KL. ARK Klassisk Arkæologisk Tema 2

Kursusindhold

Kurset diskuterer teoretisk og metodiske tilgange til romersk skulptur. Især behandles begreberne decorum, agency, semantik og stil. Disse begreber sættes i spil med og overfor både fysisk og socio-historisk kontext og collecting fænomenet. Gennem en række udvalgte case-studier konkretiseres fænomenerne.

Det forudsættes at man inden kursets start har læst Elizabeth Prettejohn, The Modernity of ancient Sculpture, 2012.

Engelsk titel

KL. ARK Classical Archaeological Theme 2

Uddannelse

Klassisk Arkæologi

Kurset er baseret på forelæsninger og kollokvier, samt fælles øvelser.

1: Introduktion, gennemgang af undervisningsplan, litteratur og opgaver.

·       Martin, S.R. 2017: Introduction & Chap. 1: Culture, Contact, and Art History: Framing the Theoretical Landscape & Chap. 5: Hybridity, the Middle Ground, and the “Conundrum of ‘Mixing’, i: S.R. Martin, The Art of Contact Comparative approaches to Greek and Phoenician Art, Philadelphia, 1-10, 11-41, 136-170.

 

2: Decorum-begrebet: anvendelse og relevans for skulpturforskningen.

·       Bravi, A. 2010: Ornamenta, monumenta, exempla. Greek images of gods in the public spaces of Constantinople, i: J. Mylonopoulos (red.), Divine Images and Human Imaginations in Ancient Greece and Rome, RGRW 170, Leiden & Boston, 289-301.

·       Bravi, A. 2014: I: Griechische Kunst in Rom: Beurteilung in der Antike und Ansätze der Forschung & II: Decorum und „praktischer Sinn“ der Kunstwerke, i: Bravi, Griechische Kunstwerke im politischen Leben Roms und Konstantinopels, KLIO Beiträge zur Alten Geschichte Beihefte Neue Folge Band 21, Berlin, 1-21.

·       Hölscher, T. 2012: Vorwort, i: A. Bravi, A., Ornamenta Urbis. Opere d’arte greche negli spazi romani, Bari, 7-8.

·       Kousser, R. 2014: The Roman reception of Greek art and architecture, i: Marconi (red.), The Oxford Handbook of Greek and Roman Art and Architecture, New York, 374-394.

·       Perry, E. 2005: Chap. 1: Decorum and Tradition: The Beginnings of a Theoretical Appartus & Chap. 2: Decorum and the Patron: The Functions of Art, i: E. Perry, The aesthetics of emulation in the visual arts of ancient Rome, Cambridge, 28-77.

 

3: Semantik og æstetik: anvendelse og relevans for skulpturforskningen.

·       Elsner, J. 2004: Foreword to The Language of Images in Roman Art af T. Hölscher, Cambridge, xv-xxxi.

·       Squire, M. 2010: Introduction: The Art of Art History in Greco-Roman Antiquity, i: Platt & Squire (red.), The Art of Art History in Greco-Roman Antiquity. Arethusa 43.2, 133-163.

·       Trimble, J. 2015: Reception Theory, i: Friedland, Sobocinski & Gazda (red.), The Oxford Handbook of Roman Sculpture, New York, 606-621.

 

4: Stil og Connoisseurship

·       Borbein, A.H. 2014: Connoisseurship, i: Marconi (red.), The Oxford Handbook of Greek and Roman Art and Architecture, New York, 519-540.

  • Eck, C. van & M.J. Versluyz & P. ter Keurs 2015: The biography of cultures: style, objects and agency. Proposal for an interdisciplinary approach, Cahiers de l’École du Louvre. Recherches en histoire de l’art, histoire des civilisations archéologie, antropologie et muséologie 7, 2-22.
  • Kunze, C. 2008: Zwischen Griechenland und Rom – das ‚Antike Rokoko’ und die veränderte Funktion von Skulptur in späthellenistischer Zeit, i: Junker, Kunze & Stähli (red.), Original und Kopie. Formen und Konzepte der Nachahmung in der antiken Kunst, Wiesbaden, 77-108.
  • Neer, R. 2005: Connoisseurship and the Stakes of Style, Critical Enquiry 32, 2005, 1-26.
  • Swetnam-Burland, M. 2015: Egyptian-Style Monuments, i: Friedland, Sobocinski & Gazda (red.), The Oxford Handbook of Roman Sculpture, New York, 307-322.

 

5: Agency

  • Hölscher, T. 2014, Semiotics TO Agency, i: Marconi (red.), The Oxford Handbook of Greek and Roman Art and Architecture, New York, 662-686.
  • Tanner, J. & R. Osborne 2007: Introduction: Art and Agency and Art History, i: Osborne & Tanner (red.), Art’s Agency and Art History, Malden (MA), 1-27.
  • van Eck, C. 2010: Living Statues: Alfred Gell’s Art and Agency, Living Presence Response and the Sublime, Art History 33/4, 642-659.
  • Davis, W. 2007: Abducting the Agency of Art, i: Osborne & Tanner (red.), Art’s Agency and Art History, Malden (MA), 199-219.

 

 

6: Kopiering

  • Hallett, C.H. 2005: Emulation versus replication: redefining Roman copying. Review of E.K. Gazda 2002 (The ancient art of emulation) and E. Perry 2005 (The aesthetics of emulation), JRA 18, 419-435.
  • Marvin, M. 1993: Copying in Roman Sculpture: The Replica Series, i: D’Ambra (red.) 1993, Roman Art in Context. An Anthology, Englewood Cliffs, NJ, 161-188.
  • Trimble, J. & Elsner, J. 2006: Introduction: “If you need an actual statue …”, i: Trimble & Elsner (red.) 2006, Art and Replication: Greece, Rome and Beyond. Art History 29.2., 201–212. 

 

7: Collecting

  • Fejfer, J, Displacing Objects i: G. Adornato, G . Cirucci, W Cupperi (eds.) Beyond Art Collecting. 2020
Kollektiv
ECTS
15 ECTS
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