ECTS credits ECTS credits: 6
ECTS Hours Rules/Memories Student's work ECTS: 102 Hours of tutorials: 6 Expository Class: 18 Interactive Classroom: 24 Total: 150
Use languages Spanish, Galician
Type: Ordinary subject Master’s Degree RD 1393/2007 - 822/2021
Departments: History of Art
Areas: History of Art
Center Faculty of Philology
Call: First Semester
Teaching: With teaching
Enrolment: Enrollable | 1st year (Yes)
- Offer a plural and inclusive view of art and medieval European culture in its various manifestations.
- Enable students to establish reciprocal relationships between major hubs that form the subject: historical, artistic and literary (cultural in general.)
- To train students to acquire a thorough understanding of the research and proposals relevant criticisms in the field of medieval studies on art and culture.
- Provide students with the methodological foundations and critical to enable them to take up and pursue research activities with a versatile and interdisciplinary training.
- To train students in the use of new information technologies and communication applied to the field of medieval studies and indicate their usefulness in research practice and dissemination of cultural heritage.
- Provide students the fundamental skills to harness and apply the acquired knowledge to the proper interpretation and dissemination of medieval cultural legacy.
- Enable students to open novel avenues of research in the field of medieval studies on art and culture.
- To enable students with their research work contribute to European cultural development through the critical interpretation and the correct transmission of medieval cultural heritage in its various manifestations.
- Contribute to the cultural development through the proper recovery Galicia, interpretation and contextualization of the medieval legacy it has.
THE MEDIAEVAL ART IN ITS EVOLUTION.
Expositive Classes:
Subject 1. The Christianity and his first artistic demonstrations. Of the catacombs to the basilicas. The fixation of the Christian iconography.
Subject 2. The Byzantine Empire. Architectural evolution. The Iconoclastia and its consequence in the figurative arts.
Subject 3. The barbaric invasions. Settlement of the main Gothic villages –ostrogodos and Visigothic- in the Western Europe. The merovings and the lombards. Main demonstrations of the architecture and figurative arts in the Europe of the centuries V to IX.
Subject 4. The Islam and the Muslim expansion in the Half Age. Main architectural typologies and ornamental resources. The art in Al-Andalus.
Subject 5. The Christian art in the Iberian Peninsula between the 8th and 10th centuries: of the Asturian period to the art of the 10th century.
Subject 6. Europe in the 11th and 12th centuries: the top of the Roman Age. Architectural solutions and architectural materialisations. Monasteries, churches and castles.
Subject 7. Development of the figurative arts in the Roman Age. Iconographic Subjects in the sculpture and in the painting. The goldsmithing and the miniature.
Subject 8. Europe in the 13th-15th centuries: the times of the Gothic. The technical advances in the architecture. The cathedrals, the convents, the urban palaces and the civil buildings. The urbanism.
Subject 9. The figurative arts in the Gothic Age. New thematic approaches and compositive. Pictorial and sculptural evolution. The decorative arts.
Subject 10. The management of medieval heritage. Visions and challenges.
Interactive classes:
Class 1. The paleochristian sarcophaguses: iconographic and thematic identifications.
Class 2. The mosaics of Sant María to Elder of Rome.
Class 3. The big works of Justinian: the promoter and his period.
Class 4. Architectural analysis of San Pedro of Rocks and San Miguel of Celanova.
Class 5. Iconography and decorative in the atlantic early medieval art.
Class 6. The miniatures of the beatos of the 10th century.
Class 7. Of Saint-Gall to Cluny III.
Class 8. The big covers of the romance European.
Class 9. The Royal Panteon of San Isidoro de León.
Class 10. Since the monasteries of the Cister to the convents beggars.
Class 11. Giotto.
Class 12. The Gothic Hispanic of the 15th century.
BASIC BIBLIOGRAPHY:
- BARRAL I ALTET, X.: La Alta Edad Media. De la Antigüedad al Año 1000, Colonia, 1998 (el línea).
- FERNÁNDEZ ARENAS, J.: Teoría y Metodología de la Historia del Arte. Ed. Anthropos. Barcelona, 1990 (1ª: 1982).
- Historia del Arte Medieval (dir. J.V. García Mansilla; C. Mancho i Suárez; I. Ruiz de la Peña González), Valencia, 2012.
- Historia del Arte de la Alta y Plena Edad Media (Monteira Arias, I.; Vidal Álvarez, S.; Alegre Carvajal, E.; Vallejo Triano, A.), Madrid, Editorial Universitaria Ramón Areces-UNED, 2014 (en línea).
- LOPEZ TRUJILLO, M.A., Patrimonio. La lucha por los bienes culturales españoles (1500-1939). Ediciones Trea, Asturias, 2006.
- PANOFSKY, E.: Estudios sobre iconología (1939), Trad.: Madrid, Alianza, 2008.
- PEÑA GÓMEZ, Mª del Pilar de la: Manual básico de Historia del Arte (en línea: https://www3.unex.es/publicaciones/files/1562-Manual%20b%C3%A1sico%20de…).
- RAMÍREZ, J.A. (coord.): La Edad Media (vol. 2 de Historia del Arte), Madrid, Alianza Editorial, 1996.
- SEBASTIÁN, S.: Mensaje simbólico del Arte Medieval. Arquitectura, Iconografía, Liturgia, Madrid, 1994 (en línea).
COMPLEMENTARY BIBLIOGRAPHY:
- BANGO TORVISO, I.G.: Arte prerrománico hispano: el arte en la España cristiana de los siglos VI al XI (vol. VIII-II de Summa Artis), Madrid, 2001.
- CAMILLE, M.: Arte gótico: visiones gloriosas, Tres Cantos (Madrid), 2005.
- CASTRO FERNANDEZ, B.Mª.: D. Francisco Pons-Sorolla y Arnau, arquitecto-restaurador: sus intervenciones en Galicia (1945-1985). Tesis, Universidad de Santiago, 2006.
- DAVY, M.M.: Iniciación a la simbología románica, Madrid, 1996.
- DURLIAT, M.: El arte románico, Madrid, 1992.
- GARCIA CUETOS, Mª. P.: El prerrománico asturiano, historia de la arquitectura y la restauración (1844-1976), Oviedo, Sueve, 1999.
- GRABAR, A.: Las vías de creación de la iconografía cristiana, Madrid, 1985.
- MILONE, A.: Medievo: 1000-1400: El arte europeo entre el Románico y el Gótico, Barcelona, 2007.
- NÚÑEZ RODRÍGUEZ, M.: Arquitectura prerrománica (Arte galega), Madrid, 1978.
- RIVERA BLANCO, J.: Historia de las restauraciones de la Catedral de León: pulcra leonina, la contradicción ensimismada. Valladolid. Servicio de Publicaciones de la Universidad, 1993.
- SCHLOSSER, J.: La literatura artística. Ed. Cátedra. Madrid, 1993.
- SUREDA, J.: El despertar de Europa (El arte del románico y del gótico), Barcelona, 2006.
- Turris Fortissima: documentos sobre la construcción, acrecentamiento y restauración de la Giralda. Sevilla: Colegio Oficial de Aparejadores y Arquitectos Técnicos, 1988.
- WIRTH, J.: L’image Medievale. Naissance et developpements, París, 1989.
- YARZA LUACES, J.: Fuentes de la Historia del Arte. Ed. Historia 16. Madrid, 1997.
- YZQUIERDO PERRÍN, R. / YZQUIERDO PERRÍN, R. y MANSO PORTO, C.: Galicia. Arte. Arte Medieval (I) y (II), A Coruña, 1995.
- ALEXANDER, J. J. G.: Medieval illuminators and their methods of work, New Haven, 1992.
- ESCOLAR, H. (dir.): Historia ilustrada del libro español. Los manuscritos, Madrid, 1993.
- PÄCTH, O.: La miniatura medieval: una introducción, Madrid, 1987 (Munich, 1984).
- SMEYERS, M.: La miniature (Typologie des sources du Moyen Âge occidental, 8), Turnhout, 1974.
- WALTER, I. F.: Codices illustres. Los manuscritos iluminados más bellos del mundo, desde 400 hasta 1600, Colonia, 2003.
- YARZA LUACES, J. (ed.): La miniatura medieval en la Península Ibérica, Murcia, 2007.
- FINGERNAGEL, A. (ed.): Esplendor y lujo de las Biblias iluminadas, Colonia, 2004.
- HARTHAN, J. P.: L’âge d’or des livres d’heures, París, 1977.
- HOURIHANE, C. (ed.): Between the picture and the word: Manuscript Studies from the Index of Christian Art, Princeton, 2005.
- MAYR-HARTING, H.: Ottonian book illumination. An historical study, Londres, 1999.
- SANDLER, L. F.: Studies in manuscript illumination, 1200-1400, Londres, 2008.
- SPECIALE, L. (ed.): Uomini, libri e immagini. Per una storia del libro illustrato dal tardoantico al medioevo, Nápoles, 2000.
- STONES, A.: Gothic manuscripts: 1260-1320, Londres, 2013-2014.
- VAN DER HORST, K. et al.: The Utrecht Psalter in Medieval Art: Picturing the Psalms of David, Londres, 1996.
- WILLIAMS, J.: The Illustrated Beatus. A corpus of the illustrations of the Commentary on the Apocalypse, Londres, 1994.
NETWORKED RESOURCES RECOMMENDED:
- Biblioteca Digital Hispánica (BNE):
http://www.bne.es/es/Catalogos/BibliotecaDigitalHispanica/Inicio/index…
- Bibliothèque Virtuelle des Manuscrits Médiévaux (BVMM) (Institut de Recherche et d’Histoire des Textes):
http://bvmm.irht.cnrs.fr/
- Calendoscope (herramienta para la identificación de calendarios litúrgicos medievales):
http://calendoscope.irht.cnrs.fr/
- Catalogue of Illuminated Manuscripts, British Library:
http://www.bl.uk/catalogues/illuminatedmanuscripts/welcome.htm
- DigiVatLib. Biblioteca Digitale della Biblioteca Apostolica Vaticana:
http://digi.vatlib.it/?ling=it
- Exposición Trésors carolingiens:
http://expositions.bnf.fr/carolingiens/
- Gallica. Biblioteca digital de la Bibliothèque Nationale de France:
http://gallica.bnf.fr/
- Graesse, Orbis latinus (herramienta para la identificación de topónimos latinos):
http://www.columbia.edu/acis/ets/Graesse/contents.html
- Guía del Stage d’initiation à l’étude du manuscrit médiéval et au livre humaniste (Institut de Recherche et d’Histoire des Textes):
http://www.irht.cnrs.fr/fr
- Initiale. Catalogue des manuscrits enluminés (Institut de Recherche et d’Histoire des Textes):
http://initiale.irht.cnrs.fr/accueil/index.php
- To introduce in the study of las medieval artistic demonstrations, with special attention to the undercurrent of its material elaboration and reception for the studious contemporary. The ones key for will be given the understanding of the different artistic realities and will be stressed those that demonstrate as an European common phenomenon.
- Reinforcement of a theoretical training on the analysis of the History of art and its plasmación written.
- To know the classification and casuistry of the textual sources that allow a deeper understanding of the work of art in its historical context and chronological.
- To learn to use las sources from the critical analysis and the interdisciplinariedad.
- To form to the student for a suitable processing of las sources, its insertion in the historic-artistic context, for its employment in the study and investigation of the medieval works of art.
- To know the several methods for the study of the medieval History of art.
- Acquisition of an elementary and effective praxis before problems that they can emerge in the research process.
- To acquire a knowledge of las lines of inquiry and the most relevant proposals in the field of the History of art.
- To promote to the student to the contact with other disciplines, whose object of study is, sometimes, common to the History of art (palaeography, codicología, epigrafía, numismatist, literature, etc.).
The matter consists of 6 credits ECTS, equivalent to 150 hours of work of the pupil. Of this set, 75 hours (50%) they will dedicate themselves to work directed by the professors and the other 75 hours (50%) to free work on the part of the pupils. The hours of directed work will be distributed in 48 of formative eyewitness activities (the one that means 32% of the total work) and 27 of directed non eyewitness activities (which means 18% of the total work).
The formative eyewitness activities that will be carried out are the following ones:
1) Theoretical expositivas classes dedicated themselves to the explanation and understanding of the object contents of study. Those classes will be given by the professor, but in some case the collaboration of some pupil or group of pupils will be requested for the exhibitions. For the explanations the appropriate technological resources of support (audio-visual and computer) will be used.
2) Classes practices interactive practices dedicated themselves to the work with the instruments necessary for the academic activity and medieval investigator in the area of the studies of architecture and iconography dedicated to the reading of bibliography and to the analysis of works of medieval art that incubated theoreticians serve of model of the contents, and classes. These interactive classes will be directed by the professor, but will search the active participation of the pupil, so much in the development and resolution of exercises carried out collectively in the classroom, as it was in the personal preparation of the classroom of some exercise, for the posterior relay in common in the classroom. Also for the practical classes the technological resources that can be useful will be used.
3) Visit to works of art, files and specialized libraries (field practices). Even the possibility of travelling outside Santiago if USC bus funding is available.
4) Practical classes dedicated themselves to the presentation, analysis and discussion of a small work carried out individually or in group.
5) Individual tuitions or in group reduced for the follow-up of the process of learning and for the follow-up, in his moment, of the elaboration of the work.
The formative non eyewitness activities will include:
1) Mainly the autonomous work of the pupil, who this organizes personally and freely for the correct learning of the knowledge and goal competences of the matter. That work must necessarily include synthesis, study and assimilation of the received information, complementary readings and search of new information, elaboration of conclusions, etc.
2) Preparation of some theoretical exhibition or of some practical exercise ordered by the professor, and reading of some recommended bibliographic title.
3 ) Redaction of a small work of practical application of aspects covered in the course.
- To evaluate the results of the learning the methods will be used and criteria that next are detailed (valid for the first as well as for the second opportunity), and the corresponding qualifications will be indicated in accordance with the current legislation:
1) Continuous evaluation, for which the participation active and continued of the pupil in the developed eyewitness activities will be valued. It will mean 30% of the total qualification. Atestiguarase through the daily signature of the student body. When it is produced it joins absence, this will have to be justified for the/to pupil/to, up to one maximum of 3 hours being able to be lacking. The one who had had to miss the class, as compensation will have to carry out a brief contribution of schematic character on the confident contents in the class (approximately 1 page per hour of absence, letter Times New Roman 12, interlineado format with simple espacio) from the recommended bibliography, in order to assure like this the full follow-up of the matter.
2) The practical work will mean the 70% remaining of the total qualification. The quality of the writing and of the contents, which the domination of the main methodological rudiments and the knowledge of the basic contents of the matter will have to reflect, will be valued. The date of delivery limit of this work will be the one fixed in the unified calendar corresponding to present course 2024-2025: The 25th of Novembre 2024 for the first opportunity, and the 15th of June 2025 for the second opportunity.
The system of qualifications used to value the learning of the students will be expressed through numerical qualifications, according to the one established in the RD 1125/2003 of the 5th of September.
- EXEMPT: Following the Instruction Nº 1/2017 of Secretaría Xeral, students who are exempt from attendance in certain situations will be evaluated with a specific final work (100%). Exemption from attendance must be authorized in advance by the university.
- The student body that had had to repeat this matter for there not being it surpassed in a previous course will be submitted to the same criteria of evaluation as in the ordinary case, although it will be exempt from attending to the classes in case there had been that continuous evaluation already surpassed in the course corresponding past, having to reach port port alone then the work pilot according to the characteristics and dates of delivery fixed in the section 2 of the ordinary system. In turn, if tén the practical work surpassed already, in an only way it will have to surpass then in this call the continuous evaluation through his assistance and active participation in the eyewitness classes.
* In all these tasks that will have to realize in delivering the alumnado for his evaluation by part of the profesorado, and following the normative indications of the USC referred to the plagiarism and to the misuse of the technologies in the realization of tasks or proofs, is necessary to indicate that to the cases of fraudulent realization of exercises or proofs will be of application the collected in the Regulations of evaluation of the academic performance of the students and of revision of qualifications.
The distribution of all activities in work schedule of the student is collected in the following chart:
HOURS: Hours in person (a) / Hours not in person directed (b) / Hours not in person free (c) / TOTAL (T)
ACTIVITIES
Classroom experience: 19 (a) / 5 (b) / 30 (c) / 54 (T)
Practical lessons: 19 (a) / 5 (b) / 30 (c) / 54 (T)
Work-debate: 5 (a) / 20 (b) / 15 (c) / 40 (T)
Individual tutorships
or in a group reduced: 2 (a) / - - - (b) / - - - (c) / 2 (T)
TOTAL: 45 (a) / 30 (b) / 75 (c) / 150 (T)
- The general Master's degree and the subject in particular that are posed are basically aimed at appropriate students of the qualifications of History, History of art and Philology. Anyway, so much its curricular structure as the fact that it is an offer unique in the SUG can determine that graduates are enrolled in him of other qualifications of the field of the Humanities or Social Sciences that they wish to complete its research training in the medieval studies (p. ej., Magisterium, Media Studies, Tourism, Biblioteconomía and Documentation, Philosophy, etc.).
- Skills of reading in some common use foreign language in the scientific output of the field of the medieval studies.
David Chao Castro
Coordinador/a- Department
- History of Art
- Area
- History of Art
- Phone
- 881812595
- david.chao [at] usc.es
- Category
- Professor: Temporary PhD professor
Sara Carreño López
- Department
- History of Art
- Area
- History of Art
- sara.carreno [at] usc.es
- Category
- Professor: LOU (Organic Law for Universities) PhD Assistant Professor
| Monday | |||
|---|---|---|---|
| 16:00-17:45 | Grupo /CLE_01 | Spanish | Aula 3 da Facultade de Historia |
| Tuesday | |||
| 16:00-17:45 | Grupo /CLE_01 | Spanish | Aula 3 da Facultade de Historia |
| Wednesday | |||
| 16:00-17:45 | Grupo /CLE_01 | Spanish | Aula 3 da Facultade de Historia |