 - 15:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
- Saturday 24.03. 10:00 - 15:00 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
Information
Aims, contents and method of the course
Assessment and permitted materials
Regular attendance (mandatory); timely completion of reading assignments (25 points); active participation in discussion and other activities (25 points); submission of short written reactions (25 points); final presentation (25 points).
Minimum requirements and assessment criteria
100 points in this course correspond to 40 points on the following grading scale:
40 – 35 points = 1, “sehr gut (hervorragende Leistung)”
34.9 – 30 points = 2, “gut (generell gut, einige Fehler)”
29.9 – 25 points = 3, “befriedigend (ausgewogen, Zahl entscheidender Fehler)”
24.9 – 20 points = 4, “genügend (Leistung entsprechend den Minimalkriterien)”
19.9 – 0 points = 5, “nicht genügend (< 50%; erhebliche Verbesserung erforderlich,
Erfordernis weiterer Arbeit)”
No grade earned (due to plagiarism, unexcused absences, dropping course) = X, “nicht beurteilt"
40 – 35 points = 1, “sehr gut (hervorragende Leistung)”
34.9 – 30 points = 2, “gut (generell gut, einige Fehler)”
29.9 – 25 points = 3, “befriedigend (ausgewogen, Zahl entscheidender Fehler)”
24.9 – 20 points = 4, “genügend (Leistung entsprechend den Minimalkriterien)”
19.9 – 0 points = 5, “nicht genügend (< 50%; erhebliche Verbesserung erforderlich,
Erfordernis weiterer Arbeit)”
No grade earned (due to plagiarism, unexcused absences, dropping course) = X, “nicht beurteilt"
Examination topics
N/A
Reading list
Will be posted on Moodle.
Mandatory introductory readings for discussion in the first class on 2.3. are (all 5):
In Eric Fernie (ed.), Art History and its Methods: A Critical Anthology, London-New York: Phaidon, 2001.
1. Introduction: A History of Methods, p. 10-21.
2. Glossary of Concepts, p. 323-368.
In Robin Cormack, John F. Haldon and Elizabeth Jeffreys (eds), The Oxford Handbook of Byzantine Studies, Oxford: Oxford University Press, 2008.
3. Chapter 1.2.5 "Critical Approaches to Art History", Leslie Brubaker, p. 59-66.
4. Chapter 1.2.6 "Iconography", Kathleen Corrigan, p. 67-76.
In Liz James (ed.), A Companion to Byzantium, Oxford: Wiley-Blackwell, 2010.
5. Chapter 24 "The Limits of Byzantine Art", Antony Eastmond, p. 313-322.Reference works and supplementary readings (background information in Byzantine art):
- Robin Cormack, Byzantine Art (Oxford History of Art series), Oxford 2000.
- Helen Evans (ed.), Byzantium: Faith and Power (1261-1557), New York 2004.
- Alexander Kazhdan (ed.), Oxford Dictionary of Byzantium (3 vol.), Oxford 1991.
- Cyril Mango, The Art of the Byzantine Empire. Sources and Documents, Engelwood Cliffs 1972.
- Linda Safran (ed.), Heaven on Earth: Art and the Church in Byzantium, University Park [Penn.], 1998.
- William D. Wixom / Helen Evans (ed.), The Glory of Byzantium: Art and Culture of the Middle Byzantine Era A. D. 843-1261, New York 1997.
Mandatory introductory readings for discussion in the first class on 2.3. are (all 5):
In Eric Fernie (ed.), Art History and its Methods: A Critical Anthology, London-New York: Phaidon, 2001.
1. Introduction: A History of Methods, p. 10-21.
2. Glossary of Concepts, p. 323-368.
In Robin Cormack, John F. Haldon and Elizabeth Jeffreys (eds), The Oxford Handbook of Byzantine Studies, Oxford: Oxford University Press, 2008.
3. Chapter 1.2.5 "Critical Approaches to Art History", Leslie Brubaker, p. 59-66.
4. Chapter 1.2.6 "Iconography", Kathleen Corrigan, p. 67-76.
In Liz James (ed.), A Companion to Byzantium, Oxford: Wiley-Blackwell, 2010.
5. Chapter 24 "The Limits of Byzantine Art", Antony Eastmond, p. 313-322.Reference works and supplementary readings (background information in Byzantine art):
- Robin Cormack, Byzantine Art (Oxford History of Art series), Oxford 2000.
- Helen Evans (ed.), Byzantium: Faith and Power (1261-1557), New York 2004.
- Alexander Kazhdan (ed.), Oxford Dictionary of Byzantium (3 vol.), Oxford 1991.
- Cyril Mango, The Art of the Byzantine Empire. Sources and Documents, Engelwood Cliffs 1972.
- Linda Safran (ed.), Heaven on Earth: Art and the Church in Byzantium, University Park [Penn.], 1998.
- William D. Wixom / Helen Evans (ed.), The Glory of Byzantium: Art and Culture of the Middle Byzantine Era A. D. 843-1261, New York 1997.
Association in the course directory
Last modified: Mo 07.09.2020 15:31
Based on a select corpus of well-known iconographic themes found in middle and late Byzantine painting, this practical course will investigate some recent transdisciplinary approaches to premodern visual culture. In this reading-intensive, four-week course we will focus specifically on movement, emotion, space, and narration as well as the question of “performance”; we will read foundational theoretical texts and test what new insights these approaches can bring to our understanding of Byzantine visual culture but also their limits.
WARNING: This course is highly participatory; all work will be conducted in English including short written assignments and presentations; and fundamental knowledge of the events of the New Testament is assumed.