Information about the Department of History of

Art and the Barber Institute of Fine Arts

CONTENTS

Information about the Department of History of Art and the Barber Institute of Fine Arts

Introduction The Department

o Academic Staffo Support Staff

Facilitieso The Departmental Officeo The Department Pigeonholes & Notice Boardso Departmental Intranet and Student Email Addreseso Important University Websiteso The Barber institute of Fine Arts Collectiono The Barber Fine Arts Libraryo The Fine Art Slides Library and Its Usageo Inter-Library Loanso The Fine Art Photograph Roomo The School of Historical Studies Postgraduate Office

Student Responsibilityo Attendanceo Choosing Optionso Submitting Written Worko Applying for Extensions of Leave of Absenceo Writing Upo Upgrading to PhDo Student Feedbacko Mentor

Additional Opportunities for Studentso The RX-Network Training Sessionso Opportunities in the Barber Instituteo Work Experience

MPhil (b) in History of Art: Programme Details Educational Aims of the Programme Learning Outcomes

o Knowledge and Understandingo Skills and Other Attributes

Components Part-Time Routes Assessment Modules

o Critical Approaches to the History of Art Some Introductory Comments About the Module Objectives of the Module Teaching

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Assessment Assignment 1: Essay Assignment 2: Oral Presentation & Written Version Module Outline

o Research Training Module Module Outline Assessment: Dissertation Rationale

Thesis Supervision and Presentation Supervision Progress Log and Progress Review Submission of Dissertation

Appendix A: Guide to Style, Footnoting and Bibliographies

Appendix B: Department of History of Art Research Seminar Series 2004-05

(Provisional Timetable)

Appendix C: Pro formas for Postgraduate Thesis Timetable/Log

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INTRODUCTION

The Department of History of Art warmly welcomes all new students. The purpose of this pamphlet is to inform you about the Department, the objectives and learning outcomes of the MPhil (b) programme, resources, administrative procedures and programme requirements. You will find it a useful reference as it gives detailed information about both academic and routine Departmental matters. Everything contained in this handbook was accurate at the time of writing, but as procedures and regulations do change, please ensure that you check up on any details given here. This handbook must be read in conjunction with the university’s postgraduate regulations.

Please keep this pamphlet. If you lose it, a copy will be available on the Department’s web site (http://www.bham.ac.uk/HistoryofArt/).

Department of History of ArtBarber Institute of Fine Arts

The University of BirminghamEdgbaston

Birmingham B15 2TSTel: 0121 414 2218 Fax: 0121-414-2727

email: d.clements@bham.ac.uk website: http://bham.ac.uk/historyofart/

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THE DEPARTMENTThe Department falls within the School of Historical Studies, which is based in the Arts Building. The Department itself, however, is located in the Barber Institute of Fine Arts, which is open Monday-Thursday 8.30-7.00 (vacations 9.00-5.00), Friday-Saturday 8.30-5.15 (vacations Monday-Friday 9.00-5.00).

Academic Staff

David Hemsoll, Senior Lecturer (email: d.e.hemsoll@bham.ac.uk).Office in basement.Specialist fields: 15th and 16th-century art; Renaissance architecture.Head of Department

Dr. Jutta Vinzent, Lecturer (email: j.vinzent@bham.ac.uk)Office in basement.Specialist fields: 20th century and contemporary art.Examinations Officer.

Dr. Francesca Berry, Lecturer (email: f.berry@bham.ac.uk)Office in Mason BuildingSpecialist fields: French art, design and visual culture c. 1840-1940.Undergraduate Admissions Officer, Transfer Officer, Welfare Tutor.

Dr. Richard Clay, Lecturer (email: r.s.clay@bham.ac.uk)Office in basementSpecialist fields: 18th and early 19th-century French art; iconoclasm.Postgraduate Tutor, Staff-Student Liaison.

Professor Shearer West (email: s.c.west@bham.ac.uk)Office in Arts Building room no. 352.Specialist fields: 18th, 19th and 20th-century European art.Professor West currently holds the office of Head of the School of Historical Studies.

Professor Richard Verdi, Director of Barber Institute.Office on ground floor.Specialist fields: 17th-century European painting; late 19th and early 20th-century painting.

Dr. Paul Spencer-Longhurst, Senior Curator and Lecturer(email: p.s.spencer-longhurst@bham.ac.uk).Office on ground floorSpecialist fields: 18th and early 19th-century British and French art.

Staff are always happy to see students about any concerns they have. However, as university academics are heavily involved with research, administration and professional activities, their schedules are very tight. Please respect this by making an appointment, seeing staff during office hours, or contacting them by email.

Mr. Hemsoll, Dr. Berry, Dr. Clay and Dr. Vinzent are available during their office hours (indicated on their doors) or by appointment. Professor West, Professor Verdi and Dr. Spencer-Longhurst are available by appointment.

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Support Staff

Deborah Clements, Departmental Secretary (email: d.clements@bham.ac.uk).Office in basement.

Maria Daniel, Slide Librarian (email: DANIELM@hhs.bham.ac.uk).Office in Slide Library, ground floor.

David Pulford, Learning Advisor (email: d.pulford@bham.ac.uk)Barber Music Library.

Jules Gray, Library Services Assistant Manager (email: j.a.gray@bham.ac.uk)

Nick Cull and Tina Keevil, Information Assistants, Fine Art Library.

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FACILITIESThe Departmental Office

Open: Monday and Tuesday 9.30-3.00, Wednesday 9.30-1.30, Thursday 9.30-12.30.

Deborah Clements, the Departmental Secretary, deals with general enquiries and all matters of Departmental administration, and will take messages for members of academic staff in their absence. Deborah is always willing to help students with queries and problems.

The Departmental Pigeonholes & Notice Boards

The pigeonholes are directly outside the Departmental Office and the notice boards are situated outside the Fine Art library. These MUST be checked regularly as members of staff often communicate with students via their pigeonholes and notice boards.

Departmental Intranet and Student Email Addresses

The Department operates an intranet system, where you will find termly information, such as Course Outlines and forthcoming events. The Departmental Intranet is accessed on http://artsweb.bham.ac.uk/arthistory. Username: arthistory (password available from Department office).

It is extremely important that you fill in a form with your contact details and give it to Deborah Clements in the first week of term. It is also important that if any of your contact details change, you have the form amended. Much of the Department’s communication with students is conducted by email and, therefore, it is essential that your email address is up-to-date. If you don’t have an email address, you should apply for a University of Birmingham email account.

Important University Websites

http://www.ao.bham.ac.uk (for general University information from the Academic Office)http://www.historical.bham.ac.uk (for School of Historical Studies information)

The Barber Institute of Fine Arts Collection

Open during term time: Monday-Thursday 8.30-7.00, Friday-Saturday 8.30-5.15, closed on Sunday

Open during vacations: Monday-Thursday9.00-5.00. Friday-Saturday 9.00-5.00, closed on Sunday

The Barber Institute of Fine Arts houses a remarkable and representative collection of post-medieval European art. Students are encouraged to familiarise themselves with it as quickly as possible and to revisit the collection on a regular basis.

The Barber Fine Art Library

Open during term time: Monday-Thursday 9.00-7.00, Friday 9.00-5.15, Saturday 9.00-1.00Open during vacations: Monday-Friday 9.00-5.00.

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The Barber Fine Art Library is an extensive research library containing excellent holdings in most areas of art history with specialist collections of sales and exhibition catalogues and nineteenth-century books. The Library houses two collections: (1) the University collection of books and periodicals, the majority of which may be borrowed; (2) the Barber reference collection of books and periodicals, which may be consulted but not borrowed.

The main reading room houses the Barber reference collection of books and periodicals that may be consulted but not borrowed. The smaller reading room houses the loan collection of books and videos, and contains one networked PC and a Library Catalogue PC. Not all of the books are listed on the online catalogue; books acquired before 1992 are listed in the Card Catalogue.

Members of library staff are always happy to help you find material, and David Pulford will be offering library tours and induction sessions in the Autumn Term.

Photocopy facilities are available with a variety of different value cards available to suit various needs.

The Barber Fine Art Library is part of Information Services: for more information about the full range of facilities and support offered by Information Services see http://www.is.bham.ac.uk

The Fine Art Slide Library and Its Usage

Open during term time: Monday to Thursday, 9.00-5.00

The Slide Librarian, Maria Daniel, will show new students how to use the Slide Room. The slide collection is for study and reference only. It is important that standard procedures are followed by everyone; failure to do so results in lost slides, which is disruptive to both students and staff alike. The most important rule is that slides may ONLY be taken from the slide library for use in seminars.

Inter-Library Loans

Postgraduates often need to take advantage of Inter-Library loans, but the Department is able to fund only a small number of these loans. The loans are given to postgraduates on a first come/first served basis. Please contact Deborah Clements if you need to make use of the Inter-Library loan facility, and she can advise you on the procedure. If you need a lot of inter-library loans and the Department’s ability to subsidise them is exhausted, it is worth knowing that the Birmingham City Library actually runs a cheaper scheme than the University library.

The Fine Art Photograph Room

The Photograph Room (frequently used for seminar teaching) houses an extensive collection of black and white photographs and can be opened on request. A key to the Photograph Room is kept by the Slide Librarian, Maria Daniel.

School of Historical Studies Postgraduate Office

The School of Historical Studies Postgraduate Office can offer advice about University regulations, fee structures and funding opportunities. Please contact

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Christine Bluck (c.j.bluck@bham.ac.uk ; 414-6049). Her office is located on the third floor of the Arts Building.

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Student Responsibility

Attendance

MPhil (b) students are required to attend all seminars on the Critical Approaches module, and to complete and pass the assessed coursework. MPhil (b) students are also required to attend the research training sessions, and to complete and pass the assessed assignment. Full-time postgraduates are required and part-time postgraduates are strongly recommended to attend the research seminars held on some Thursdays. If absence is necessary, please inform the Department in advance. The Department may ask for medical evidence.

Submitting Written Work

Essay deadlines must be met, unless medical or other evidence can be provided. If an extension is required, please consult the course tutor in advance.

If essays are handed in late, without excuse or extension, the penalty for late submission is a 1% deduction for each working day it is late. These are School of Historical Studies regulations.

Two copies of each piece of written work should be submitted. Essays should be double spaced, footnoted (making consistent use of the chosen conventions for referencing) and have a bibliography.

Essays should be submitted by posting them into the box marked ‘ESSAY HANDING IN BOX’ outside of the Departmental Office. All essays that are submitted should be accompanied by a complete ‘Declaration of Authorship’ form, available in a file on top of the ‘Essay handing in box’. Please attach your form to one copy of your essay.

Applying for Extensions or Leave of Absence

If a student requires an extension on their dissertation for medical or personal reasons, they will need to complete an extension request form (available from the School of Historical Studies postgraduate office). Students who have personal or medical problems that prevent them from working for long periods of time are advised to consider applying for a leave of absence from the degree programme. Please consult your supervisor if you think this may apply to you.

Writing Up

Students who have completed the minimum period of registration for their degree can transfer to ‘awaiting thesis’ status (informally known as ‘writing up’). There is only a very small administration fee for this, and students are not expected to require supervision if they are in ‘writing up’ status, although they may apply to continue to use library resources. Students can register for this status only if they are far advanced with their degree. Students whose work has not progressed sufficiently and who need continued supervision may have to apply to extend their registration and pay full fees.

Upgrading to Ph.D.

It is possible for M.Phil(B) students to apply for an upgrade to Ph.D. in May of the first year for full-time candidates, or May of the second year for part-timers. The

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upgrade procedure involves submitting a chapter of the thesis to two independent reviewers, who have been chosen by your supervisor. They write reports on your work and make a recommendation. If you feel that you might like to upgrade to a Ph.D., you need to consult your supervisor in the first instance.

Student Feedback

At the introductory session, postgraduates will elect a representative, who is invited to attend and participate in regular Departmental meetings. Student representatives are actively involved in curriculum discussion and have initiated many improvements and changes in the Department. The Guild of Students organises training for student representatives. Students should always raise issues of concern to their tutor, supervisor or mentor. Students will also be able to complete a course questionnaire at the end of the academic year.

Mentor

Dr. Richard Clay assigns each student a member of staff to act as mentor. However, students are free to ask Dr. Clay to request a different mentor at any point in the year. The Mentor will provide general advice and guidance – although this may touch on academic matters this will not cut across routine supervision. The Mentor will meet with the student at least once each session – for the first time within a fortnight of the student’s first registration and subsequently at the beginning of each session. Other meetings may take place at the request of either the student or the Mentor. The Mentor may contribute to the annual progress review, though this will not be a routine requirement.

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Additional Opportunities for Students

RX-Network Training Sessions

The Department of History of Art is a member of the Arts and Humanities Research Council funded RX-Network of British universities that collectively offer a special programme of discipline specific training to member universities’ History of Art postgraduates. Funds are available to pay the travel costs of postgraduates who attend training sessions that member institutions take turns to organise. You will be invited to join the RX-Network soon after your arrival in the Department.

Opportunities in the Barber Institute

If they wish, students may help in various activities that take place in the Barber Institute, including gallery tours and Open Days. If you are interested in assisting with the Barber education programme, please contact the Education Officer, Brian Scholes (his office is upstairs in the Slide Library). If you are interested in getting involved in the Department’s work in Widening Participation, please contact Dr. Richard Clay.

Work Experience

We strongly recommend that students who want to work in galleries or museums should gain work experience during their period of postgraduate study. Many of our postgrads gain such experience at the Birmingham Museum and Art Gallery (BMAG), the Ikon, the MAC, or the Barber (your tutor, supervisor or mentor will be happy to offer you advice on work experience).

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MPhil (b) in History of Art: Programme Details

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MPHIL (B) IN THE HISTORY OF ART

Educational Aims of the Programme

to develop students’ subject-specific analytical skills

to enhance students’ generic research skills

to offer a programme which provides a critical framework of the historiography and methods of the discipline of art history

to enable students to produce a substantial thesis in the history of art, showing competence in relevant methods of research, clear presentation and demonstrating independent judgement

to develop students’ skills of verbal presentation and argument

to develop a deep understanding of how to interpret visual material

Learning Outcomes

Knowledge and Understanding

Students are expected to gain a knowledge and understanding of recent, current as well as traditional theoretical and critical writing, both in the discipline of art history itself and in influential cognate disciplines, such as literary criticism, psychology, history, etc.. In addition, students will gain a comprehensive understanding of the area of their own research project.

Skills and other Attributes

By the end of the programme students are expected to have attained

originality in the application of art historical knowledge

ability to use research techniques to seek out and utilize significant, new or pertinent resources, both primary and secondary

an ability to engage with current debates and, where appropriate, use them in order to frame or enhance arguments

self-discipline, initiative and independence in identifying and solving problems and in carrying through their research and writing to a planned timetable

capacity to discuss and debate verbally and in writing, using the critical and theoretical perspectives of others in appropriate and sophisticated ways

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Components

The M.Phil.(B) degree consists of three elements:

1 a core seminar module (Critical Approaches to the History of Art) (40

credits)

2 training in research methods (20 credits)

3 a thesis of not more than 20, 000 words, including appendices, footnotes and bibliography (120 credits)

In addition, full-time students are required and part-time students are strongly recommended to attend the research seminar programme held on some Tuesdays 5.15-6.45 in the Barber Photograph Room. The full programme is contained in Appendix C.

Part-Time Routes

Part-time MPhil (b) students complete Critical Approaches to the History of Art and Research Methods (including all assessments) by summer term 2006. The thesis should be submitted by 15 September 2007, but University regulations allow a student to register for ‘writing up’ status (see above) and delay submission for a maximum of one year.

Assessment

Students must achieve a weighted mean mark of 50% in the taught component with 40% or more in all taught modules and at least 50% in the thesis.

The British marking system means that, on average, fewer than 5% of Masters students are likely to score 70% in any given assessment. Marks of 80% and above are almost unheard of. If you have previously studied in a non-British university, do not be alarmed if you score between 50-70%. Passing all postgraduate modules with a weighted mean mark of 60% or above is a considerable achievement.

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MODULES

CRITICAL APPROACHES TO THE HISTORY OF ART (40 credits)The postgraduate programmes in the Department of the History of Art are designed to be extremely challenging and students tend to find that the ‘Critical Approaches Module’ is particularly tough. Each year the module introduces postgrads to theories, methods, modes of argument, and critical vocabularies with which they are unfamiliar. From week to week very different sets of ideas are discussed and a large amount of ‘ground’ is covered in just two terms of taught sessions. The workload is heavy and expectations are high. By Christmas it is not unusual for students to be feeling the pace! However, by the end of the second term, students tend to say that ‘things are falling into place’. So, if you start to feel that the module is very hard, it is probably because it is (you are having to build a lot of new neuron bridges in your brain in a short space of time)! However, the module is also very rewarding and students who pass it are well-equipped to critically engage with contemporary art historical discourse, and they are more self-aware and self-critical about their own practice as art historians.

Objectives of the Module

Through this module the student will gain a broad and critical understanding of the methods and historiography of the history of art. By the end of the module, the student will have read a wide range of art historical literature and a selection of important theoretical texts significant for recent developments in art history. The module will help foster postgraduate-level skills of analysis and discussion. The intellectual training provided by this course will inform the development of the candidate's personal research work on the thesis.

Teaching

Critical Approaches to the History of Art courses will be taught in seminar form with a weekly meeting in the Barber Institute. The module will include presentations by members of staff from the Department, discussion of texts circulated in advance, student presentations and group discussions based on art-historical issues.

Assessment

The course will be assessed by two assignments outlined below. Students must achieve a pass mark of 50% or above on these assignments in order to pass the module. Students who fail to pass the first time may be allowed to resubmit coursework. In the case of failure in the oral presentation, a student may be asked to resubmit written coursework, rather than undertake another oral presentation (at the discretion of the examination board)

The assessments are designed to help refine skills that you will need to complete your dissertation. These include: written argument and structure; use of footnotes and bibliography; critical engagement with both visual sources and art historical methodology; ability to respond to criticism when revising work; presenting and arguing ideas orally.

N.B. These assignments may be of relevance to your dissertation, but the material used in them must not be repeated in your thesis. The dissertation must be a discrete work.

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Assignment 1: ESSAY

First draft is due 12 January 2006 4.00 PMFinal draft is due 23 March 2006 4.00 PM

This should be an essay that engages critically with an object or objects (either a painting, sculpture, print, work of architecture, decorative art or other agreed artefact). The choice of topic and title should be negotiated with your module tutors. This study of the object(s) should make use of some of the ideas that have been considered during the first semester. As part of students’ training, they are expected to write a first draft of this essay as a diagnostic exercise, to receive critical comment on their ideas and presentation. This first draft is due on 12 January. When they have received feedback, they should rewrite the essay accordingly, and submit the final version by 23 March for a grade. The essay should be a maximum of 4000 words.

For a mark of 70 or above, an essay must show some or all of the following:

considerable understanding of the primary and secondary literature used (including theoretical literature)

an ability to engage with theories, not simply to apply them original insights based on outstanding visual of the chosen object ability to assert and prove arguments, using appropriate evidence exceptional clarity of structure and argument ability to write clearly and grammatically correct use of footnote and bibliographic apparatus

For a pass mark of 50 or above, an essay must show some or all of the following;

good understanding of the primary and secondary literature used (including theoretical literature)

an ability to apply theory to the chosen object sound observations based on visual analysis of the chosen object ability to assert and prove arguments, using appropriate evidence clear argument and structure ability to write clearly and grammatically correct use of footnote and bibliographic apparatus

For a fail mark of below 50, an essay will show some or all of the following:

poor understanding of the primary and secondary literature used an inability to use sources appropriately in discussion of the chosen

object inability to make sound observations based on visual analysis of the

chosen object inability to prove arguments, or inappropriate application of evidence lack of clarity in argument or in structure poor grammar or lack of clarity in writing style incorrect use of footnote and bibliographic apparatus

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Assignment 2: ORAL PRESENTATION & WRITTEN UP VERSION

Presentations will be held in May 2006 (date to be announced)Written version of oral work due on the day the presentation is given

This is an oral presentation, delivered and then handed in. Students will give 15-20 minute presentations on a single work of art in either the Barber Institute or the City Art Gallery. A written up version of the presentation (which can be in the form of notes) should be handed in. This presentation must look at the work of art in the light of a theory or theories you have studied on the course. We will grade this assignment on the basis of your ideas and how you handled and organised them, as well as your ability to present your arguments and respond to questions. We urge you to avoid simply reading out your presentation, working orally from notes is more engaging for listeners and the normal mode of delivery in the professional sphere.

For a distinction mark of 70 or above, a presentation must show some or all of the following:

considerable understanding of the primary and secondary literature used (including theoretical literature)

an ability to engage with theories, not simply to apply them original insights based on outstanding visual of the chosen object ability to assert and prove arguments, using appropriate evidence exceptional clarity of structure and argument ability to speak clearly and coherently ability to engage in a high level of debate with colleagues, using

appropriate evidence to defend assertions ability to present material in the time allowed

For a pass mark of 50 or above, a presentation must show some or all of the following:

good understanding of the primary and secondary literature used (including theoretical literature)

an ability to apply theory to the chosen object sound observations based on visual analysis of the chosen object ability to assert and prove arguments, using appropriate evidence clear argument and structure ability to speak clearly and coherently ability to answer the questions of colleagues and defend your points,

using appropriate evidence to defend assertions ability to present material in the time allowed

For a fail mark of below 50, a presentation will show some or all of the following: poor understanding of the primary and secondary literature used an inability to use sources appropriately in discussion of the chosen

object inability to make sound observations based on visual analysis of the

chosen object inability to prove arguments, or inappropriate application of evidence lack of clarity in argument or in structure lack of coherence in presentation inability to answer the questions of colleagues or defend your point inability to keep within the required time for presentation

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MODULE OUTLINE FOR ‘CRITICAL APPROACHES TO THE HISTORY OF ART’

Timetable

Seminars will take place on Thursdays 3.00-5.00 pm. in the Barber Institute Photograph Room. In the first term, the module will be taught by Dr. Francesca Berry and in the spring term, the module will be taught by Dr. Jutta Vinzent.

22 SeptemberInformal introductory meeting with staff and other postgraduates, introduction to the Fine Art Library; M.A. option selection

AUTUMN TERMWEEK 1What is the History of Art? Vasari and Cyclical Views of History

*G. Vasari, Lives of the Artists, various eds., Read preface to book 3 and the life of Michelangelo

WEEK 2Winckelmann and the Birth of Art History

* J.J. Winckelmann, “On the Imitation of the Painting and Sculpture of the Greeks” in G. Schiff, ed., German Essays on Art History, pp. 1-17.*Alex Potts, Flesh and the Ideal, 1994, especially chapters 1 and 2

WEEK 3Connoisseurship, Formalism and Modernism

* Roger Fry, ‘An Essay in Aesthetics’ in Vision and Design, 1920*Clive Bell, ‘The Aesthetic Hypothesis’ in Art, 1931, new ed. (edited by J.B. Bullen), 1987*Clement Greenberg, ‘Modernist Painting’ repr. In F. Frascina and Jonathan Harris, Art in Modern Culture, 1992, pp.308-314T.J. Clark, ‘Clement Greenberg’s Theory of Art’ in F. Frascina, ed., Pollock and After: The Critical Debate, 1985

WEEK 4Marxism and the Social History of Art

*Janet Wolff, chapters 2 & 3 of The Social Production of Art, London 1993*Pierre Bourdieu, ‘The Aristocracy of Culture’, Distinction, 1996 (1979), 11-63, plus footnotesKarl Marx ‘The German Ideology’ and ‘Grundrisse’ in D. MacLellan (ed.), Karl Marx: Selected Writings, 1977Timothy J. Clark, Introduction to Image of the People, 1973Arnold Hauser, ‘The Film Age’, The Social History of Art, vol. 4 (Naturalism, Impressionism, The Film Age), London 1951

WEEK 5The Ideology of the Avant-Garde

*G. Pollock and F. Orton, eds., chapter 7 of Avant-Gardes and Partisans Reviewed, 1996*R. Poggioli, chapters 1 & 2 of The Theory of the Avant-Garde, 1968*P. Burger, chapter 2 of Theory of the Avant-Garde, 1984P. Wood, The Challenge of the Avant-Garde, 1999G. Pollock, Avant-Garde Gambits, 1992

‘NO TEACHING’ WEEK (NO CLASSES)

WEEK 7Feminism and Art History: Revisionism

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We will consider some or all of the following:*Linda Nochlin, ‘Why have there been no great women artists?” from Women, Art and Power, 1988*Griselda Pollock, ‘Feminist Interventions in the History of Art: An Introduction’, in Vision and Difference, 1988*Griselda Pollock, Chapter 1 of Differencing the Canon, 1999Tamar Garb, Sisters of the Brush: Women’s Artistic Culture in Late Nineteenth-Century Paris, 1994Marsha Meskimmon, Women Making Art, 2003

WEEK 8Feminism and Psychoanalysis: The Gaze

*Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’, in Visual and Other Pleasures, 1989, chapter 3*M. Pointon, ‘Reading the Body: Historiography and the Case of the Female Nude’ in Naked Authority, 1980 *Margaret Olin, ‘Gaze’, in Robert S. Nelson and Richard Shiff, Critical Terms for Art History, 1996

WEEK 9Psychoanalysis and Art

*E. H. Gombrich, ‘Psychoanalysis and the History of Art’, Meditations on a Hobby-Horse, (London 1963, 3/1968), pp. 30-44, 165f.*Jacques Lacan, ‘The Mirror-phase as formative of the Function of the I’, New Left Review, Sept.-Oct. 1968, 71-77Adrian Stokes, ‘Painting and the Inner World’ (1963), ibid., The Critical Writings of Adrian Stokes, vol. 3, London 1978, 209-259, 358Richard Wollheim, ‘Freud and the Understanding of Art’, British Journal of Aesthetics, 10 (1970), 211-224, reprinted in: The Cambridge Companion to Freud, ed. Jerome Neu, Cambridge 1991, 249-266E. Kris, ‘Psychoanalysis and the Study of Creative Imagination’, The Bulletin of the New York Academy of Medicine, 1 (1953), 334-351Sigmund Freud, ‘Leonardo Da Vinci and a Memory of his Childhood’, 1910, in Art and Literature, Penguin Freud Library, vol. 14, pp. 143-231

WEEK 10Theory in Practice: Titian’s Venus of Urbino

Selected essays from Rona Goffen, ed., Titian’s ‘Venus of Urbino’, 1997

WEEK 11Theory in Practice: David’s Marat

Selected essays from Will Vaughan and Helen Weston, eds, David’s ‘Marat’, 2000

SPRING TERM

WEEK 1Semiotics [RC]

*Rosalind Krauss, ‘Notes on the Index’, October, III (1987), 68-81 and IV (1987), 58-67Norman Bryson, ‘Discours, figure’, Word and Image. French Painting of the Ancien Régime, Cambridge 1983, 1-28 *Mieke Bal, ‘Seeing Signs. The Use of Semiotics for the Understanding of Visual Art’, The Subjects of Art History, ed. Mark Cheetham et al., Cambridge 1998, 74-93 or Mieke Bal and Norman Bryson, ‘Semiotics and Art History’, Art Bulletin, LXXIII, no. 2 (June 1991), 174-208 (a fuller survey of the former article)

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WEEK 2Structuralism and Poststructuralism [JV]

*A. Moles, ‘Vasarely and the Triumph of Structuralism’, Eng. trans. by S. Bann, Form, 7 (March 1968), pp. 24-5Jan M. Broekman, Structuralism, Dordrecht/Boston 1974*Michel Foucault, ‘Las Meniñas’, The Order of Things, London 1970 (originally published in French in 1966)Rosalind Krauss, ‘The Originality of the Avant-Garde’, ibid., The Originality of the Avant-Garde and Other Modernist Myths, Cambridge/Mass. and London 1985 (originally published in 1981)

WEEK 3Deconstruction [JV]

*Jacques Derrida, ‘Restitutions of the Truth in Pointing [pointure]’, ibid., The Truth in Painting, trans. Geoff Bennington and Ian McLeod, Chicago and London 1987, 255-382*Peter Brunette and David Wills, ‘Introduction’, and ‘The Spatial Arts. An Interview with Jacques Derrida’, Deconstruction and the Visual Arts, ed. Peter Brunette and David Wills, Cambridge 1998, 1-32Bhabha, Homi K., ‘Anish Kapoor: Making Emptiness’, Anish Kapoor, with essays by Homi Bhabha and Pier Luigi Tazzi, London and Berkeley 1998, 11-41

WEEK 4The Death of the Author. Concepts of Authorship [JV]

*Roland Barthes, ‘The Death of the Author’, ibid., Image, Music, Text, trans. Stephen Heath, London 1977 or Roland Barthes, ‘The Rhetoric of the Image’, ibid., Image, Music, Text, trans. Stephen Heath, London 1977*Michel Foucault, ‘What is an Author’, Language, Counter-Memory, Practice, ed. Donald F. Bouchard, Ithaca 1977 or The Art of Art History, ed. Donald Preziosi, Oxford 1998 (originally published in French in 1969)Jutta Vinzent, ‘“Auto”-text und Kon-text: Konzeptionelle Überlegungen zu Michel Foucault im Blick auf Exilkünstler’, Biografien und Autobiografien im Exil, ed. Claus-Dieter Krohn et al., Munich 2005 (Exilforschung. Ein Internationales Jahrbuch, 23)

WEEK 5Postcolonialism [JV]

*Edward W. Said, Orientalism. Western Conceptions of the Orient, London 1978Further writings:*Said, ‘Afterward’ in the London 1995 edition*Homi K. Bhahba, ‘Dissemination’ and ‘The Postcolonial and the Postmodern’, The Location of Culture, London and New York 1994*Gayatri C. Spivak, ‘Can the Subaltern Speak?’, in: Colonial Discourse and Post-Colonial Theory: A Reader, ed. Patrick Williams and Laura Chrisman, Hemel Hempstead 1993, 66-111 (originally published in 1988)

‘NO TEACHING’ WEEK

WEEK 6Modernity, Modernism and Art [JV]

*Walter Benjamin, ‘The Work of Art in the Age of Mechanical Reproduction’, Illuminations, ed. H. Arendt, trans. H. Zohn, London 1973, 211-235

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Griselda Pollock, ‘Modernity and the Spaces of Feminity’, Vision and Difference, London and New York 1988Donald Preziosi, ‘Modernity Again: The Museum as trompe l’oeil’, Deconstruction and the Visual Arts, ed. Peter Brunette and David Wills, Cambridge 1998, 141-150

WEEK 7Theories of Postmodernism [JV]

*Jean-François Lyotard, ‘Foreword’, ‘Introduction’ and ‘Answering the Question: What is Postmodernism?’, The Postmodern Condition, trans. Geoff Bennington and Brian Massumi, Manchester 1984 (originally published in French in 1979)Andreas Huyssen, ‘Mapping the Postmodern’, ibid., After the Great Divide, Basingstoke

1986Craig Owens, ‘The Allegorical Impulse: Toward a Theory of Postmodernism’, The Art of Art History, ed. Donald Preziosi, Oxford 1998

WEEK 8Theories of Spectatorship and Perception [JV]

E. H. Gombrich, ‘Image and Code: Scope and Limits of Conventionalism in Pictorical Representation’, The Image and the Eye, Oxford 1982, 278-309Nelson Goodman, ‘Reality Made’, Languages of Art. An Approach to a Theory of Symbols, Indianapolis 1976Jonathan Crary, Suspensions of Perception. Attention, Spectacle and Modern Culture, Cambridge, 1999

WEEK 9Theory in Practice: Picasso’s Les Demoiselles d’Avignon [JV]

Selected essays from Christopher Green, ed., Picasso’s ‘Les Demoiselles d’Avignon’, 2001 (those by Yves-Alan Bois and Patricia Leighten)

WEEK 10Theory in Practice: Manet’s Dejeuner sur l’herbe [JV]

Selected essays from Paul Hayes Tucker, Manet’s ‘Le Dejeuner sur l’herbe’, 1998

SUMMER TERMStudents will be doing their assessed oral presentations in the Barber Institute and/or City Art Gallery during the summer term. The date will be discussed and announced during the year.

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RESEARCH TRAINING MODULEThe Research Methods module provides skills training in a number of fields necessary for the conduct of research at postgraduate level. It introduces key resources in the Barber Institute and the University of Birmingham. PLEASE NOTE VARIANT TIMES AND VENUES

Module Outline

Thursday 22 SeptemberIntroduction to resources in Barber Library (part of induction)

Thursday 13 October (MAIN LIBRARY TRAINING ROOM)Literature Searching (IT) with David Pulford, Information Services (Computer Suite, Room G42 Arts Building)

Thursday 20 October, 12-1pm (Barber Photograph Room)Choosing and refining your topic(Photograph Room)

Thursday DATE TO BE CONFIRMED (MAIN LIBRARY TRAINING ROOM)

Referencing and Footnoting with David Pulford, Information Services

(Computer Suite, Room G42 Arts Building)

Thursday 24 November, 12-1pm (Barber Photograph Room)Bibliography and footnotes (troubleshooting)(Photograph Room)

Thursday 2 February, 12-1pm (Barber Photograph Room)Interpreting primary and secondary sources(Photograph Room)

Thursday 12-1pm DATES TO BE ANNOUNCED (Barber Photograph Room)

Mphil(b) and MA student presentations of thesis/dissertation proposals(Photograph Room)

Assessment: DISSERTATION RATIONALE

Final draft must be handed in by Monday 22 May 2006, 4pm

The research training module will be assessed by the assignment outlined below. Students must achieve a pass mark of 50% or above on this assignment in order to pass the module. Students who fail to pass the first time may be allowed to resubmit coursework. The assessment is designed to test essential skills the student will need in putting together their thesis. The assessment may form part of the final thesis draft.

The assignment consists of a 2000 - 3000 word rationale of the student’s thesis project. A rationale is an essay that explains the thesis project, situates it in relation to current scholarship, outlining its scope, methods and structure. The word count includes footnotes but not the bibliography. The rationale should attend to the following points listed below (but do NOT address the points under the sub-headings given). When you write the rationale, ask yourself whether or not you have addressed each of these points:

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(1) HISTORIOGRAPHY: a critical/analytical investigation of the relationship between this project and the work of scholars in the past (e.g. gaps in previous scholarship; what makes this work different)

(2) SCOPE: a description of what the project is, what its parameters and chronological limits are

(3) METHODOLOGY: a discussion of how the project will be tackled, what theories, methods and research resources will be used

(4) STRUCTURE: an outline of themes or chapter headings and what each of these will comprise

A pass mark will be attained if the student articulates their project clearly and succinctly, shows an awareness of the strengths and weaknesses of the work of other scholars, and is attentive to the kinds of methods and resources they will be using. A student will fail if they are vague about the purpose of their thesis, show little knowledge of other work in the field, do not attend to the methods and resources that they will be using, or cannot explain their project in a clear and succinct way. Breaching the 3000 word upper limit will lead to deductions.

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THESIS SUPERVISION AND PRESENTATION

Supervisor

Each student will be allocated a thesis supervisor. Although arrangements can vary from student to student, the supervisor will normally meet the student approximately three-four times per term to discuss progress (this also depends upon whether a student is full time or part time). Please appreciate that your supervisors have very busy schedules, and you should arrange appointments well in advance.

It is the supervisor’s role to act as a guide and to oversee your progress on your thesis. The supervisor can make suggestions about bibliography and research methods as well as offer guidance on written work. Each supervisor has an individual method and approach, and each student will develop a different working relationship with their supervisor. However, students must keep in mind that MPhil (b) thesis is an independent piece of work, and that the ideas, presentation, structure and argument are ultimately their responsibility, and not the responsibility of their supervisor.

If there are issues that the student feels unable to discuss with their supervisor, they may consult their assigned advisor or mentor.

Progress Log and Progress Review

Attached to this handbook as Appendix C are the Department’s Postgraduate Research Timetable/Progress Logs and tutorial report form. The progress log is intended to give you a set of targets and deadlines to work towards. Clearly these can be negotiated, but a copy of this form will be kept in your file. Each time you meet with your supervisor, you should bring along your progress log and be ready to discuss any reasons you are not meeting your targets. The tutorial report forms are filled in after each session with your supervisor and signed by the supervisor and the student.

Submission of Dissertation

Dissertations will be due by 15 September 2006 (for full time students) and by 15 September 2007 (for part-time students).

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APPENDIX A

STYLE, FOOTNOTING AND BIBLIOGRAPHY

Although the most important issue to remember is consistency in style and citation, the Department has decided to give you guidance based on the style sheet used for publishing in Art History , the journal of the British Association of Art Historians - internationally refereed and peer-reviewed (very useful to read, too! – it is in the departmental library). We advise you to follow these rules and emulate these examples, which are slightly amended to your needs in essays and dissertation:

1. Length and format

For length, go to the module or dissertation guidance Include illustrations (at least of those images which you have discussed in

detail); please supply photocopies of illustrations including captions Double spaced Times New Roman 12 pt throughout

Beginning The title page should indicate the student’s ID number (except for

dissertations, which need to be submitted under your name) and possibly the title of the module for which the assignment has been submitted (dissertations have a special title page – please refer to your separate guidance sheet for BA dissertations)

Indicate word count (including both the text and the notes) Please use generous margins: at least 2.5 cm on each side

Endnotes or footnotes (endnotes to begin on a new page) Endnotes or footnotes should allow the reader to be able to trace the

source of the information used, or they should be discursive – adding important information which is tangential to the main text. Endnotes and footnotes should be numbered consecutively in the essay. Footnotes are included at the bottom of the page. Endnotes appear at the end of the essay and begin on a new page. For the citation of the source, see below under ‘references’ in the style guidance. Use EITHER footnotes OR endnotes, never use a mixture of both. The Department prefers footnotes

Bibliographies If not stated otherwise by your tutor, all essays and your dissertation need

to have a bibliography. This should include all the work you have used in your essay, arranged in alphabetical order, with the author’s last name first (e.g. Smith, John). N.B. this is different from citing in footnotes!. If you cite more than about five titles, you need to have two lists: 1 ‘Sources and unpublished material’ and 2 ‘Secondary literature’. Under each list, you need to arrange the titles of the books, essays and material used in your essay/dissertation in alphabetical order. In some cases, you might find it difficult to decide which title goes in the first or the second list. Do not worry too much; just think how you have used the book/article/material in your essay/dissertation. A guideline is also the publication date of the title; usually books published before the 1980s are used as sources. Obviously, anything unpublished needs to be added there (remember, websites count as publications).

2. Style Guidance

Students should be consistent in format and style when referencing.

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References (i.e. in footnotes or endnotes):

BooksCite full name of author/editor (not initials if possible), book title in italics, place of publication but not publisher, date of publication, volume number, page reference but do not use ‘p.’ or ‘pp.’ for specific page references.Examples:Michael Baxandall, The Limewood Sculptors of Renaissance Germany, New Haven and London, 1980, 20–21William Vaughan and Helen Weston, eds, David’s The Death of Marat, Cambridge, 2000, 6–8 Note that the painting title here is not in italics, because painting titles are italicised in normal text.

Exhibition cataloguesThese should be referred to as a book, but, after the title, include exhibition catalogue and the location and date of the exhibitionExamples:Paul Spencer-Longhurst, The Blue Bower: Rossetti in the 1860s, exhibition catalogue, Birmingham, Barber Institute of Fine Arts and Williamstown, Ma., Sterling & Francine Clark Art Institute, London, 2000Jennifer Powell and Jutta Vinzent, Art and Migration. Art Works by Refugee Artists from Nazi Germany in Britain, exhibition catalogue, Birmingham, Barber Institute of Fine Arts, Birmingham, 2005

Essays in edited booksFull name of author of the article, ‘article title in single quotes’, full name of editor(s), book title in italics, place of publication but not publisher, date of publication, title of series and vol. number if necessary in brackets, page reference but do not use ‘p’ or ‘pp’. Examples: David Hemsoll, ‘A question of language. Michelangelo, Raphael and the art of architectural imitation’, L. Golden (ed.), Raising the Eyebrow. John Onians and World Art Studies, Oxford, 2001, 123-31Jutta Vinzent, ‘Muteness as Utterance of a Forced Reality: Jack Bilbo’s Modern Art Gallery (1941-1948)’, Shulamith Behr and Marian Malet (eds), Arts in Exile in Britain 1933-1945. Politics and Cultural Identity, Amsterdam and Atlanta, 2005 (Yearbook of the Research Centre for German and Austrian Exile Studies, 6), 301-37

Articles in journalsFull name of author, ‘article title in single quotes’, Journal title in italics, vol. number (in arabic figures), year, specific page reference (but not using ‘p.’ or ‘pp.’)Examples: Shearer West, ‘Thomas Lawrence’s “half-history” portraits and the politics of theatre’, Art History, 14: 2, 1991, 225-49Richard Clay, ‘Violating the sacred: theft and “iconoclasm” in late eighteenth-century Paris’, Oxford Art Journal, 26:2, 2003, 1-23.

Please note that the comma in UK style comes after the quotation mark, not before it as in US style.

Manuscript sources (including dissertations)Full name of the author, title (not single quotes, because it is unpublished), unpublished typescript/handwriting, possibly length of manuscript, place of deposit/archive (or in the case of a dissertation the university where it was

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submitted) and reference number (if known). If you know a date, give it as well.Examples:Anonymous, Joseph Flatter. Anti Nazi Cartoons of the Second World War, unpublished typescript, 2 pages, Imperial War Museum, LondonMerry Kerr Woodeson, Jack Bilbo and the Modern Art Gallery. A Wartime Adventure in Art, unpublished typescript, 32 pages, private archive of Merry Kerr Woodeson, LondonAnne Béchard-Léauté, The Contribution of Emigré Art Historians to the British Art World after 1933, unpublished PhD dissertation, University of Cambridge, 1999

Videos, taped interviews, CDs1) PublishedFollow the rules applied to book publications adding information about the kind of source after the title. Examples:Guy Brett (and others), Mona Hatoum, video (26 minutes), England, 2001Charlotte Blofeld, A History of Britain, CD, BBC, 20002) unpublishedFollow the rules applied to unpublished material, adding information about the kind of source after the title.Example: Dr. Richard Clay, Interview with Mr. David Hemsoll on Iconoclasm, unpublished tape cassette, 25 minutes, private archive of Dr. Jutta Vinzent, Birmingham, 2005

WebsitesFollow the rules applied to book publications and add the website and possibly the date of access. We urge you to be particularly critical in your use of websites. Although there are some very scholarly sites out there, many websites are not reliable scholarly sources. Unlike the vast majority of periodicals and books in the University libraries, most websites have not been refereed (i.e. had their content vetted by other academics prior to publication)Examples:Robert Burstow, The Royal Festival Hall. Skylon and Sculptures on the South Bank for the Festival of Britain, www.packer34.freeserve.co.uk/symbols, accessed 20 November 2003Anonymous, Agreement Between the United Kingdom and the Union of Soviet Socialist Republics, 12 July 1941, www.yale.edu/lawewb/avalon/wwii/brsov41, accessed 3 December 2003

First and subsequent citations: first citation should provide full reference as given above; subsequent citations should use a short abbreviation. Thus repeat shortened title of reference even if it appears consecutively, for example, Pointon, Hanging the Head, 34; West, ‘Lawrence’s “half-history”’, 240; Lomas in Vaughan and Weston, Marat, 156.The Latin abbreviations ibid., op. cit, or loc. cit. (always in italics) can be used for a successive citation. For example: 12. Marcia Pointon, History of Art. A Student’s Handbook, London 1996, 5. 13. Ibid., 25.UK English spelling and punctuation conventions should be followed in the text and notes. Foreign language citations should be given in translation in the main text, with the original appearing in full in an accompanying endnote. MS Word enables spelling language to be specified.

Please avoid turns of phrase that are not acceptable (such as masculine forms as universals); please also avoid acronyms.

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Please avoid personal pronouns, we, our, us and you

A person’s full name should be given on first appearance in the text no matter how famous, for example, William Gunn or Henry Moore, and not Gunn or Moore until second mention.

Paragraphs should be indented or otherwise clearly marked by leaving an empty line in between paragraphs.

Page numbering: all pages, including captions, notes, etc., should be numbered in the lower right-hand corner. Pages should be numbered consecutively throughout the text, not by individual sections.

Quotations should be set in single inverted commas if brief, and indented if longer than four lines. No quotation marks in indented quotations. Spellings within quotations should be as per original. Usually all lines of poetry are indented. Double quotation marks should be reserved for quotation within quotation. Words added by authors in quotations should go in square brackets.Quotation marks should follow full stop if quotation is full sentence (or contains full sentence) or finite clause, but should precede full stop if phrase.Where there is consistent reference in the article to one text, page reference in parenthesis should follow quotation mark and precede full stop if quotation is phrase; if clause, full stop then quotation mark then page reference.

Hyphenation: compound adjectives and adverbs (eighteenth-century art)

Breaks in the text should be indicated by a line break, and subheadings should be in bold

Numbers: Spell out numerals up to a hundred, then use figures: ‘in her twenties’ not ‘in her 20s’. Thousands with comma, e.g.£4,000.Be specific about dates so that ‘either 1839 or 1840’ should be written 1839/40 whereas ‘from 1839 to 1840’ should be 1839- 40. Never write ‘between 1835-40; this should be ‘between 1835 and 1840’.1930s not ’30s or Thirties – and certainly not 1930’s which is wrong! 1830s and 1840s, not 1830s and ‘40s.Twentieth-century movement not 20th-century movement – i.e. spell out in the twenty-first century, in the nineteenth century – no hyphen when not used adjectivallyMid-1950s and in the mid-sixteenth century, but late 1940s and early 1730s and late eighteenth-century cabinetc. 1850 – circa abbreviated to c, so full stop, then space date1914–18 war, 1939–45 war, not Great War or the Second World War

Punctuation: for parenthetical dashes please use spaced en rules ( – ). Use spaced ellipses ( … ) for omissions in quotations.No full stop in BBC, MP, UK, USA, RA, Washington DC, PhD, BA

Contractions: (ending in last letter of full word) with no full stop but abbreviations with full stop – so Ltd, co., etc., ed., eds, vol., vols, edn, exhib. cat. Except in measurements where abbreviated measurements have no full stop: so ‘cm’ not ‘cm.’, ‘in’ not ‘in.’

Use metric measurements but miles can be used instead of kilometres. Use figures in all measurements, space between figure and unit of measurement: 6 miles, 15 m, 146 cm. Dimensions with spaces so 14 x 45 cm. Areas in sq. m. Height before width.

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Dates should be expressed ‘15 November 2001’. Please remember to have ‘seventeenth-century Britain’ but ‘the seventeenth century’.

Do not use dates as adjectives: thus ‘the discovery of 1724’ but not ‘the 1724 discovery’ or ‘1724 publication’.

Fifth Avenue, 56th Street for US address, but rue, boulevard, place lower case for French, although Place de la Concorde upper case, etc; use schafes S in German where appropriate.

Non-English words and phrases in common English usage should be in Roman (for example, cliché or oeuvre – but if in doubt, check in dictionary. Non-common words and phrases such as mise-en-scène should be in italics.

Avoid using italics for emphasis, since the structure of the sentence should be sufficient to convey this. Use italics for titles of books, newspapers, picture titles, exhibition titles but poems and essays in single quotes.

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APPENDIX B

DEPARTMENT OF HISTORY OF ART

RESEARCH SEMINAR SERIES

2005-2006

Thursday 13 OctoberDr Catherine Richardson (Shakespeare Institute, University of Birmingham)

Title tbc

Thursday 27 OctoberLaura MacCulloch (University of Birmingham)Dante Gabriel Rossetti: an early Japanist?

Thursday 17 NovemberProfessor Paul Smith (University of Warwick)

Cézanne and the Primitive

Thursday 1 DecemberDr Nick Grindle (Oxford Brookes University)

New ways of seeing: representing this and other world in British art, 1650-1850

Thursday 12 JanuaryElisa Korb (University of Birmingham)

Maria Zambaco: femme fatale or great artist?

Thursday ???? Sybille Gluch (University of Birmingham)

Title tbc

Thursday ????Dr Matthew Craske (Oxford Brrokes)

Title tbc

Thursday 23 MarchProfessor Julian Stallabras (Courtauld Institute)

Pornography in contemporary art

ALL SEMINARS WILL BE HELD IN THE BARBER INSTITUTE PHOTOGRAPH ROOM AT 5.15pm (wine and soft drinks will be served).

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APPENDIX CMPHIL (B) THESIS PROGRESS AND MEETING LOG

Name of Student: Name of Supervisor:

Agreed Timetable for MPhil (b) Thesis

PROGRESS TARGET DATE

Bibliography compilation and background reading

Research/fieldwork

Planning

Writing

Revising

Submission

Signature of Supervisor: Signature of Student:

Meeting Log (all meeting logs should be signed by supervisor and student)

Meeting 1 (Progress and action plans)

Meeting 2 (Progress and action plans)

Meeting 3 (Progress and action plans)

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Meeting 4 (Progress and action plans)

Meeting 1 (Progress and action plans)

Meeting 5 (Progress and action plans)

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