
Bachelor'S Degree Final Project
Code: 100535Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Art History | OB | 4 |
Contact lecturer
- Name :
- Anna Orriols Alsina
- Email :
- anna.orriols@uab.cat
Teaching staff (external to UAB)
- Per determinar
Group languages
You can consult this information at the end of the document.
Prerequisites
It is recommended that students have completed and passed the vast majority of the subjects of the first three years of Degree.
It is also recommended that students have a good command of other languages, in addition to Catalan and Spanish, at least in terms of reading comprehension.
Objectives
With the completion of the Final Degree Project (FDP), the student is expected to develop a series of specific competences, indicating the level of maturity he/she has acquired during his undergraduate studies. These competences are mainly:
1-Demonstrate that you know the evolution of the artistic image from Antiquity to contemporary visual culture.
2-Demonstrate that you know the discussion, the vocabulary and the fundamental concepts of art theory.
3-Show that you have specific knowledge on the main fields of study of art history, as well as on the most important topics and historiographical and methodological debates of the discipline.
4-Show your ability to analyze the knowledge acquired in its different aspects (formal, iconographic, technical, aesthetic, reception).
5-Know how to apply the methodologies of the discipline to the study of a topic.
II-Character and type of work:
a) It is not a question of carrying out a new or unpublished research, but of becoming familiar with the tools, the problems, the methodologies and the objectives of the university research. The goal is to develop a critical work on a certain subject. The student must demonstrate his / her capacity to look for, select and interpret a set of materials and sources of different type (artistic, textual, photographic, filmic, archival, etc.). The aim is to set out new questions on a specific topic, of organizing their study, structure their exposure in a clear andorderly way and finally arrive at some well-made conclusions. It is, then, a fundamentally academic work, not a research work in the strict sense. It allows a global and synthetic evaluation of the specific and transversal competences associated with the Degree in History of Art.
b) The topics have to be"open" and not too closed in particular issues. It is not about doing a work on the biography of an artist already studied in other subjects of the Degree. The student has to analyze cross-cutting issues that involve an approach to methodological issues and the treatment of less developed
Learning outcomes
- Applying the iconographic knowledge to the reading of artistic imagery.
- Analysing ideas about an artistic phenomenon in a given cultural context.
- Analysing the creators of an artistic phenomenon in a specific cultural context.
- Analysing the recipients of an artistic phenomenon in a specific cultural context.
- Interpreting and communicating the contents of a text about theory of art and cinema.
- Critically analysing basic concepts of artistic and cinematographic theory and its evolution through history.
- Interpreting the fundamental concepts of Theory of Art with a critical eye.
- Analysing classical and current debates of the History of Art.
- Recognising the methodological, iconographic and Art Theory-related knowledge in order to read an artistic imagery.
- Analysing ideas about an artistic phenomenon, and its creators and recipients in a given cultural context.
- Differentiating artistic theories about an artistic phenomenon, its creators and recipients in a given cultural context.
- Demonstrating the knowledge of scientific methodology, sources and Art Theory in the reading, criticism and formal, iconographic and symbolic interpretation of any artistic or cinematographic imagery.
- Recognising the bases of the most appropriate bibliographic databases in order to obtain sources of a specific issue.
- Connecting an artistic imagery with other cultural phenomena within its period.
- Reconstructing the artistic outlook of a particular cultural context.
- Identifying the artistic imagery, placing it into its cultural context.
- Accurately defining and explaining an artistic object with the specific language of art criticism.
- Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
- Distinguishing the elaboration techniques and processes of an artistic object.
- Explaining the reception mechanisms of a work of art.
- Organizing their own time and work resources: designing plans with priorities of objectives, schedules and action commitments.
- Reflecting on their own work and the immediate environment's in order to continuously improve it.
- Developing a final work that collects and interprets data, reflecting on a relevant issue of the discipline.
- Communicating in a clear and appropriate manner an academic work.
- Organising with efficiency and profitability the autonomous part of the learning process.
Contents
TFG topic.
BLOCKS AND THEMATIC AREAS
(for guidance)
I – Architecture and urban planning
Elements of architecture.
Research on architectural space.
Architectural typologies: form and function.
Symbolic aspects of architectural form.
Topics in the history of architecture.
Theories and criticism of architecture.
The figure of the architect over time.
Relationships between architecture and other arts.
The metamorphosis of buildings. Architecture and memory.
Poetics of the architectural building.
Painted architectures. The representation of architecture.
The city: city planning, the ideal city…
Issues in contemporary architecture.
Design, history, theory and criticism of the garden.
Historiography of architecture.
II – Viual arts
Representations: the human being, the natural world, history, ideas, fantasy and dreams, the sacred.
Theories of representation and of painting.
Forms and functions of painting.
Systems of proportions and modes of representation (canons, perspective, golden ratio, etc.).
Paths to abstraction.
History, theories and methods of drawing.
Categories for the analysis of the pictorial work.
Painting and literature.
Issues concerning the language, history or theory of sculpture.
Function and typologies of sculpture. Sculpture and power.
Ornament: history and theories.
Music and the visual arts.
The visual arts and theatre.
History and theory of photography (debates and research on its beginnings; thought on the photographic image; photography and the modern world: the vision of the city…).
Photography and painting; photography and literature…
Topics in contemporary photography.
History of dress and fashion: clothing and social role; costumes for the stage; fashion and modern art.
Dress and ceremonial (regalia; liturgical vestments).
III – The moving image
Topics in the history and theory of cinema (cinema and reality; cinema and literature; film genres; contemporary culture and cinema; non-narrative cinema).
Filmed art.
Video art.
Electronic art and virtual reality. The immaterial work of art.
Action art. Happening and performance: history and criticism.
IV – The language of images
History and theories of various genres (portrait, landscape, history painting, still life, genre painting, the nude and the body…).
Topics in art and visual culture: relations between art and science, technology, politics, society, religions…
Topics in art and ethnography.
Contemporary artistic images and the “society of the spectacle”.
Semiotic readings of the image.
Intertextuality.
Archetypes and framing themes.
Art and gender.
V – Reception and rediscovery
The rediscovery of Egypt.
The rediscovery of Greece and Rome.
The rediscovery of the Middle Ages.
Renaissance and “renaissances”.
Orientalism.
The copy. The phenomenon of appropriationism: antecedents and the present.
Reuse. Spolia.
Damnatio memoriae and iconoclasm.
Revivals.
Primitivisms and the myth of return.
The role of the spectator: vision and experience of the artistic work.
Art on display: the role of museums and exhibitions under debate.
VI – Work, training and social condition of the artist
Myths and legends of the artist.
Theories of the artist.
Learning and working methods.
Art education.
Pattern books and sketchbooks.
The social role of the artist.
Artists’ travels.
Creative collaborations: relationships of visual artists with writers, musicians, theatre directors, dancers, scientists, fashion designers, etc. Collective works. Artistic workshops.
Questions on avant-garde artists.
The artist after modernity. Artists in a globalised world.
VII – Patronage and market
Artistic patronage.
Collections and collectors.
Forms of art collecting (from Antiquity to the present).
Routes of the arts. History of the art trade.
Artistic value and economic value.
VIII – Studing describing, judging and commenting on art and the work of art
Artistic literature: treatises, lives…
Ekphrasis. The description of the work of art.
Artistic aspects in periegetic texts.
Questions of art historiography and theory.
Trends and debates in current art history.
Topics in the history of criticism.
Criticism and contemporary critics.
Topics in art and philosophy.
IX – Heritage and museology
Processes of patrimonialisation.
Symbolic, political and economic dimensions of heritage (memory conflicts, identities, globalisation, commodification).
Uses of heritage in contemporary societies: as an identity resource, as an economic resource (tourism, cultural industries), as an educational or memorial tool.
Topics in cultural heritage (tangible and intangible).
Typologies of museums, their historical development and their social role.
Museographic narratives; narratives and perspectives (gender, inclusion, diversity).
Museum audiences: audience studies, heritage education, accessibility, participation and new digital strategies.
Museums in relation to the territory and to other cultural agents.
X – History of artistic techniques: processes of execution, analysis and restoration
History and theory of restoration.
Topics in the history and theory of artistic techniques (ceramics, mosaic, textile, goldsmithing, stained glass…).
History and theory of colour. Pigments throughout history.
Topics in the history of techniques of fresco, tempera, oil, watercolour, etc.
History of the techniques and materials of sculpture.
Topics in the history of goldsmithing.
XI – Islamic art in Al-Andalus and other territories
XII – Art of non-European cultures
Pre-Columbian art.
Asia (art of Japan, India, China, Buddhist art…).
Art of the African continent.
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Supervision of the works | 48 | 1.92 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 22, 23, 24, 25 |
| The choise of the topic | 3 | 0.12 | |
| Preparation and writing of the Final Degree Project | 90 | 3.6 | 1, 2, 3, 4, 13, 21, 22, 23, 24, 25 |
| Formative class on the writing of the work | 3 | 0.12 | 9, 12, 13, 21, 22, 24, 25 |
| Informative session | 3 | 0.12 |
a) During the first half of October, students will formally present to the TFG coordinator, through a face-to-face tutorial (or virtual if a face-to-face meeting is not possible), the topic of their project, in accordance with the indicative list of thematic areas included in this guide or as a personal proposal. Consequently, the topic is freely chosen by the student, with the approval of the TFG coordinator.
b) No more than one specific project on the same topic may be carried out; that is, it will not be permitted for more than one student to work on the same specific subject. Obviously, there may be more than one project within the same thematic area, but with different content.
c) The assignment of the supervisor will be carried out by the TFG coordinator, who will evaluate the student’s proposal in this regard.
d) During the first half of November, the TFG coordination will make public the assignment of the topic and the supervisor.
e) Deadline for submission of the project: within the first 10 days of June (the TFG coordination will indicate the exact date in due time).
f) Date of the project defence: around 20–26 June (the TFG coordination will indicate the exact date in due time).
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Presentation of work (microlesson) | 40% | 1 | 0.04 | 12, 17, 22, 24 |
| Supervision of work | 5% | 1 | 0.04 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25 |
| Final Degree Project | 55% | 1 | 0.04 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25 |
I – Basic requirements
a) The project must be individual. The student’s effort, imagination, quality of writing and critical spirit will be assessed.
b) The project topic may not coincide with the topic of any other course assignment in the Degree. If duplications are detected, the project will not be assessed.
c) The consultation of foreign-language bibliography will be valued and is in any case essential in most situations.
d) The project may be written in Catalan, Spanish, English, French or Italian.
e) The project must be correctly written, as corresponds to any academic text.
II – Length, structure and format
(* Further details will be provided in the protocol that the coordination will make available via the Virtual Campus).
Length. 30 pages (2,100 characters/page), including notes. The cover page, acknowledgements, abstract, table of contents, bibliography and appendices (images, graphs, documents, etc.) are excluded.
Structure. It must be clear and concise and will broadly include, as its main sections, a state of the question on the topic, a critical development and a conclusion section.
The elements and sections to be included (with varying length) are, in this order:
a) Cover page: it must necessarily include the type of project (Final Degree Project), the full title of the project, the student’s first name and surname(s), the corresponding student ID number, the first name and surname(s) of the supervisor, and the academic year.
b) Abstract: a minimum of 200 and a maximum of 300 words, as well as 5 keywords.
c) Table of contents, with the titles of the sections and their corresponding page numbers.
d) Introduction, where the topic of the project will be presented and the justification for its choice will be clearly set out; the general and specific objectives (formulated in a clear, precise and measurable way) will be stated and the methodology used will be specified. The student’s personal or academic motivation and the relationship of the topic with other existing works or lines of research may also be briefly presented.
e) State of the question: critical review of the bibliography and the most relevant precedents related to the topic of the Final Degree Project.
f) Main body of the project. This constitutes the core and largest part of the Final Degree Project and must present the development of the topic clearly, systematically and coherently.
e) Conclusions: the main results of the project and the conclusions drawn from them. The capacity for synthesis and critical reflection will be assessed, as well as the connection between the results and the initial objectives.
f) Bibliography. It must include all the sources consulted and cited throughout the project. Only references that have actually been used should be included.
g) Appendices. These will include exclusively all those materials that complement the main body of the project and are separate from its length: illustrations, documents, etc.
Format:
- Pages and illustrations must be properly numbered.
- The captions of illustrations must necessarily include, in addition to the usual information, their source.
- Explanatory notes must appear as footnotes, while for bibliographic notes any of the most commonly accepted referencing systems may be used.
- The bibliography and notes must necessarily follow the referencing guidelines available from the UAB Library Service ( There are various bibliographic citation systems. Each student may choose the one they consider most suitable for their project (APA, MLA, Chicago, ISO, among others). In any case, regardless of the system chosen, it is essential that it be used in a coherent and consistent way throughout the document.
III – Submission (early June)
Once the supervisor has reviewed the final version of the project and given their approval for its submission:
- The PDF version must be uploaded to the virtual campus within the established deadline.
- A single printed version must be submitted to the Final Degree Project coordination.
The dates and means of these submissions will be specified in due course by the Final Degree Project Coordination via the Virtual Campus.
IV – Assessment
The assessment and mark of the project will result from the sum of:
- The mark awarded by the supervisor for the written project (55% of the final grade) and for the supervision process (5% of the final grade). A minimum of three supervision meetings must be held.
- The mark corresponding to the student’s oral presentation – a presentation of approximately 15 minutes, accompanied by a PowerPoint or audiovisual – before a panel appointed by the Final Degree Project coordination and made up of two members of the teaching staff other than the supervisor (40% of the final grade). The presentation will be assessed in terms of oral delivery, structure of the discourse, resources used and the interest generated by the presentation. The written project will also be consulted and its suitability in relation to the structure, format and objectives of a Final Degree Project will be considered.
- The grade “not assessable” will be given when the student has not submitted the final version of the Final Degree Project.
- The Final Degree Project has only one examination session (June) and cannot be retaken. Exceptionally, and provided that the student has enrolled all the credits required to complete the degree, an extraordinary February session may be requested (this must be agreed with the supervisor and communicated to the Coordination between November and December so that the procedure can be processed by the Academic Management Office).
- Honours Distinction (Matrícula d’Honor) may be awarded to the projects with the highest grades, according to the number of distinctions allowed per group (5% of the number of enrolled students). In the event of a tie or doubt, the Final Degree Project coordination will appoint a committee that will take into account 75% the Final Degree Project grade and 25% the student’s transcript grade for the last two academic years (3rd and 4th year).
- There is the possibility of publication in the UAB Digital Repository of Documents for Final Degree Projects with a final grade equal to or higher than 9. In order to allow publication, the student must sign and submit to the Final Degree Projects coordinator the consent form prepared by the Humanities Library.
- This course does not provide for a single-assessment system.
- Spelling mistakes and grammatical inaccuracies – both in the written project and in the oral defence and the resources used therein – will reduce the project’s grade.
IMPORTANT
- The supervisor’s approval is an essential requirement for the submission of the Final Degree Project. The supervisor must have received (in the format agreed with the student) the final version that will be uploaded in digital format to the Virtual Campus and submitted in printed form to the Final Degree Project Coordination.
- The use of Artificial Intelligence (AI) technologies is allowed exclusively for support tasks, such as text correction and/or translation, and under no circumstances for the drafting of the text, whether in whole or in part. In very specific and justified cases (some kind of processing and/or analysis of accumulated data, statistics, etc.) it may be used on an ad hoc basis and always with the supervisor’s agreement. In such cases, the student must clearly identify which sections have been generated with this technology and specify the tools used. The non-transparent use of AI in any assessable activity is considered a breach of academic integrity and may lead to partial or total penalties in the grade for the activity, or more serious sanctions in serious cases. A Final Degree Project generated in whole or in part with AI will be graded with a 0.
- In cases of plagiarism, the project will be graded with a 0. Plagiarism occurs when a text (of whatever length) is copied from sources that have not been properly identified, presenting them as if they were the student’s own (this includes copying sentences or paragraphs taken from the Internet without modifying them and presenting them as original). Plagiarism is a serious offence. Students must respect the intellectual property of others, properly identifying any source they use and, at the same time, being responsible for the originality and authenticity of the texts they produce.
Software
No specific software is required. If it were needed, it would be indicated in due course.
Course groups and languages
The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE
| Type of teaching | Group | Language | Semester | Shift |
|---|---|---|---|---|
| (TFG) Treball de fi de grau | 1 | Catalan | annual | morning-mixed |