FA370 Term Paper Step 3

FA370 Nineteenth-Century Art
Fall 2010

Step 3: Annotated bibliography & thesis proposal
DUE: xx xx% paper grade

Based on your research, articulate a thesis proposal: a brief paragraph that states the issue or theme that you are going to treat. This may not be the same as your thesis statement as it might appear in your final paper; it a proposal of how you plan to focus your paper at this point.
Also submit an annotated bibliography of sources you have read so far, formatted to the Chicago/Turabian style. An “annotation” is a brief paragraph that summarizes the contents of the work; a few brief examples appear below.

You must also make an appointment to discuss your thesis proposal, in person with your professor, within one week of the due date.

Format:

• Your name, the class ID number and name, the title of the assignment, and the date should be single-spaced, and should appear at the upper left of the first page.
• The thesis proposal should be single spaced, and appear before the annotated bibliography.
• The bibliography should be alphabetized by the author’s last name.
• The bibliography should be single-spaced, with a second line break between each citation.
• Books by the same author should appear in the following order: books authored individually (alphabetized by title), books edited, books authored/edited in collaboration.
• Books with multiple authors should follow the order given by the NGA.
• Subsequent references to the same author(s) should use a “3-em dash.” Do not use the “3-em dash” for any author in the first reference to a collaborative work.

EXAMPLE

This essay will focus on the compositional and iconographic means by which Hugo van der Goes united the themes of the Fall of Man and the Lamentation in the Vienna diptych. It will focus in particular on Hugo’s use of Mary Magdalen, a figure who seems to form a distinct link between the two panels, and will discuss the analogous use of the Magdalen in late-medieval theater, where she appeared in a manner that is surprisingly consistent with the Vienna diptych, and where, as I hope to demonstrate, she enhanced viewers’ interactions with Passion scenes in ways that enlighten our understanding of Hugo’s paired panels.

Denny, Don. “A Symbol in Hugo van der Goes’ Lamentation.” Gazette des beaux-arts 95 (March 1980): 121-25.
Discusses the crown of thorns playing atop the hat in the right foreground of Hugo van der Goes’s Lamentation as a focus of meditation, relating this symbol to the Modern Devotion movement.

Kessler, Herbert. “The Solitary Bird in Van Der Goes’ Garden of Eden.” Journal of the Warburg and Courtauld Institutes 28 (1965): 326-29.
Discusses the purple bird in the lower right corner of the panel, which the author identifies as a phoenix, a symbol of Christ’s resurrection.

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