Sept. 7 Visit to the National Boardman Robertson, in LGV 1-12 (2001) Archaeological Museum

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1 Syllabus A353/453 Greek Vase-Painting: Gods, Heroes, and Monsters Fall Semester 2016 Course Instructor: Alan Shapiro (PhD Princeton U) Professor of Classics and W. H. Collins Vickers Professor of Archaeology Emeritus at Johns Hopkins Course Description The course will explore the imagery of Greek painted pottery from the Late Geometric (ca. 750 BCE) to the end of the Classical period (ca. 350). The emphasis will be on Attic black- and redfigure vases of the 6th and 5th centuries, but relevant material from such workshops as the Corinthian, Laconian, and South Italian will also be considered. Classroom sessions will be complemented by field trips to vase collections in Athens, primarily those of the National Archaeological Museum, but also smaller collections such as those of the Agora, the Kerameikos, and the Canellopoulos Museum. Greece will become an example of how we perceive history in general and the impact of this perception in framing our response to present and future challenges. We will further explore this last aim in a series of historical tours in the city of Athens and discussing the multiple ways diverse historical legacies and memories intersect with the contemporary urban social and spatial fabric. Class Topic Readings [N.B. All readings should be done before coming to class] Sept. 5 Scope of the course; Beazley (1951) ch. 3 A Case Study:the François Vase Lissarrague (2001) Arias (1962) Sept. 7 Visit to the National Boardman Robertson, in LGV 1-12 (2001) Archaeological Museum Sept. 12 The Gods and the Kosmos Hesiod, Theogony Carpenter (1991) ch. 3, 4 Beard, in LGV Shapiro (1994) Oakley (2013) Sept. 19 The Trojan Cycle: Carpenter (1991) Origins of the Trojan War Shapiro (1994) E. Vermeule, AJA 75 (1971) D. Williams, in Greek Vases in the J. Paul Getty Museum 1 (1983) 9-34 A. Stewart, in Ancient Greek Art and Iconography, ed. W. Moon (1983) 53-76

2 Sept. 21 Iliad I Carpenter (1989) Shapiro (1992) Oakley (2013) Giuliani (2013) M. True, in The Ages of Homer, ed. J. Carter & S. Morris (1995) Sept. 26 Iliad II Shapiro (1994) D. von Bothmer, in The Greek Vase, ed. S. Hyatt (1981) E. Vermeule, BullMFA (1965) A. Shapiro, NAC 23 (1994) Giuliani (2013) Sept. 28 Iliupersis (Sack of Troy) Shapiro (1994) ; M. Davies, Antike Kunst (1973) M. Anderson, JHS 115 (1995) M. Ervin, Archaiologikon Deltion 18 (1963) A Giuliani (2013) 57-69; Oct. 3 Visit to the Canellopoulos Boardman, in LGV ch. 4 Museum T. Rasmussen, in LGV ch. 3 Oct. 10 Odyssey I Carpenter (1991) Shapiro (1994) Giuliani (2013) 70-83; R. Osborne, Art History 11 (1988) 1-16 Oct. 12 Odyssey II Shapiro (1994) A. Giesicke, BABesch (Bulletin Antieke Beschaving) 74 (1999) M. Stansbury-O Donnell, AJA 94 (1990) Giuliani (2013) Oct. 17 Oresteia Shapiro (1994) E. Vermeule, AJA 70 (1966) 1-22 E. Simon, in Greek Art: Archaic into Classical, ed. C. Boulter (1985) Giuliani (2013) J. M. Snyder, AJA 80 (1976) Oct. 19 Visit to the Agora and Williams and Burn, in LGV ch. 5 Kerameikos Museums Oct. 21 Theban Cycle Shapiro (1994) 89-94; E. Simon, AJA 67 (1963) L. Burn, Antike Kunst 28 (1985) J. Boardman, in Kotinos. Festschrift Erika Simon, ed. H. Froning (1992)

3 Oct. 24 Argonautika; Perseus Carpenter (1991) Shapiro (1994) PRÉCI FOR 11/17 NM E. B. Harrison, in Studies on Honor of PRESENTATION DUE Dietrich von Bothmer (2002) J. Oakley, AJA 86 (1982) J. Oakley, Hesperia 76 (2007) Oct. 26 MIDTERM EXAM Nov. 7 Herakles I Shapiro (1994) 71-76; Carpenter (1991) B. Ashmole, Architect and Sculptor in Classical Greece (1972) ch. III R. Glynn, AJA 81 (1981) J. Boardman, Revue Archéologique 1972, Nov. 9 Herakles II Shapiro (1994) Carpenter (1991) PROSPECTUS FOR J. Boardman, in Ancient Greek and Related TERM PAPER DUE Pottery, ed. H. Brijder (1984) R. Sinos, in Cultural Poetics in Archaic Greece, ed. C. Dougherty and L. Kurke (1993) Nov. 14 Theseus I Shapiro (1994) Carpenter (1991) C. Sourvinou-Inwood, in Approaches to Greek Myth, ed. L. Edmunds (1990) A. Shapiro, AA 1982, R. von den Hoff, in The François Vase, ed. H. A. Shapiro et al. (2013) Nov. 16 Theseus II Shapiro (1994) J. Neils, AJA 85 (1981) E. B. Harrison, Art Bulletin 54 (1972) J. J. Pollitt, Yale Univ. Art Gallery Bulletin 40 (1987) 8-15 J. R. Guy, in Arts in Virginia 21.2 (1981) 2-15 J. Boardman, in The Eye of Greece, ed. D. Kurtz and B. Sparkes (1982) 1-28 Nov. 28 Visit to the National Archaeological Museum Short Presentations Nov. 30 Athenian Heroes & Heroines H. A. Shapiro, in Empire, Democracy and the Arts in 5 th c. Athens, ed. D. Boedeker and

4 K. Raaflaub (1999) C. Sourvinou-Inwood, JHS 128 (2008) J. Oakley, Antike Kunst 30 (1987) P. Marx, Antike Kunst 54 (2011) J. Neils, Hesperia 82 (2013) Dec. 2 Dionysos and his Circle Carpenter (1986) ch. 2 G. Hedreen, JHS 124 (2004) G. Hedreen, Silens (1992) ch. II S. Peirce, Classical Antiquity 17 (1998) Dec. 5 Demeter and Eleusis M. Miles, The City Eleusinion (1998) I. and A. Raubitschek, Hesperia Supplement 20 (1982) S. B. Matheson, GRBS 35 (1994) O. Palagia & K. Clinton, Athenische Mitteilungen 118 (2003) Dec. 7 Aphrodite and the Gods of Love L. Burn, The Meidias Painter (1987) ch. 3 L. Reitzammer, The Athenian Adonia In Context (2016) TERM PAPER DUE L. Burn, in Greek Vases in the J. Paul Getty Museum 5 (1991) H. A. Shapiro, in Pornography and Representation in Greece and Rome, ed. A. Richlin (1992) Dec. 14 FINAL EXAM Readings: The following books are available for your use in the CYA Library: Arias, Paolo Enrico, Max Hiermer, and B.B. Shefton. A history of Greek vase painting Vol. 1. London: Thames and Hudson, Arias, Paolo Enrico, Max Hiermer, and B.B. Shefton. A history of Greek vase painting Vol. 2. London: Thames and Hudson, Beazley, J.D. The development of Attic black-figure. Berkeley: University of California Press, Carpenter, Thomas H. Dionysian imagery in archaic Greek art: its development in black-figure vase painting. Oxford: Clarendon Press, Carpenter, Thomas H. Art and Myth in Ancient Greece. London: Thames & Hudson, Giuliani, Luca. Image and Myth: A history of Pictorial Narration in Greek Art. Translated by Joseph O Donnell. Chicago: University of Chicago Press, Hedreen, Guy Michael. Silens in Attic black-figure vase-painting: myth and performance. Ann Arbor: University of Michigan Press, Lissarrague, Francois. Greek Vases: The Athenians and their Images. Translated by Kim Allen. New York: Riverside Book Co., Oakley, John Howard. Picturing death in classical Athens: the evidence of the white lekythoi. Cambridge: Cambridge University Press, 2004

5 Oakley, John Howard. The Greek Vase: Art of the Storyteller. London: British Museum Press, Rasmussen, Tom, and Nigel Spivey, eds. Looking at Greek vases. Cambridge: Cambridge University Press, [LGV] Shapiro, H. A. Myth into Art: Poet and Painter in Classical Greece. London: Routledge, Shapiro, H. A., Mario Iozzo, and Aadrienne Lezzi-Hafter, eds. The François Vase: New Perspectives. Klichberg: Akanthus Verlag, Other readings will be made available as PDFs. Course Requirements: You should come to class prepared to discuss the readings for the day. In some weeks, you will be responsible for leading discussion on one of the readings. You can expect such assignments about every third week. Short Presentation: You will select a vase, or a small group of closely related vase, in the National Archaeological Museum to research. On November 17, when we re-visit the Museum, you will give a 10-minute presentation on your vase(s) to fellow students, discussing all pertinent aspects. This should be accompanied by a one-page handout with basic information and a list of the bibliography you have used. Term paper: A research paper of pages will be due on the last day of class. The topic for the paper, on some aspect of Greek vase iconography, should be determined in consultation with the instructor as early in the semester as possible, and no later than November 8 you will submit a one-page prospectus including a working bibliography. Exams: a one-hour Midterm Exam will consist of identification and comparison of images, some seen in class and others not previously seen. The two-hour Final Exam will comprise similar identifications and comparisons as well as essay questions. The images on the Final Exam will be drawn only from the second half of the semester, while the essays will ask you to draw together material from the entire course. Your final grade will be determines as follows: Midterm Exam 15% Final Exam 30% Museum Presentation 10% Term Paper 30% Class participation 15% CYA policy requires students to attend all class sessions, without exception. Excused absences must be authorized by the Director of Academic Affairs.