Annotated bibliography – 25% of your final grade:

Annotated bibliography – 25% of your final grade:

Annotated bibliography – 25% of your final grade:
With selected object from the MFAH online collection OR from the textbook (both from 1900-present), provide an annotated bibliography of 5 researched sources. Each source will require a 3-5 sentence summary of how the source is useful for your research (if you were writing a research paper).
The annotated bibliography will include a thesis sentence, 1 paragraph description of your research- including the questions you are aiming to answer through your research, as well as the 5 annotated sources.
You will identify the movement or style associated with the artwork and through your research describe how the artwork is a product of said movement/style. (psst. I spy a thesis sentence)

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This annotated bibliography will provide information necessary for understanding the historical context of your selected art object.

Requirements:

  • Select an object 1900-present
  • Include image of object
  • Provide a thesis sentence, introduction (min. 75 words), 5 citations (post 1970), and 5 annotations (3-5 sentences)
  • Citations style: Chicago Manual of Style
  • Organize citations alphabetically
  • No sources pre 1970, must be relevant research
  • Times new roman, double-spaced, 12 pt. font
  • Each annotation must be 3-5 sentences
  • Include 5 credible and relevant sources (textbooks or other books from the library, online journals through UHD databases (these do not count as internet sources, they are journals/periodicals), and 1 credible internet source allowed, ie. .org, .gov, museum/institution website.

What is an annotated bibliography?
An annotated bibliography includes four items: a thesis sentence that you would use to write a research paper with these sources, an introduction, citations for each source, and a brief write-up of each source. These write-ups are the actual annotations.
Thesis:
A thesis sentence lays out the track of your research paper and helps you organize your research. In your thesis, name three reasons that prove why your artwork is from a specific movement/period. Your research provides credibility to these three reasons.
Introduction:
In the introduction to your bibliography, state the object you are researching and what questions you are trying to answer regarding the object’s historical context. Were any databases extremely helpful? Did you use resources from your library? Are any journal articles or research studies included? What questions are you trying to answer through your research? Use the introduction to provide the reader with enough information to understand the scope of the assignment. After writing the introduction, the next portion is the listing of citations and annotations.

Questions to consider when researching historical context:

  1. Who made it: Is the object attributed to a creator or a workshop? Is it unknown?
  2. What is its medium: stone, wood, fiberglass, paper, painted, etc.? Is it a culmination of multiple materials? Where and how are they used?
  3. What technique did the creator use when making this object? Painting, performance, collage, ceramics, high/low relief/additive/subtractive/sculpture, embossing, screen print, etc.
  4. Period/Movement Style: What period is it from? Are there distinctive visual characteristics that place the artwork in a specific movement?
  5. What is the object’s original context? Was it placed at a university, domestic home, site specific, public art, etc.? Is it unknown?
  6. What did the artwork mean to the people who made it/ who saw it/ utilized it? How was it relevant to the maker or viewers at the time?
  7. Look outside the artwork to consider culture, economy, location, etc.,of work’s origin for the meaning of the artwork (this one is pretty open)

Sources: Include 5 credible and relevant sources (textbooks or other books from the library, online journals through UHD databases (these do not count as internet sources, they are journals/periodicals), and 1 credible internet source allowed). No sources pre 1970- must be relevant research.
Tracking Down Resources:
After you analyze what type of assignment you have been given, you will need to review resources that will help you to answer that type of question. You may have to find any or all of the following books or materials:
● the object itself or a book that talks about it at length
● your textbook (look through the whole thing—there are often helpful glossaries and timelines, and bibliographies for further reading)
● standard art-historical reference texts (especially for iconographical or patronage studies); if your instructor hasn’t let you know what these might be, see the art librarian or browse the reference section of the art library
● theory or analysis that has already been written (usually articles or books rather than survey texts or dictionaries)
● Databases, such as JSTOR
● Museum object label/gallery material
UHD Library Catalog Search and Databases
The link below provides the basic catalog search, read further directions for accessing databases
● https://www.uhd.edu/library/Pages/library-index.aspx
● Library checkout: take the information provided by your catalog search to the library to retrieve the book.
● Database: If login is required, use your student login for UHD systems. Once on the database page (click database on left column), click the letter “j” in the alphabet to access databases that begin with “j.” Select JSTOR within the databases and start your research! You can search by movement, artist’s name, object title, etc. to find articles relevant to your research.

MFAH Online Collection (if you selected an artwork from the MFAH): search and find your object here as well as its label information.
https://www.mfah.org/art/

Chicago Manual Style
https://owl.purdue.edu/owl/research_and_citation/chicago_manual_17t
_edition/cmos_formatting_and_style_guide/chicago_manual_of_style_17th_edition.html
On the left hand side of this webpage you will see a list of sub-sectioned source types such as; books, web, periodicals, beneath the Chicago Manual of Style 17th Edition section.

Annotations:
For each annotation you will write 3-5 sentences. (below is a 3 sentence example but you may expand on #2 and #3)
Sentence #1: Who is the author? Why is the author and appropriate source on your topic or object? (if multiple authors you may give each author one sentence)
Sentence #2: One sentence summary of your source. This could be a summary of an entire book or specific chapter within a book, article, journal, etc. and why it is relevant to the artwork. BE SPECIFIC- Example: DO NOT say “it is a chapter on pottery made in 1920.” Instead, describe how the specific chapter directly relates to the art object.
Sentence #3: How is this source helpful for your research? What question does it help you answer? How does it contribute to your understanding of the object’s historical context? Why is the source the BEST source for your research question? BE SPECIFIC. Example: DO NOT say “it helps me understand the time period.” Instead, identify the period and why it is important/relevant to the art object.

EXAMPLE: refer to this model when writing your annotated bibliography.

[Student Name]
[Class day/time]
[Date]
[Instructor’s Name]

[Image of artwork]

Thesis sentence: What movement your artwork is from and 3 reasons why.
Thesis model: [artwork (include artist, title, date)] is a quintessential example of the [movement] because it includes [reason #1], was made using [reason #2], and lastly because [reason #2].
Of course, you will emphasize different aspects of the artwork to prove it is from the claimed movement- this example is to show you how to organize your thesis sentence (which is one sentence). Be specific!

Introduction: min. 75 word introduction

Object information: Artist, Title, date, medium

Annotated Bibliography

Blamires, Alcuin and Gail C. Holian. The Romance of the Rose Illuminated. Arizona State
University: 2002.
Alcuin Blamires is a Professor of English and Head of the Department of English and Comparative Literature at Goldsmith College at the University of London and has produced numerous books regarding medieval literature and ethics. Gail Holian is Professor of English at Georgian Court University. This book entails the inconsistencies and complications associated with the Rose illustrations and provides a complete survey of Rose iconographical studies. This book is relevant to researching this topic because it includes notable scholars, as well as focuses on the long neglected illustrations instead of the text.
(space)
Brownlee, Kevin. “The Problem of Faux Semblant: Language, History, and Truth in the Roman
de la Rose.” The New Medievalism: Tradition and Discontinuity in Medieval Culture. The Johns Hopkins University Press: 1991, 253- 271.
Kevin Brownlee is a Professor of Romance Languages at the University of Pennsylvania who publishes on the literary models of Guillaume de Machaut, the first author of the Roman de la Rose. In this chapter, Brownlee addresses the importance of identities that are represented in the text and how these identities would have been received by medieval readers. This discourse provides a scope of the literary climate of the Rose manuscript and presents a structural and schematic view of the text which directly relates to the typical Rose cycles.

Fleming, John. The Roman de le Rose: A Study in Allegory and Iconography. Princeton
University Press: 1982.
John Fleming is a widely published Art Historian who is renowned for his research of the Rose manuscripts and the allegorical function of its text and image in medieval society. This book is the most referenced book in recent scholarship regarding the Rose and provides thorough analysis of the iconography found within its illustrations. This text is immensely important in understanding the allegorical readings of the text in relation to its iconographic images.

Kelly, Douglas. Internal Differences and Meaning in the Roman de la Rose. The University of
Wisconsin Press: 1995.
Douglas Kelly is a Professor of French at the University of Wisconsin-Madison. His work explores Medieval romance and this book in particular examines the audience of the Rose manuscript, as well as the author(s) intentions while using medieval theoretical models in order to understand its art and meaning, in regards to the social and moral issues it raises. This book is crucial in understanding the type of people who read this manuscript and how the illustrations possibly functioned for the general reader.

Lewis, Suzanne. “Images of opening, penetration and closure in the Roman de la Rose.” Word &
Image 8, 2002, 215-242.
Suzanne Lewis is an active art historian and former professor at Stanford University of Medieval Studies. This journal article examines the placement of illustrations within Roman de la Rose and proposes an alternate view to the ‘word and image’ connection, by suggesting that the visual representations stand as appropriations for the reader’s interpretive process. This article is relevant because it further examines the strategic function of the Rose illustrations and is referenced in The Romance of the Rose Illuminated as a fresh direction in ongoing research of medieval romance.

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