090035 SE The Image of Power: Imperial Portraits in Late Antiquity (2020W)
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 26.08.2020 06:00 to Mo 21.09.2020 23:59
- Registration is open from Mo 19.10.2020 06:00 to Th 22.10.2020 23:59
- Deregistration possible until Fr 30.10.2020 23:59
Details
max. 15 participants
Language: German, English
Lecturers
Classes (iCal) - next class is marked with N
PLEASE NOTE THAT THE COURSE WILL BE HELD ONLY ON-LINE
Tuesday
06.10.
16:00 - 17:30
Seminarraum d. Inst. f. Klassische Archäologie Franz-Klein-Gasse 1.OG
Tuesday
13.10.
16:00 - 17:30
Seminarraum d. Inst. f. Klassische Archäologie Franz-Klein-Gasse 1.OG
Tuesday
20.10.
16:00 - 17:30
Seminarraum d. Inst. f. Klassische Archäologie Franz-Klein-Gasse 1.OG
Tuesday
27.10.
16:00 - 17:30
Seminarraum d. Inst. f. Klassische Archäologie Franz-Klein-Gasse 1.OG
Tuesday
03.11.
16:00 - 17:30
Seminarraum d. Inst. f. Klassische Archäologie Franz-Klein-Gasse 1.OG
Tuesday
10.11.
16:00 - 17:30
Seminarraum d. Inst. f. Klassische Archäologie Franz-Klein-Gasse 1.OG
Tuesday
17.11.
16:00 - 17:30
Seminarraum d. Inst. f. Klassische Archäologie Franz-Klein-Gasse 1.OG
Tuesday
24.11.
16:00 - 17:30
Seminarraum d. Inst. f. Klassische Archäologie Franz-Klein-Gasse 1.OG
Tuesday
01.12.
16:00 - 17:30
Seminarraum d. Inst. f. Klassische Archäologie Franz-Klein-Gasse 1.OG
Tuesday
15.12.
16:00 - 17:30
Seminarraum d. Inst. f. Klassische Archäologie Franz-Klein-Gasse 1.OG
Tuesday
12.01.
16:00 - 17:30
Seminarraum d. Inst. f. Klassische Archäologie Franz-Klein-Gasse 1.OG
Tuesday
19.01.
16:00 - 17:30
Seminarraum d. Inst. f. Klassische Archäologie Franz-Klein-Gasse 1.OG
Tuesday
26.01.
16:00 - 17:30
Seminarraum d. Inst. f. Klassische Archäologie Franz-Klein-Gasse 1.OG
Information
Aims, contents and method of the course
Assessment and permitted materials
oral presentation (30%) in German or English- written seminar paper in German or English (50%)- active participation in the discussion (20%). The assignments will be given in the first meeting.
In addition the following will be considered: Submission of the written work on time; presentation on the selected topic with PowerPoint presentation and written comment (script) of at least 10 pages; written work on the selected topic (at least 18 pages of text without images).
In addition the following will be considered: Submission of the written work on time; presentation on the selected topic with PowerPoint presentation and written comment (script) of at least 10 pages; written work on the selected topic (at least 18 pages of text without images).
Minimum requirements and assessment criteria
Presentation – discussion – Regular and active participation. Attendance is compulsory. A maximum of two absences is allowed.
Examination topics
See above.
Reading list
Bibliography:
S. Birk, T. M. Kristensen and Birte Poulsen, Using Images in Late Antiquity, Oxford 2014.G. W. Bowersock, The imperial cult: perceptions and persistence. In B. F. Meyer, E. P. Sanders (eds.) Jewish and Christian Self-Definition in the Greek and Roman World vol. 3. London 1982, pp. 171-182.
L. Brubaker, Introduction: The Sacred Image. In R. Ousterhout and L. Brubaker (eds.) The Sacred Image. East and West. Urbana – Chicago 1995, pp. 1-24.
M.Ch. Carile, Imperial bodies and sacred space? Imperial Family Images between monumental decoration and space definition in Late Antiquity and Byzantium, in J. Bogdanovic (ed.), Perceptions of the Body and Sacred Space in Late Antiquity and Byzantium, Routledge 2018.
A. Effenberger, Das Theodosius-Missorium von 388: Anmerkungen zur politischen Ikonographie in der Spätantike in C. Sode, S. Takács (eds.), Novum millennium: studies on Byzantine history and culture dedicated to Paul Speck, Aldershot, Ashgate 2001, pp. 97–108.J. Elsner, Imperial Rome and the Christian Triumph: The Art of the Roman Empire AD 100-450, Oxford 1998.
K. Galinsky, The Cult of the Roman Emperor: Uniter or Divider? In J. Brodd and J. L. Reed (eds.) Rome and Religion. A Cross-Disciplinary Dialogue on the Imperial Cult. Atlanta 2011, pp. 1-21.
B. Kiilerich, Representing an Emperor: Style and Meaning on the Missorium of Theodosius I, in M. Almagro-Gorbea; J.M. Alvarez Martinez, J.M. Belàzques Martinez and S. Rovira (eds.), El Disco de Teodosio, Madrid 2000, pp. 273-281.
K.Marsengill, Portraits and Icons: between Reality and Spirituality in Byzantine Art, Turnhout: Brepols 2013.
T. Pekáry, Das römische Kaiserbildnis in Staat, Kult und Gesellschaft, dargestellt anhand der Schriftquellen. Berlin 1985.
R. R. R. Smith, Late Antique Portraits in a Public Context: Honorific Statuary at Aphrodisias in Caria, A.D. 300-600, The Journal of Roman Studies, 1999, Vol. 89 (1999), pp. 155-189.
Further bibliography and guided reading will be given on Moodle platform.
S. Birk, T. M. Kristensen and Birte Poulsen, Using Images in Late Antiquity, Oxford 2014.G. W. Bowersock, The imperial cult: perceptions and persistence. In B. F. Meyer, E. P. Sanders (eds.) Jewish and Christian Self-Definition in the Greek and Roman World vol. 3. London 1982, pp. 171-182.
L. Brubaker, Introduction: The Sacred Image. In R. Ousterhout and L. Brubaker (eds.) The Sacred Image. East and West. Urbana – Chicago 1995, pp. 1-24.
M.Ch. Carile, Imperial bodies and sacred space? Imperial Family Images between monumental decoration and space definition in Late Antiquity and Byzantium, in J. Bogdanovic (ed.), Perceptions of the Body and Sacred Space in Late Antiquity and Byzantium, Routledge 2018.
A. Effenberger, Das Theodosius-Missorium von 388: Anmerkungen zur politischen Ikonographie in der Spätantike in C. Sode, S. Takács (eds.), Novum millennium: studies on Byzantine history and culture dedicated to Paul Speck, Aldershot, Ashgate 2001, pp. 97–108.J. Elsner, Imperial Rome and the Christian Triumph: The Art of the Roman Empire AD 100-450, Oxford 1998.
K. Galinsky, The Cult of the Roman Emperor: Uniter or Divider? In J. Brodd and J. L. Reed (eds.) Rome and Religion. A Cross-Disciplinary Dialogue on the Imperial Cult. Atlanta 2011, pp. 1-21.
B. Kiilerich, Representing an Emperor: Style and Meaning on the Missorium of Theodosius I, in M. Almagro-Gorbea; J.M. Alvarez Martinez, J.M. Belàzques Martinez and S. Rovira (eds.), El Disco de Teodosio, Madrid 2000, pp. 273-281.
K.Marsengill, Portraits and Icons: between Reality and Spirituality in Byzantine Art, Turnhout: Brepols 2013.
T. Pekáry, Das römische Kaiserbildnis in Staat, Kult und Gesellschaft, dargestellt anhand der Schriftquellen. Berlin 1985.
R. R. R. Smith, Late Antique Portraits in a Public Context: Honorific Statuary at Aphrodisias in Caria, A.D. 300-600, The Journal of Roman Studies, 1999, Vol. 89 (1999), pp. 155-189.
Further bibliography and guided reading will be given on Moodle platform.
Association in the course directory
Anrechenbar: im Fachbereich Spätantike/Frühchristl. Archäologie (und Bilder);
im BA 2019: M14;
im BA 2011 - auslaufend: PM Bilder, APM früh, gr. Vert., BM;
im MA 2019: PM3, PM4, PM5;
im MA 2008 - auslaufend: SM A, SM B;
im BA 2019: M14;
im BA 2011 - auslaufend: PM Bilder, APM früh, gr. Vert., BM;
im MA 2019: PM3, PM4, PM5;
im MA 2008 - auslaufend: SM A, SM B;
Last modified: Mo 02.11.2020 16:08
Contents:
The seminar intends to discuss the role played by the images of the Emperor, and of the imperial family in Late Antiquity (4th to the 9th century), and the levels of its perception by his subjects. Imperial portraits performed a vital function, they were set in public spaces, in church buildings and in private palaces, and exhibited on different mediums as frescoes, sculpture, mosaics, glass, precious metal, ivory, wood and coins. They were the most important official icons of the state, and in such capacity included a plethora of additionally symbolic elements. As such, their institutional value embodied authority, piety and devotion being a powerful instrument of communication and propaganda. The seminar intends to analyze the form and symbol to understand how the naturalistic and organic style of the Classical tradition develops to a more abstract and mechanical style under the influence of Christianity, and how this will merge into later traditions.
Method:
Identification, presentation and interpretation of various archaeological sources (material culture, iconography, architecture); presentation of a selected topic and subsequent joint discussion.