Escolar Documentos
Profissional Documentos
Cultura Documentos
Your First Personal Feedback is due by 12:00am this Sunday 5.20.12 there are instructions on the requirements and how to hand in the first feedback as well as a student example in the Course Materials Folder on Blackboard. There is no Discussion Topic this week! Remember to go over the Syllabus in your Syllabus Folder on blackboard and email me in response to the last page. If you have any questions please email me. Thank you.
Note: Our lectures will normally consist of around 70 to 100 slides as well as visits to many online resources, readings, and videos. I supplement the textbook with further info but do follow the assigned readings quite close, please do your weekly reading! I have broken each PowerPoint into sections consisting of lectures that are easily readable in a day! There will usually be around 3 or four of these per PowerPoint! This first lecture is going to be rather short in comparison to the rest because I want all of us to gain our footing before we really get into it! I want you to try to keep in mind that viewing artwork is always at its finest in person. Also, I am not going to make you memorize specific dates for this class just periods of time. As you will notice throughout your scholarly research when it comes down to specific dates many academics and historians disagree.
We are about to embark on an investigation of what impact art and artistic practice had on the early stages of human history. It is easy enough to assume that we should learn about art history because it has been a common practice in academic fields and is thus a common element of college or university curriculum. So, if the smart people say we should learn about it then we probably should right? Well, of course I am going to say yes! Why though? Why specifically should we study art? Especially if you are not an artist? I feel that the study of art history demonstrates the innate human desire to produce and enjoy works of art. Just as humans have searched for shelter, food, companionship, and happiness since the dawn of existence they have also demonstrated a need to express themselves through various forms, one of which is art. The celebration of art and artists doesnt just allow us to find commonalities with other individuals from the distant past, it also allows us to understand our humanity. Art has walked hand in hand with society and human development since Prehistoric humans first made representational marks on the caves they inhabited. To understand art history is to understand ourselves. The history part although vast is easy enough to appreciate but what about the art part? Can we even define what really constitutes art?
What is art? Artists, critics, art historians, and the general public all grapple with this thorny question. The Random House Dictionary defines art as the quality, production, expression, or realm of what is beautiful, or of more than ordinary significance. Others have characterized art as something human made that combines creative imagination and technical skill and satisfies an innate desire for order and harmony perhaps a human hunger for the beautiful. I somewhat disagree with both statements, especially in light of modern or contemporary art. I feel that art does not have to be beautiful at all, in fact some of the most powerful work (in my opinion) is not aesthetically pleasing at all! Art is so hard to define because art itself is always evolving, changing, and shifting. What may be art to one person or to one culture may not be to another individual or culture. Increasingly we are all realizing that our judgments about what constitutes art --as well as what constitutes beauty --- are conditioned by our own education and experience. Whether acquired at home, in classrooms, in museums, at the movies, or the internet, our responses to art are learned behaviors, influenced by class, gender, race, geography, and economic status as well as education. Even art historians find that their definitions of what constitutes art --- and what constitutes artistic quality --- evolve with additional research and understanding. What we can all agree on is that a true definition of what art is, is difficult! Lets just read one argument you might find interesting on this issue.
Whether art can be defined has also been a matter of controversy. The philosophical usefulness of a definition of art has also been debated. Contemporary definitions are of two main sorts. One distinctively modern, conventionalist, sort of definition focuses on art's institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, and the relational properties of artworks that depend on works' relations to art history, art genres, etc. The less conventionalist sort of contemporary definition makes use of a broader, more traditional concept of aesthetic properties that includes more than art-relational ones, and focuses on art's pan-cultural and trans-historical characteristics. Any definition of art has to square with the following uncontroversial facts: entities (artifacts or performances) intentionally endowed by their makers with a significant degree of aesthetic interest, often surpassing that of most everyday objects, exist in virtually every known human culture; such entities, and traditions devoted to them, might exist in other possible worlds; such entities sometimes have non-aesthetic ceremonial or religious or propagandistic functions, and sometimes do not; traditionally, artworks are intentionally endowed by their makers with properties, usually perceptual, having a significant degree of aesthetic interest, often surpassing that of most everyday objects; art,
so understood, has a complicated history: new genres and artforms develop, standards of taste evolve, understandings of aesthetic properties and aesthetic experience change; there are institutions in some but not all cultures which involve a focus on artifacts and performances having a high degree of aesthetic interest and lacking any practical, ceremonial, or religious use; such institutions sometimes classify entities apparently lacking aesthetic interest with entities having a high degree of aesthetic interest. Evidently, some of these facts are culture-specific, and others are more universal. There are also two more general constraints on definitions of art. First, given that accepting that something is inexplicable is generally a philosophical last resort, and granting the importance of extensional adequacy, list-like or enumerative definitions are if possible to be avoided. Enumerative definitions, lacking principles that explain why what is on the list is on the list, don't, notoriously, apply to definienda that evolve, and provide no clue to the next or general case (Tarski's definition of truth, for example, is standardly criticized as unenlightening because it rests on a list-like definition of primitive denotation). (Devitt, 2001; Davidson, 2005).) Second, given that most classes outside of mathematics are vague, and that the existence of borderline cases is characteristic of vague classes, definitions that take the class of artworks to have borderline cases are preferable to definitions that don't. (Davies 1991 and 2006, Stecker 2005)
Conventionalist definitions account well for modern art, but have difficulty accounting for art's universality especially the fact that there can be art disconnected from our (Western) institutions and traditions, and, conceivably, our species. Aesthetic definitions do better accounting for art's traditional, universal features, but less well, according to their critics, with revolutionary modern art; their further defense requires an account of the aesthetic which can be extended in a principled way to conceptual and other radical art. (An aesthetic definition and a conventionalist one could simply be conjoined. But that would merely raise, without answering, the difficult question of the unity or disunity of the class of artworks.) Which defect is the more serious one depends on which explananda are the more important. Arguments at this level are hard to come by, because positions are hard to motivate in ways that do not depend on prior conventionalist and functionalist sympathies. If list-like definitions are flawed because uninformative, then so are conventionalist definitions, whether institutional or historical. Of course, if the class of artworks is an arbitrary one, lacking any genuine unity, then enumerative definitions cannot be faulted for being uninformative: they do all the explaining that it is possible to do, because they capture all the unity that there is to capture. But in that case the worry articulated by one prominent aesthetician, who wrote earlier of the bloated, unwieldy concept of art which institutional definitions aim to capture, needs to be taken seriously, even if
it turns out to be ungrounded: It is not at all clear that these words What is art? express anything like a single question, to which competing answers are given, or whether philosophers proposing answers are even engaged in the same debate. The sheer variety of proposed definitions should give us pause. One cannot help wondering whether there is any sense in which they are attempts to clarify the same cultural practices, or address the same issue. (Walton, 1977, 2007) Wow! So, as you can see this desire and inability to exactly define what art is quite complicated! For the context of this class we are going to try to simplify this issue and study what most scholars, artists, and critics agree are important works of art. Besides just studying the names, dates, and titles of the artwork(s) we will go further and explore the artwork within the context of the social, cultural, political, economic, and geographical times in which it was made. We must understand these factors to truly understand the importance of the artwork and/or artist! Lets begin this class by discussing Prehistoric Art!
Prehistoric Art:
For art historians, archaeologists, and anthropologists, prehistoric art provides a significant clue along with fossils, pollen, and artifacts to understanding early human life and culture. When I say Prehistoric I mean to include human existence in its entirety before the invent of writing. We are going to discuss two prehistoric periods or eras the Paleolithic Period and Neolithic period. The Paleolithic (literally: "Old Stone Age") period covered between two and one-half to three million years, dependent upon which scientist has done the calculations. For the purposes of Art History, though, when we refer to "Paleolithic" art, we're talking about the Late Upper Paleolithic period. This began roughly around 40,000 years ago and lasted through the Pleistocene ice age, the end of which is commonly thought to have occurred near 8,000 B.C. (give or take a few centuries). This period was marked by the rise of Homo sapiens sapiens and its ever-developing ability to create tools and weapons. In art, the Paleolithic era is marked by cave paintings and drawings of animals. It is thought that the animals were either those needed for food and that the paintings were some type of ritual related to the hunt, or that the animals were sacred and were given god-like qualities. It has also been suggested that the paintings represent primitive calendars or almanacs, "coming of age" ceremonies, records of tribal migrations, and mystic paintings during a
This figurine represents the Paleolithic 'Venus', with overlarge breasts and belly. The faceless head bends towards the chest while the arms are pressed to the body with hands on the belly. Covering the surface of the head are rows of incisions indicating a hair style or cap. Relief work in the form of a tight plait convey a breast ornament tied up at the back. There are bracelets on the arms. This figurine may possibly personify the goddess of fertility, mother-ancestor, or guardian of the home.
Prehistoric Art:
shamanistic trance. While the purpose of paleolithic works of art is far from being certain, the art can be categorized as being "invitational," that is, created and viewed on purpose by selected or invited individuals for specific purposes; "public," that is, created to be viewed by anyone in the area or passing by the area, such as a public monument, territorial marker, or gravestone; and "personal," that is, small private objects carried by individuals as ritual items or charms. (Hoover) Some of the images we have found are believed to be 50,000 to 40,000 years old! Varied artistic objects from the Stone Age were found in the Malta (Siberia), Maininsk (Siberia) and Kostenky (left) Settlements. Female figurines from the Malta dwellings are worthy of particular attention; amongst them are exceptionally rare early Palaeolith figurines wearing some form of garments. Plates made from a mammoth tusk with depictions of a mammoth and snakes, and figurines of flying birds (left top) were also discovered in this settlement. Artistic objects made during the Palaeolithic era occupy an important place (in art history), since this is the only source from which we can reconstruct and study the culture of ancient peoples. For instance there are small figurines from Kostenky and an anthropomorphic figurine from a Mainisk dwelling. The meaning and purpose of such objects
This elongated figure of a flying bird has a small egg-shaped head and a long neck. The rounded end of the body has a hole drilled from one side. On either side of the body are short, broad projections representing outspread wings. Despite the stylization in modeling, the resemblance to a swan in flight is obvious. Such figurines were worn around the neck, with the bird's head down. They were probably amulets reflecting certain aspects of primitive man's view of the world.
Prehistoric Art:
from the Palaeolithic era are usually identified with ancient cults. Many objects are decorated with ornamental patterns: from Malta these tend to be depressions and notches forming spiral compositions; from Kostenky come more geometrical patterns. So lets discuss perhaps one of the most famous carvings from this period the Woman From Willendorf also known as The Venus of Willendorf and the Willendorf Statue. What I find amazing (among other things) about this statue is its size! We are quite used to seeing it portrayed rather monumentally in photographs of it but in fact it is rather small at just over 4 inches tall! See bottom image left! Willendorf is the name that was given to the first known human figurine, a woman. The statue was found in 1908 near the town of Willendorf in Vienna. It was carved from limestone and colored with red ochre. It measures 110 mm in height and is dated 30,000 and 25,000 BC. Willendorf is an important icon of prehistory. Archeologists have suggested many different ways of understanding its significance for the nomadic society which made it. The first suggestion is that it was a "Goddess" used as a symbol of fertility. Apart from being female, the statue has an enlarged stomach and breasts, its pubic area is greatly emphasized, probably serving as a representative of procreativity, and
Prehistoric Art:
the red ochre pigment covering it has been thought to symbolize or serve as menstrual blood seen as a life giving agent. The second suggestion is that the figurine may have served as a good luck charm. Its diminutive size led archaeologists to assume that it may have been carried by the men during their hunting missions in which it served not only as a reminder of their mate back at home but also as a charm to bring them success in their hunting. Also, the figurine's hair is braided in seven concentric circles, seven in later times being regarded as a magic number used to bring about good luck. A third possible significance is that of the figurine served as a mother goddess (earth mother or female deity). This comes from a suggestion that the statue was a woman whose specialness was indicated in her obesity since women in a hunter gatherer society would probably not have had the opportunity to gain much body fat. It has been surmised that women's socioeconomic and cultural role in the society that produced the Willendorf statue was likely related to the value and reverence it had for creativity, production and responsibility of the mature maternal feminine. It is hard to know for sure why this was made and what purpose it had! If you look closely you can see that the breasts, vagina, and stomach are the focal points of this object. Everything else is less important the feet are non existent and the arms are almost an after thought (you can see them resting on top of the breasts) It seems femininity and
Prehistoric Art:
Fertility could certainly be underlying themes. Some scholars argue that a woman actually carved this as a representation of her own experience of pregnancy. From what I understand of this theory they feel that because the feet are absent it represents the perspective of the mother because she can no longer see her own feet over her pregnant stomach. An interesting theory for sure! It is interesting that most of the sculptures depicting humans from this era are of women. I wonder what kind of clues this could give to the importance and social standing of women during this time and area? Were woman more powerful and respected than in later western civilizations? Or, have women been objectified since the dawn of art? Lets move on and discuss cave painting. After 30,000 BCE art in Europe flourished especially cave painting (left bottom) in southern France and northern Spain. So, why did people paint in caves? During the 19th century many felt that it was due to an inherent or innate desire for humans to decorate themselves and their surroundings. Early on in the 20th century many scholars also argued that this cave art could have had a social function as well as a ceremonial function. I like where your book discusses the miss-interpretations of former scholars and their theories about the symbolism behind the imagery found in these cave paintings. I want you to keep in mind just as it is difficult to define what art is, it is also difficult to truly understand the meanings
Prehistoric Art:
behind artwork, especially prehistoric art. We are really only guessing here and 60 years from now the theory your text states as being correct might in fact bee classified as an error! Lets discuss the utterly famous Chauvet Cave a masterwork of hundreds of paintings! Just barely discovered by cavers who had to clear stones away from a closed in passage to find it! The Chauvet Cave was discovered in the Ardche valley (in southern France) in December 1994 by three cave explorers, after removing the rumble of stones that blocked a passage. The cave is extensive, about 400 meters long, with vast chambers. The floor of the cave is littered with archaeological and palaeontological remains, including the skulls and bones of cave bears, which hibernated there, along with the skulls of an ibex and two wolves. The cave bears also left innumerable scratches on the walls and footprints on the ground. The two major parts of the cave were used in different ways by artists. In the first part, a majority of images are red, with few black or engraved ones. In the second part, the animals are mostly black, with far fewer engravings and red figures. Obvious concentrations of images occur in certain places. The most spectacular images are the Horse Panel and the Panel of Lions and Rhinoceroses.
Prehistoric Art:
The dominant animals throughout the cave are lions, mammoths, and rhinoceroses. From the archaeological record, it is clear that these animals were rarely hunted; the images are thus not simple depictions of daily life at the time they were made. Along with cave bears (which were far larger than grizzly bears), the lions, mammoths, and rhinos account for 63 percent of the identified animals, a huge percentage compared to later periods of cave art. Horses, bison, ibex, reindeer, red deer, aurochs, Megaceros deer, musk-oxen, panther, and owl are also represented. An exceptional image of the lower body of a woman was found associated with a bison figure. Many images of large red dots are, indeed, partial handprints made with the palm of the hand. Red hand stencils and complete handprints have also been discovered. Thirty radiocarbon datings made in the cave have shown that it was frequented at two different periods. Most of the images were drawn during the first period, between 30,000 and 32,000 BP in radiocarbon years. Some people came back between 25,000 to 27,000 and left torch marks and charcoal on the ground. Some human footprints belonging to a child may date back to the second period. Make sure that you read the Recovering the Past section on page 12! This article discusses how they date these artworks! I find the images of the hands most startling! They represent so much the weight of that human in space and time!
Prehistoric Art:
Neolithic art is represented by a number of large and varied collections of objects found in vast isolated areas in Eastern Europe, Siberia and Central Asia. Most fully represented are archaeological complexes discovered in the forest regions of European Russia. The objects found give an idea of the culture and art of Neolithic tribes who, from the 6th millennium to the middle of the 2nd millennium BC, inhabited the country between the rivers Volga and Oka, the Urals, and southern areas of the Pskov region including settlements in Karelia. Neolithic everyday objects reveal that fishing and hunting were the main occupations of the inhabitants of the forest territories. Neolithic people decorated clay vessels in a wide variety of ways, created bone, horn and wooden figurines of people and animals. Noteworthy are a number of articles intended for tribal cults; these are polished stone axehammers, one end terminating with a bear's or elk's head (left top) executed with a considerable degree of realism. There are very carefully worked small flint figurines of people, animals and birds, which are schematic and stylized and were probably used as amulets. Art of a monumental character was familiar to these tribes. On the coast of the White Sea and on the eastern shores of Lake Onega, a large number of petroglyphs were etched into the rock surface. The petroglyphs (left bottom) are executed in various manners: there are realistic and symbolic petroglyphs, and outline drawings but most are silhouettes.
Prehistoric Art:
Neolithic humans were becoming more advanced both in societal aspects as well as artistic and even architecturally! Now your text spends a great deal of time discussing prehistoric western art and Japan (just a bit). I want to go east and discuss Neolithic China! The Neolithic period, which began in China around 10,000 B.C. and concluded with the introduction of metallurgy about 8,000 years later, was characterized by the development of settled communities that relied primarily on farming and domesticated animals rather than hunting and gathering. In China, as in other areas of the world, Neolithic settlements grew up along the main river systems. Those that dominate the geography of China are the Yellow (central and northern China) and the Yangzi (southern and eastern China). A distinctly Chinese artistic tradition can be traced to the middle of the Neolithic period, about 4000 B.C. Two groups of artifacts provide the earliest surviving evidence of this tradition. It is now thought that these cultures developed their own traditions for the most part independently, creating distinctive kinds of architecture and types of burial customs, but with some communication and cultural exchange between them. The first group of artifacts is the painted pottery found at numerous sites along the Yellow River basin, extending from Gansu Province in northwestern China to Henan Province in
Basin (pen), Majiayao culture, Majiayao phase, ca. 32002700 b.c. Gansu Province, China Earthenware with painted decoration
f Art History The Metropolitan Pottery with painted decoration is among the most remarkable of the Museum ofArtNeolithic cultures that flourished along archaeological remains from
the banks of the Yellow River. One of China's earliest and most widespread, the Yangshao culture is divided into two branches: the nuclear Yangshao, located in Henan and Shaanxi provinces, and the subsequent Majiayao (or Gansu Yangshao), situated in Gansu and parts of Qinghai Province. Both branches are subdivided into six phases, named after specific archaeological sites, which share architectural forms, stone implements, and high-fired earthenware. However, the shapes and decorations of these ceramics vary, and earthenware from the northwest is distinguished from that of earlier periods by the complexity and density of the designs. The flowing curvilinear forms painted on this shallow basin typify ceramics associated with the Majiayao phase.
Prehistoric Art:
central China. The culture that emerged in the central plain was known as Yangshao. A related culture that emerged in the northwest is classified into three categories, the Banshan, Majiayao, and Machang, each categorized by the types of pottery produced. Yangshao painted pottery was formed by stacking coils of clay into the desired shape and then smoothing the surfaces with paddles and scrapers. Pottery containers found in graves, as opposed to those excavated from the remains of dwellings, are often painted with red and black pigments. This practice demonstrates the early use of the brush for linear compositions and the suggestion of movement, establishing an ancient origin for this fundamental artistic interest in Chinese history. The second group of Neolithic artifacts consists of pottery and jade carvings from the eastern seaboard and the lower reaches of the Yangzi River in the south, representing the Hemudu (near Hangzhou), the Dawenkou and later the Longshan (in Shandong Province), and the Liangzhu (Hangzhou and Shanghai region). The gray and black pottery of eastern China is notable for its distinctive shapes, which differed from those made in the central regions and included the tripod, which was to remain a prominent vessel form in the subsequent Bronze Age. While some pottery items made in the east were painted (possibly in response to examples imported from central China), potters along the coast also used the techniques of burnishing and incising. These same craftsmen are credited with developing the potter's wheel in China.
Jar, Majiayao culture, Machang phase, ca. 23002050 b.c. Gansu or Qinghai Province, China Earthenware with painted decoration Large and small two-handled jars, pitchers, bowls, and beakers are the most common forms produced in the Machang phase of the Majiayao (or Gansu Yangshao) culture. Decorative motifs on Machang-period wares are largely geometric and include curvilinear patterns and cross-hatching, and lozenges, triangles, circles, and squares in an endless array of combinations.
Prehistoric Art:
Of all aspects of the Neolithic cultures in eastern China, the use of jade made the most lasting contribution to Chinese civilization. Polished stone implements were common to all Neolithic settlements. Stones to be fashioned into tools and ornaments were chosen for their harness and strength to withstand impact and for their appearance. Nephrite, or true jade, is a tough and attractive stone. In the eastern provinces of Jiangsu and Zhejiang, particularly in the areas near Lake Tai, where the stone occurs naturally, jade was worked extensively, especially during the last Neolithic phase, the Liangzhu, which flourished in the second half of the third millennium B.C. Liangzhu jade artifacts are made with astonishing precision and care, especially as jade is too hard to "carve" with a knife but must be abraded with coarse sands in a laborious process. The extraordinarily fine lines of the incised decoration and the high gloss of the polished surfaces were technical feats requiring the highest level of skill and patience. Few of the jades in archaeological excavations show signs of wear. They are generally found in burials of privileged persons carefully arranged around the body. Jade axes and other tools transcended their original function and became objects of great social and aesthetic significance. Lets move onto the Bronze Age!
Ritual object (bi), Neolithic period, Liangzhu culture, ca. 27002500 b.c. Jiangsu or Zhejiang Province, China Nephrite The austere shape, imposing mass, and monumental proportions identify this perforated disk (bi) as an important ceremonial object of China's Neolithic culture. Worked from a mottled green stone identified as nephrite (a form of jade), it bears traces of saw and drill marks on its otherwise smooth surface that provide a textbook study of early Chinese lapidary techniques. The disk belongs to the Late Neolithic Liangzhu culture of Jiangsu and Zhejiang provinces. In 1982, twenty-five such disks, ranging in size from five to ten inches in diameter, were excavated from a Liangzhu tomb near Changzhou, Jiangsu. Carbon-14 datings for the tomb place it between 2700 and 2200 B.C.
Prehistoric Art:
The era that followed the introduction of basic metalworking techniques is most commonly referred to as the Bronze Age. We see this era really take hold in Europe around 3000 BCE. It is important to remember that many of the major human evolution contributions for the Neolithic Period persisted through the Bronze Age and even into our present times (i.e. farming, pottery, and architecture).
Evolution of axe heads from stone to bronze during the Early Bronze Age
Metals were first used for ornamentation by Neolithic peoples who would hammer malachite a green colored carbonate mineral into beads. Gold was also one of the first minerals exploited for decorative purposes during this time. As peoples understanding of metallurgy (the science and technology of metals) became more expansive the objects these people made became more complex. This understanding of the metal itself was also matched by a better understanding of how to extract it from the Earth. Instead of just finding it on the surface they discovered ways of mining it. Copper and gold were very popular but in fact are rather soft and often weak so they didnt work well for things like weapons. But with the invention of Bronze an alloy, or mixture of tin and copper they discovered a great balance exploiting the best qualities )in the proper measurements) to create a very strong metal perfect for tools and weapons. Bronze Age artistry is not just limited to metalworking see you text for some examples of rock carvings during this time!
Babylons Ischtar door is one of the at least eight city gates of Babylons capital.
Stag vessel; Anatolia Hittite Empire, 14th13th century BCE. Silver, gold inlay; H. 7 1/8 in. (18 cm); The Metropolitan Museum of Art, New York
That is something to note! Very often these artifacts were damaged by the highly educated Westerners in the 19th and 20th centuries taking them back to Europe for display at Museums! This happened all over the post-colonial world! Lets move on to Egypt!
Statue of Memi and Sabu, Old Kingdom, Dynasty 4, ca. 25752465 b.c. Egyptian; Probably from Giza Painted limestone
Guardian figure in the form of King Amenemhat II, Middle Kingdom, Dynasty 12, reign of Amenemhat II, ca. 19191885 b.c. Egyptian Painted wood
Statuette of a Hippopotamus, Middle Kingdom, Dynasty 12, ca. 19811885 b.c. Egyptian; Middle Egypt, Meir
Cosmetic Jar in the Form of a Cat, Middle Kingdom, Dynasty 12, ca. 19911783 b.c.
Face of Senwosret III, Middle Kingdom, Dynasty 12, reign of Senwosret III, ca. 18781840 b.c.
Known especially for monumental architecture and statuary honoring the gods and pharaohs, the New Kingdom, a period of nearly 500 years of political stability and economic prosperity, also produced an abundance of artistic masterpieces created for use by nonroyal individuals.
Hatshepsut, New Kingdom, Dynasty 18, reign of Hatshepsut, ca. 14731458 b.c. Egyptian; From Deir el-Bahri, western Thebes
Harp, New Kingdom, late Dynasty 18, ca. 13901295 B.C. Egyptian
Two Princesses, New Kingdom, Dynasty 18, reign of Akhenaten, ca. 13491336 b.c. Egyptian
This will conclude our first weeks lecture! Please keep in mind that the following 5 lectures will by substantially longer and more involved! I just didnt want to overwhelm any of you with a 200 slide lecture right off the back! Remember to do your assigned reading pages 1 79 in the textbook and that your first Personal Feedback is due by this Sunday 5.20.12 by midnight there are instructions on how to accomplish this in your Materials Folder on Webcampus! The next lecture will be available on Monday 5.21.12 at 9:00am! There will not be a Class Discussion this week! If you have any questions at all please email me and I will get back to you immediately!