{"id":17818,"date":"2023-03-30T16:47:32","date_gmt":"2023-03-30T16:47:32","guid":{"rendered":"http:\/\/artjournalstg.wpenginepowered.com\/?p=17818"},"modified":"2023-04-03T13:45:26","modified_gmt":"2023-04-03T13:45:26","slug":"these-violent-delights-teaching-images-of-sexual-violence-in-italian-baroque-art-history","status":"publish","type":"post","link":"http:\/\/artjournal.collegeart.org\/?p=17818","title":{"rendered":"These Violent Delights: Teaching Images of Sexual Violence in Italian Baroque Art History"},"content":{"rendered":"\n<p style=\"background-color:#00b5d1\" class=\"has-text-color has-background has-very-light-gray-color wp-block-paragraph\"><strong>Editors\u2019 Note<\/strong><br><br>This essay continues the series titled <a href=\"http:\/\/artjournal.collegeart.org\/?tag=hardlessons\"><strong>\u201cHard Lessons: Trauma, Teaching, Art History.\u201d<\/strong><\/a> Crafted in a moment of extraordinary collective trauma, \u201cHard Lessons\u201d brings together contributions from art historians, practicing artists, and museum educators to explore the multivalent ways arts educators make space for learning through varied\u2014and often intersecting\u2014experiences of personal and collective traumas. We hope that the space \u201cHard Lessons\u201d carves out for critical reflection, coupled with the tools and actionable advice offered by our contributors, will provide support for educators not just during this period of collective trauma, but beyond: we aim to foster an extended conversation, one that continues to build trauma-informed pedagogies explicitly tied to the teaching of visual materials as we return to in-person teaching and open museum doors.<br><br>\u2014Jenevieve DeLosSantos and Kathleen Pierce, Series Guest Editors<\/p>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Note: this article features extensive discussion of rape culture and includes a series of art historical images depicting sexual violence against women.<\/em><\/p>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Gian Lorenzo Bernini (1598\u20131680) escapes virtually no survey of Western art history or course on the Italian Baroque. Textbooks and scholarly literature often emphasize the tactility and beauty of Bernini\u2019s sculptures, foregrounding the use of compositional diagonals, the torque and dynamism of the figures, the attention to musculature and varied textures, and how Bernini\u2019s formal elements develop the visual language of his Renaissance predecessors, like Michelangelo Buonarroti (1475\u20131564).<sup class='footnote'><a href='#fn-17818-1' id='fnref-17818-1' onclick='return fdfootnote_show(17818)'>1<\/a><\/sup> Works like his <em>Ecstasy of St. Teresa<\/em> (1645\u201352) in the Cornaro Chapel of Santa Maria della Vittoria or his <em>David<\/em> (1623\u201324) at the Galleria Borghese in Rome neatly correspond to a prevalent narrative of this period and culture as reveling in drama, theater, and spectacle.<sup class='footnote'><a href='#fn-17818-2' id='fnref-17818-2' onclick='return fdfootnote_show(17818)'>2<\/a><\/sup> Coupled with Bernini\u2019s other roles pertaining to the theater (as stage designer, scenographer, actor, and director), theatricality and performance are lenses through which his works are often read.<sup class='footnote'><a href='#fn-17818-3' id='fnref-17818-3' onclick='return fdfootnote_show(17818)'>3<\/a><\/sup><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Instructional materials less frequently cover Bernini\u2019s <em>Apollo and Daphne<\/em> (1622\u201323) and <em>Rape of Proserpina<\/em> (1621\u201322), located in situ in the main house of the Villa (now Galleria) Borghese, which depict scenes of gendered and sexualized violence.<sup class='footnote'><a href='#fn-17818-4' id='fnref-17818-4' onclick='return fdfootnote_show(17818)'>4<\/a><\/sup> When these sculptures are discussed, formal descriptions tend to focus on sculptural adroitness and material details, praising Bernini\u2019s skill and ability to manipulate marble. Many scholarly publications and teaching materials, including Robert Neuman\u2019s<em> Baroque and Rococo Art and Architecture<\/em>, describe the works as \u201cvirtuoso performances.\u201d<sup class='footnote'><a href='#fn-17818-5' id='fnref-17818-5' onclick='return fdfootnote_show(17818)'>5<\/a><\/sup> In <em>Seventeenth-Century Art &amp; Architecture<\/em>, Ann Sutherland Harris writes, &#8220;The unequal battle between brute male physicality and tender female flesh [in the<em> Rape of Proserpina<\/em>] had never been conveyed so vividly before by either a sculptor or a painter . . .&nbsp;Proserpine seems real as Pluto\u2019s huge hands dig into the soft flesh of her thigh and waist, while her delicately carved hair and plaited locks fly out behind her.    . . .  Such specific texturing of marble to imitate a range of surfaces had never been done before with such assurance and virtuosity.&#8221;<sup class='footnote'><a href='#fn-17818-6' id='fnref-17818-6' onclick='return fdfootnote_show(17818)'>6<\/a><\/sup><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Approaches like these are common and make the two Borghese works deceptively easy to discuss, particularly in the classroom, because they circumvent the works\u2019 violent content or subordinate it to an analysis of artistic skill.<\/p>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-gallery columns-2 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"750\" height=\"1000\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-1-750x1000.jpg\" alt=\"\" data-id=\"17812\" data-full-url=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-1-scaled.jpg\" data-link=\"http:\/\/artjournal.collegeart.org\/?attachment_id=17812\" class=\"wp-image-17812\" srcset=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-1-750x1000.jpg 750w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-1-375x500.jpg 375w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-1-150x200.jpg 150w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-1-1152x1536.jpg 1152w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-1-1536x2048.jpg 1536w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-1-720x960.jpg 720w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-1-560x747.jpg 560w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-1-scaled.jpg 1920w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><figcaption class=\"blocks-gallery-item__caption\">Gian Lorenzo Bernini, <em>Apollo and Daphne<\/em>, 1622\u201323 (photograph by Luciano Romano; provided by Galleria Borghese, Rome)<\/figcaption><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"750\" height=\"1000\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig-2-750x1000.jpg\" alt=\"\" data-id=\"17811\" data-full-url=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig-2-scaled.jpg\" data-link=\"http:\/\/artjournal.collegeart.org\/?attachment_id=17811\" class=\"wp-image-17811\" srcset=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig-2-750x1000.jpg 750w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig-2-375x500.jpg 375w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig-2-150x200.jpg 150w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig-2-1152x1536.jpg 1152w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig-2-1536x2048.jpg 1536w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig-2-720x960.jpg 720w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig-2-560x747.jpg 560w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig-2-scaled.jpg 1920w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><figcaption class=\"blocks-gallery-item__caption\">Gian Lorenzo Bernini, <em>Rape of Proserpina<\/em>, 1621\u201322 (photograph by Luciano Romano; provided by Galleria Borghese, Rome)<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">When teaching Italian Baroque art history, I see Bernini\u2019s <em>Apollo and Daphne<\/em> and <em>Rape of Proserpina<\/em> as opportunities to unpack complicated portrayals of sexual violence and to consider the potential varied impacts that art can have on audiences beyond their original message, time, and culture.<sup class='footnote'><a href='#fn-17818-7' id='fnref-17818-7' onclick='return fdfootnote_show(17818)'>7<\/a><\/sup> Trauma-aware<sup class='footnote'><a href='#fn-17818-8' id='fnref-17818-8' onclick='return fdfootnote_show(17818)'>8<\/a><\/sup> pedagogy plays an essential part in doing this work well.<sup class='footnote'><a href='#fn-17818-9' id='fnref-17818-9' onclick='return fdfootnote_show(17818)'>9<\/a><\/sup> In this essay I situate the teaching of Bernini within a contemporary climate that sees higher than ever incidences of sexual assault and rape on college campuses. I stress this positioning as necessary in acknowledging the historical and contemporary traumas these works evoke.<sup class='footnote'><a href='#fn-17818-10' id='fnref-17818-10' onclick='return fdfootnote_show(17818)'>10<\/a><\/sup> In recognizing the horror of Bernini\u2019s subjects, we can question how notions of aesthetic appeal and pedagogies that center the formal qualities of these objects perpetuate the narrative of gendered violence as normative. We can reposition the language of beauty to destabilize a period that many students predetermine as valuable\u2014or even as a synecdoche for art itself\u2014as well as the violence embedded in these works and the art historical canon. Teaching Bernini\u2019s <em>Rape of Proserpina<\/em> and <em>Apollo and Daphne<\/em> through a trauma-aware lens can offer salient moments to cultivate trust with students, reconcile beautiful objects with their disturbing and violent content, and build space for difficult dialogues about culturally and historically specific conceptions of sexual violence.<sup class='footnote'><a href='#fn-17818-11' id='fnref-17818-11' onclick='return fdfootnote_show(17818)'>11<\/a><\/sup> It can also present a valuable moment for instructors to reflect on how upholding frameworks like theatricality and drama in scholarly literature and the classroom might be discordant with contemporary realities, as well as illustrating how trauma-aware pedagogy can be used as a tool to deploy in redressing these incongruities.<\/p>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Sexual Violence and Campus Culture<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">The early modern period can feel like the distant past, allowing scholars and instructors to become desensitized to the horrors of mythological and historical stories. This is further exacerbated by the fact that tales and images of sexual violence against women have pervaded visual culture for centuries. The stories of the <em>Apollo and Daphne<\/em> and <em>Rape of Proserpina<\/em>\u2014which both involve male desire, pursuit, and abduction\u2014date back to ancient Greece and were later appropriated by the Romans as part of their own cultural identity.<sup class='footnote'><a href='#fn-17818-12' id='fnref-17818-12' onclick='return fdfootnote_show(17818)'>12<\/a><\/sup> I find neither of these stories easy to discuss in a contemporary classroom setting. Both are often treated as purely mythological with few ties to either historical or contemporary social justice concerns. This kind of \u201cdistanced objectivity,\u201d as psychologist Corrine Bertram and human development scholar M. Sue Crowley identify it, allows instructors to resist hosting direct conversations around difficult topics and can lead to a pathologization of survivors.<sup class='footnote'><a href='#fn-17818-13' id='fnref-17818-13' onclick='return fdfootnote_show(17818)'>13<\/a><\/sup> Instead, Bertram and Crowley propose that instructors need to teach their students\u2014which statistically will include survivors of sexual assault\u2014about the social conditioning that contributes to sexual violence.<sup class='footnote'><a href='#fn-17818-14' id='fnref-17818-14' onclick='return fdfootnote_show(17818)'>14<\/a><\/sup> In the case of Bernini\u2019s two sculptures, I tell my students that I have decided to talk about these pieces because rather than in spite of their difficult subjects. I contextualize how entrenched art historical themes like virtuosity and performance often skirt around discussions of potentially distressing topics like sexual violence.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Instructors\u2019 attempts at sounding impartial, removed, and unbiased, or at treating such subject matter dispassionately, can reinforce the notion that our classrooms are populated by students who never have been or will be affected by sexual assault. As intimated earlier, the statistics show otherwise. The Association of American Universities conducted a nationwide survey in 2015 with just twenty-seven participating universities and found that 23 percent of female undergraduate students reported that they were a victim of sexual assault or misconduct.<sup class='footnote'><a href='#fn-17818-15' id='fnref-17818-15' onclick='return fdfootnote_show(17818)'>15<\/a><\/sup> In 2019 an updated version revealed that victims continued to believe their assaults would not be taken seriously after reporting them to authorities.<sup class='footnote'><a href='#fn-17818-16' id='fnref-17818-16' onclick='return fdfootnote_show(17818)'>16<\/a><\/sup> Combined with the ongoing and inconsistent changes to Title IX which varies its levels of protections toward reporters of sexual misconduct and the accused depending on the political environment, the way that educators manage the topic of sexual assault has become increasingly fraught but all the more critical.<sup class='footnote'><a href='#fn-17818-17' id='fnref-17818-17' onclick='return fdfootnote_show(17818)'>17<\/a><\/sup> With little choice in the matter, college and university students actively participate in an inveterate campus culture in which many will become a victim or perpetrator of sexual assault during their program of study.<sup class='footnote'><a href='#fn-17818-18' id='fnref-17818-18' onclick='return fdfootnote_show(17818)'>18<\/a><\/sup><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Women\u2019s studies scholar Stacey Scriver and doctor Kieran M. Kennedy state, \u201cWhile sexual violence is ultimately an expression of power . . . social perceptions and reactions to sexual violence are shaped by knowledge, attitudes, and social norms.\u201d<sup class='footnote'><a href='#fn-17818-19' id='fnref-17818-19' onclick='return fdfootnote_show(17818)'>19<\/a><\/sup> It is in this light that we hold particular power to both historicize dismissive attitudes and to make space for students\u2019 contemporary reactions and lived experiences by connecting the past with the present. Objects like Bernini\u2019s Borghese sculptures visualize the power dynamics of sexual violence through the tactile details and active composition of the subjects. Teaching content related to gendered and sexualized violence helps to increase awareness around sexual assault and works to denormalize narratives that routinely and systematically violate women\u2014yet this must be done responsibly. With a trauma-aware lens, the teaching of gendered and sexualized violence acknowledges the humanity of both our historical subjects and our students, whose experiences might otherwise be rendered invisible or outside the purview of the classroom.<sup class='footnote'><a href='#fn-17818-20' id='fnref-17818-20' onclick='return fdfootnote_show(17818)'>20<\/a><\/sup><\/p>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Teaching <em>Daphne <\/em>and <em>Proserpina<\/em><\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">The topics of sexual violence and rape culture have the potential to activate strong emotions, not just in the binary categorization of victims and assailants, but also in students who may fall into the margins. By adopting a trauma-aware approach, teachers might consider: What do these objects mean to someone who either witnessed or was complicit in an act of sexual violence but did not intervene or report it? What do these objects mean to someone who was a victim of sexual assault but did not identify as such at the time? To someone who may have sexually assaulted someone or pushed a boundary that they later came to regret? To someone who has been a victim and a perpetrator at various points in their life? No answer to these questions could ever encompass every response to viewing and thinking about <em>Apollo and Daphne<\/em> and <em>Rape of Proserpina<\/em>. Moreover, most educators will not\u2014and should never seek to\u2014be aware of the specifics around the deeply personal student reactions that may be transpiring within the context of their classroom. As noted by activist and educator Dena Simmons, \u201cour students do not owe us their trauma for us to believe they deserve healing.\u201d<sup class='footnote'><a href='#fn-17818-21' id='fnref-17818-21' onclick='return fdfootnote_show(17818)'>21<\/a><\/sup> Instead, when we acknowledge the possibility that students might grapple with such questions, we validate their experiences and identities and make room for them to engage more fully with our course material and learning objectives. More than this, in the space of the art history classroom, we can help them see how systems of power elaborated in objects of the past refract in our contemporary debates around power, gender, sexuality, violence, and their entanglement.<sup class='footnote'><a href='#fn-17818-22' id='fnref-17818-22' onclick='return fdfootnote_show(17818)'>22<\/a><\/sup><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In addition to fostering an environment that allows students to be vulnerable and to take risks in the classroom and through their assignments, instructors might wish to model this openness in the classroom setting.<sup class='footnote'><a href='#fn-17818-23' id='fnref-17818-23' onclick='return fdfootnote_show(17818)'>23<\/a><\/sup> Before broaching potentially traumatizing or retraumatizing topics with my students, I find it imperative to establish and reiterate clear boundaries from the beginning of the course about the intentions and learning goals of the class, both in the syllabus and assignment prompts.<sup class='footnote'><a href='#fn-17818-24' id='fnref-17818-24' onclick='return fdfootnote_show(17818)'>24<\/a><\/sup> I provide content warnings throughout the course and am consistent and transparent about the objectives of each exercise and the course as a whole.<sup class='footnote'><a href='#fn-17818-25' id='fnref-17818-25' onclick='return fdfootnote_show(17818)'>25<\/a><\/sup> I am explicit about the fact that we study and discuss these subjects, not to reify sexual violence or normalize rape culture, but rather to reveal the ways that aestheticizing rape often treats its victims as necessary sacrifices to patriarchal pleasure or artistic intent. At the same time, I prepare to offer alternative assignments and follow-up conversations with students who would like to opt out of participating.<sup class='footnote'><a href='#fn-17818-26' id='fnref-17818-26' onclick='return fdfootnote_show(17818)'>26<\/a><\/sup> As trauma-informed scholars Janice Carello and Phyllis Thompson argue, \u201cOne important message that content warnings convey is that students are not trapped. Another important message is that we are on the students\u2019 side and collaborating with them toward the mutual goal of learning and succeeding in the course.\u201d<sup class='footnote'><a href='#fn-17818-27' id='fnref-17818-27' onclick='return fdfootnote_show(17818)'>27<\/a><\/sup> For me, it is vital to cultivate trust with my students and be open to extending multiple modalities to create accessible frameworks for studying these topics. With some of these approaches, instructors can ensure that topical issues like sexual violence become the focus of discussion.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Art history instructors may be familiar with rehearsing the formal qualities and historical reception of a work, but not necessarily with discussing sexual violence or trauma.<sup class='footnote'><a href='#fn-17818-28' id='fnref-17818-28' onclick='return fdfootnote_show(17818)'>28<\/a><\/sup> I was trained to believe that historical context was the key to a student\u2019s understanding of early modern art, and that teaching students, today, to adopt Michael Baxandall\u2019s \u201cperiod eye,\u201d served as a way for them to comprehend the significance of historical attitudes toward art objects.<sup class='footnote'><a href='#fn-17818-29' id='fnref-17818-29' onclick='return fdfootnote_show(17818)'>29<\/a><\/sup> The <em>Apollo and Daphne<\/em> and <em>Rape of Proserpina<\/em> were part of Bernini\u2019s early body of works. The sculptures launched his career and were lauded by the public. Bernini\u2019s contemporary and earliest biographer Filippo Baldinucci (1624\u20131696) noted that it was \u201cfutile\u201d to describe the \u201cmarvels\u201d of the <em>Apollo and Daphne<\/em>, because \u201cit surpasses anything imaginable. In the eyes of the expert and learned, Bernini\u2019s Daphne always was and always will be a miracle of art, since it is in itself the standard of excellence.\u201d<sup class='footnote'><a href='#fn-17818-30' id='fnref-17818-30' onclick='return fdfootnote_show(17818)'>30<\/a><\/sup> Baxandall\u2019s approach allows us to reconstruct this important historical context and reception, positioning them as objects within their own cultures and regaining their revolutionary status, an important step in recognizing how and why these works have attracted and continue to appeal to audiences. Nevertheless, an exclusive emphasis on original context, combined with historical distancing, can lead to instructors obfuscating or ignoring connections across time and culture. It can also deny us, as instructors, the chance to connect with the diverse identities and lived experiences of our students and ourselves. A \u201cdistanced objectivity\u201d might provide a more comfortable and reliable space for us to inhabit as teachers, but it fails to acknowledge that students will relate historical objects to present circumstances and apply themes to contemporary concerns with or without our initiatives.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In Bernini\u2019s time, images of sexual violence themselves were not disturbing enough to warrant public censure, and extant documentation of the <em>Apollo and Daphne<\/em> reveal the social conditioning of an audience that was encouraged to disengage and distance themselves from Daphne\u2019s assault, a positioning that has largely survived today. Early visitors and close friends of the patron Cardinal Scipione Borghese (1576\u20131633), for example, concerned themselves not with the violence of the scene, but rather how the representation of a pagan story and female nudity in the <em>Apollo and Daphne<\/em> might sully Borghese\u2019s reputation.<sup class='footnote'><a href='#fn-17818-31' id='fnref-17818-31' onclick='return fdfootnote_show(17818)'>31<\/a><\/sup> Cardinal Fran\u00e7ois d\u2019Escoubleau de Sourdis (1575\u20131628) wrote, \u201cThe figure of a lovely naked girl might disturb those who saw it.\u201d<sup class='footnote'><a href='#fn-17818-32' id='fnref-17818-32' onclick='return fdfootnote_show(17818)'>32<\/a><\/sup> To prevent this possible outcome, Borghese\u2019s friend Cardinal Maffeo Barberini, later Pope Urban VIII (r. 1623\u201344), carved a moralizing Latin inscription at the base of the statue: <em>Quisquis amans sequitur fugitivae gaudia formae, Fronde manus implet, baccas seu carpit amaras<\/em> (The lover who would fleeting beauty clasp, plucks bitter fruit, dry leaves are all he\u2019ll grasp).<sup class='footnote'><a href='#fn-17818-33' id='fnref-17818-33' onclick='return fdfootnote_show(17818)'>33<\/a><\/sup><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Barberini\u2019s text provides an example of how viewing and interpretation can be policed both in the past and present. Teachers might ask students to unpack how adding the moralizing inscription can shift the meaning of Bernini\u2019s work, how the text points to the viewer\u2019s lust and relegates the sexual assault to a particular sense of male desire, how it positions audiences as Apollo in his pursuit, and how it prioritizes the decorum of a Catholic dignitary\u2014who possesses a larger-than-life-size sculpture in the round of a naked female figure fleeing from a violent god\u2014over the eternal horror as evinced in Daphne\u2019s body language and facial expression. In doing so, instructors can consider for themselves how all these interventions reinforce patriarchal structures of viewing, position us as a specific type of visual reader, and deny the possibility of ever humanizing Daphne or centering her experience.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Multiple cross-disciplinary scholars have underscored the perils of framing incidences of sexual violence as isolated historical events. Literary scholar Suzanne Edwards argues that focusing exclusively on historical moments of sexual assault both conveys to students that the issue is irrelevant to today\u2019s concerns and misses an opportunity to critically examine students\u2019 attitudes toward the subject.<sup class='footnote'><a href='#fn-17818-34' id='fnref-17818-34' onclick='return fdfootnote_show(17818)'>34<\/a><\/sup> Early modern studies and human rights scholar Kirsten N. Mendoza used her classes on William Shakespeare\u2019s <em>The Rape of Lucrece<\/em> as a chance to talk about the concurrent rape trials of two former football players from the institution at which she was teaching.<sup class='footnote'><a href='#fn-17818-35' id='fnref-17818-35' onclick='return fdfootnote_show(17818)'>35<\/a><\/sup> In my Baroque classes, if I do not address the violent subject matter surrounding Bernini\u2019s <em>Apollo and Daphne<\/em> or <em>Rape of Proserpina<\/em>, I risk conditioning my students to ignore these sculptures\u2019 content in the way I was taught, or to dismiss their experiences in deference to fixed art historical frameworks.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">When providing historical context we must include as full a picture as possible of the time and culture, including the prevalence of violent acts such as rape in the early modern period, even when that picture is emotionally provocative and potentially disturbing.<sup class='footnote'><a href='#fn-17818-36' id='fnref-17818-36' onclick='return fdfootnote_show(17818)'>36<\/a><\/sup> For instance, the violent behaviors of seventeenth-century artists in Rome like Michelangelo Merisi da Caravaggio (1571\u20131610) and poet Giambattista Marino (1569\u20131625) are well-established.<sup class='footnote'><a href='#fn-17818-37' id='fnref-17818-37' onclick='return fdfootnote_show(17818)'>37<\/a><\/sup> Instructors who delve into artists\u2019 biographies would also need to grapple with Bernini\u2019s violent history\u2014of sending his servant to slash the face of his mistress Costanza Bonarelli (ca. 1614\u20131662) for taking on another lover, Bernini\u2019s brother Luigi\u2014without romanticizing, normalizing, or risking the reification of male, artistic genius.<sup class='footnote'><a href='#fn-17818-38' id='fnref-17818-38' onclick='return fdfootnote_show(17818)'>38<\/a><\/sup> However, educators who approach materials with a trauma-aware lens might also emphasize a plurality of historical viewpoints to allow for the possibility that some in the early modern period may have always found images like Bernini\u2019s sculptures to be violent and disturbing.<sup class='footnote'><a href='#fn-17818-39' id='fnref-17818-39' onclick='return fdfootnote_show(17818)'>39<\/a><\/sup> By opening up discussions to this possibility, students can learn that historical attitudes toward portrayals of sexual assault lack stability across time and region.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Since as late as 1650 the <em>Apollo and Daphne<\/em> has been on view to the public and has had an entire room dedicated to its display, the Stanza di Dafne.<sup class='footnote'><a href='#fn-17818-40' id='fnref-17818-40' onclick='return fdfootnote_show(17818)'>40<\/a><\/sup> Scholars have placed great importance on identifying how the early modern visitor navigated the Villa and on reconstructing the narrative program of Bernini\u2019s sculpture.<sup class='footnote'><a href='#fn-17818-41' id='fnref-17818-41' onclick='return fdfootnote_show(17818)'>41<\/a><\/sup> The <em>Apollo and Daphne<\/em> was originally displayed against a wall, and viewers were meant to walk halfway around it from left to right to reveal a continuous scene.<sup class='footnote'><a href='#fn-17818-42' id='fnref-17818-42' onclick='return fdfootnote_show(17818)'>42<\/a><\/sup> Joy Kenseth argues for a particular order in reading the work, beginning with Apollo\u2019s back, moving with the angle of his body to his pursuit of the distressed Daphne\u2014whose extended arm continues the compositional incline and shows her right fingers beginning to metamorphose into laurel leaves\u2014and ending with a return to Apollo.<sup class='footnote'><a href='#fn-17818-43' id='fnref-17818-43' onclick='return fdfootnote_show(17818)'>43<\/a><\/sup> We see the efficacy of Kenseth\u2019s framing, where \u201cApollo gains our sympathy . . . and [we] notice too that the most poignant sense of loss has registered on his face.\u201d<sup class='footnote'><a href='#fn-17818-44' id='fnref-17818-44' onclick='return fdfootnote_show(17818)'>44<\/a><\/sup> This established way of looking, though, does a couple things: it sublimates the viewer\u2019s experience into the mindset of a particular imagined period viewer (masculine, white, and powerful) that by default becomes the principal worldview.<strong> <\/strong>Additionally, with this specific narrative program, the compassion that we as viewers cultivate is reserved for the aggressor, Apollo, and not Daphne. Scipione Borghese may have planned to impress and delight through Bernini\u2019s display of virtuoso talent, but this pleasure in looking cannot be divorced from the violence that is inherent within the work and unfolds as one interacts with the sculpture. The viewer needs to engage with and activate the scenes of sexual violence in real time to thoroughly comprehend Bernini\u2019s artistic choices. These objects might very well have affected early modern audiences negatively, and if we open ourselves and our students to the possibilities of diversifying the period eye, as many feminist art historians have done already, we can work toward disaggregating the audience\u2019s experience and against perpetuating a dominant way of looking that has been informed by patriarchal viewing.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This prescribed method of looking also<strong> <\/strong>implicates the viewer in the violence by forcing us to be passive observers, a state in which the viewer can neither intervene nor object to the violence, as it has been protected by its moralizing inscription, the guise of aesthetic appeal, Bernini\u2019s craft, and the element of spectacle. By considering divergent viewpoints that stray from artistic and patron intent, we give agency to our students in the classroom. We also begin to accept that objects that have been on display for public consumption for centuries to diverse populations would have varying impacts that are just as valid as the original message of the work. To echo Genevieve Warwick in her description of Bernini\u2019s <em>Apollo and Daphne<\/em>, we can \u201cfree the piece from the burden of fixed meaning.\u201d<sup class='footnote'><a href='#fn-17818-45' id='fnref-17818-45' onclick='return fdfootnote_show(17818)'>45<\/a><\/sup><\/p>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Complicating Gendered Narratives Around Sexual Violence in the Classroom and Beyond<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">To generate even more impactful discussions in the classroom around the issue of sexual violence in early modern Italy, I juxtapose Bernini\u2019s <em>Rape of Proserpina<\/em> with Artemisia Gentileschi\u2019s (1593\u2013ca. 1654) <em>Susanna and the Elders<\/em> (1610). As an early modern scholar, I have yet to find a direct comparison of these works. Proserpina and Susanna\u2019s body positions mirror one another, but art historical writing does not often treat these works in shared spaces or with the same lens.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<figure class=\"wp-block-gallery columns-2 wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"746\" height=\"1000\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-3-cropped-746x1000.jpg\" alt=\"\" data-id=\"17850\" data-full-url=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-3-cropped.jpg\" data-link=\"http:\/\/artjournal.collegeart.org\/?attachment_id=17850\" class=\"wp-image-17850\" srcset=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-3-cropped-746x1000.jpg 746w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-3-cropped-373x500.jpg 373w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-3-cropped-149x200.jpg 149w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-3-cropped-720x965.jpg 720w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-3-cropped-560x751.jpg 560w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-3-cropped.jpg 864w\" sizes=\"auto, (max-width: 746px) 100vw, 746px\" \/><figcaption class=\"blocks-gallery-item__caption\">Artemisia Gentileschi, <em>Susanna and the Elders<\/em>, 1610, oil on canvas, 66 9\/10 x 46 4\/5 in. (170 x 119 cm) (photograph \u00a9 Kunstsammlungen Graf von Sch\u00f6nborn; image provided by Schloss Wei\u00dfenstein, Pommersfelden)<\/figcaption><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"751\" height=\"1000\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-4-751x1000.jpg\" alt=\"\" data-id=\"17804\" data-full-url=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-4.jpg\" data-link=\"http:\/\/artjournal.collegeart.org\/?attachment_id=17804\" class=\"wp-image-17804\" srcset=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-4-751x1000.jpg 751w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-4-375x500.jpg 375w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-4-150x200.jpg 150w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-4-1154x1536.jpg 1154w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-4-1538x2048.jpg 1538w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-4-720x959.jpg 720w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-4-560x746.jpg 560w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2023\/03\/ARK_Hard-Lessons_Fig.-4.jpg 1888w\" sizes=\"auto, (max-width: 751px) 100vw, 751px\" \/><figcaption class=\"blocks-gallery-item__caption\">Gian Lorenzo Bernini, <em>Rape of Proserpina<\/em>, detail (photograph provided by the author)<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Scholarly literature and audiences tend to delight in the drama of Proserpina\u2019s elegant strain and rejection of Pluto, perhaps noting the details of Pluto\u2019s fingers pressing into Proserpina\u2019s thigh and the two low-relief tears on her left cheek. Alternatively, when analyzing Gentileschi\u2019s painting of the biblical subject, scholars and viewers more readily humanize Susanna as she repels the lecherous advances of two older men. Sarah McPhee notes that in the seventeenth century Susanna symbolized \u201cthe plight of the defenseless woman who, caught in the web of the powerful, is damned by every choice.\u201d<sup class='footnote'><a href='#fn-17818-46' id='fnref-17818-46' onclick='return fdfootnote_show(17818)'>46<\/a><\/sup> Perhaps this immediate reading carries through to today. Scholars often describe Bernini\u2019s work as exemplary of Baroque drama and compositional dynamism and Gentileschi\u2019s as a female artist\u2019s expression of personal frustration projected onto her central figure, perhaps a self-portrait, even though she signed and dated <em>Susanna<\/em> before her own rape in 1611.<sup class='footnote'><a href='#fn-17818-47' id='fnref-17818-47' onclick='return fdfootnote_show(17818)'>47<\/a><\/sup> Asking students to articulate why the two images by Bernini and Gentileschi have been read differently by art historians could underscore critical teaching objectives regarding the dichotomy between aesthetic appeal and violence, the audience as passive voyeur, the <em>querelle des femmes<\/em>, as well as gendered reception.<sup class='footnote'><a href='#fn-17818-48' id='fnref-17818-48' onclick='return fdfootnote_show(17818)'>48<\/a><\/sup> This comparison also reveals how, in many ways, we have become accustomed to detaching Bernini\u2019s violent history from our reading of Proserpina\u2019s assault, while Gentileschi\u2019s proximity to Susanna\u2019s experience seems indelible to our understanding of the female artist\u2019s work. This difference in the treatment of the two works presents an effective pedagogical moment for students to assess how and why art historians and instructors frequently centralize Gentileschi\u2019s gender and her rape, which has colored how audiences view her artistic production.<sup class='footnote'><a href='#fn-17818-49' id='fnref-17818-49' onclick='return fdfootnote_show(17818)'>49<\/a><\/sup><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In their teaching of Gentileschi, instructors could raise the issue of how much weight we should give artists\u2019 biographies and extant historical records. Social historian Elizabeth S. Cohen argues that we should not treat the well-documented testimonies involving Gentileschi\u2019s rape trial of 1612 as objective facts but rather complicated records \u201cshaped by knowledge, interests, and testimony\u201d as opposed to \u201ca single, coherent truth.\u201d<sup class='footnote'><a href='#fn-17818-50' id='fnref-17818-50' onclick='return fdfootnote_show(17818)'>50<\/a><\/sup> This shifting of perspectives further undermines traditional art historical approaches that insist on framing all of Gentileschi\u2019s works through these accounts. The comparison between Bernini\u2019s <em>Rape of Proserpina<\/em> and Gentileschi\u2019s <em>Susanna<\/em> serves to disrupt the principal narratives surrounding both artists, as well as show students how these fallible frameworks require some reassessment.<sup class='footnote'><a href='#fn-17818-51' id='fnref-17818-51' onclick='return fdfootnote_show(17818)'>51<\/a><\/sup> Discussions about sexual violence in the early modern period should be just as much an admission of its existence and complications as a chance to parse its complexities today, especially when students must introspect about how dominant and patriarchal perspectives impact our ingrained positionalities on women and rape culture.<\/p>\n\n\n\n<div style=\"height:23px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Past and Present <\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">According to comparative literature and gender studies scholar Gloria Orenstein, when we study representations of women by male artists, \u201cwe recognize that art is a double-edged weapon, for it can render a morally repugnant or humiliating situation with such grace and beauty that we may be seduced into accepting the image as one worthy of imitation in our own lives.\u201d<sup class='footnote'><a href='#fn-17818-52' id='fnref-17818-52' onclick='return fdfootnote_show(17818)'>52<\/a><\/sup> Bernini\u2019s <em>Apollo and Daphne <\/em>and <em>Rape of Proserpina<\/em> represent sexually violent subjects, and scholarly literature often overlooks or subsumes this violence under familiar frameworks like theatricality, drama, and virtuosity. When discussing these works, we as instructors might feel more comfortable inhabiting a space of historical distancing, perhaps because that was how art historical teaching was modeled to us. We might find it easier to not engage in topics that are emotionally provocative, or topics outside the scope of this essay that might be politically divisive, where there are no clear answers or consistent institutional policies. We might also avoid such topics out of fear of teaching it wrong. To be clear, there are no easy or singular answers to or strategies for how teachers should navigate the topic of sexual violence in the classroom, especially considering that the capacity for deep and thoughtful conversations shifts when teaching in a smaller classroom as opposed to a larger survey. Teachers must make informed judgment calls about what is most feasible to them. Still, I would argue that even this simple acknowledgment to students is a start: they must learn in higher education that neatly packaged narratives crafted by the textbook and reinforced in the classroom come at the expense of fraught and tangled histories, and that these narratives have lasting repercussions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Teaching with trauma awareness can allow instructors to better understand their students. It also lets students connect classroom material to their lived experiences, think critically, engage with the material more deeply, and feel supported by their teachers in this learning process. It encourages growth that extends beyond the classroom. With a trauma-aware approach, teachers might also reflect on their own experiences as students, the traumas they may have endured, and the response (or lack thereof) to those traumas.<sup class='footnote'><a href='#fn-17818-53' id='fnref-17818-53' onclick='return fdfootnote_show(17818)'>53<\/a><\/sup> For me, teaching is about challenging students to confront their and my biases and perspectives, creating points for powerful reflections and discussions on how and why we talk about topics like gendered and sexual violence differently in historical contexts, assessing what factors contribute to these viewpoints, and determining where we can go from here.<sup class='footnote'><a href='#fn-17818-54' id='fnref-17818-54' onclick='return fdfootnote_show(17818)'>54<\/a><\/sup><\/p>\n\n\n\n<div style=\"height:23px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Allison Kim <\/strong>is an art historian. She received her PhD from the University of Texas at Austin in 2019 and has held teaching appointments at the University of Texas at Austin, Skidmore College, and Wake Forest University. She specializes in early modern visual culture in Italy, with research interests in memory, identity, and historical construct.<\/p>\n\n\n\n<div style=\"height:44px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class='footnotes' id='footnotes-17818'><div class='footnotedivider'><\/div><ol><li id='fn-17818-1'>The standard survey art history textbooks that I have consulted are Marilyn Stokstad and Michael W. Cothren, <em>Art: A Brief History<\/em>, 7th ed. (Boston: Pearson, 2020); Marilyn Stokstad and Michael W. Cothren, <em>Art History<\/em>, 6th ed. (Boston: Pearson, 2018); Fred S. Kleiner, <em>Gardner\u2019s Art Through the Ages: A Global History<\/em>, 2 vols, 16th ed. (Boston: Cengage, 2020); Penelope J. E. Davies et al., <em>Janson\u2019s History of Art: The Western Tradition<\/em>, rev. ed. (Boston: Pearson, 2016). <span class='footnotereverse'><a href='#fnref-17818-1'>&#8617;<\/a><\/span><\/li><li id='fn-17818-2'>General survey art history textbooks, like Stokstad and Cothren\u2019s, tend to characterize the European Baroque as a time of extravagance, drama, and emotion: \u201cDramatically lit, theatrical compositions often combine several media within a single work as artists highlight their technical virtuosity. . . . Viewers participated in works of art like audiences in a theater\u2014vicariously but completely\u2014as the work of art drew them visually and emotionally into its orbit.\u201d See <em>Art History<\/em>, 726\u201327. Art history textbooks specific to the European Baroque, like Ann Sutherland Harris\u2019s, provide more nuance to the region and period, while also acknowledging these enduring characteristics: \u201cWhat began as an insult has become a more positive word associated with energy, emotion, drama, even extravagance, qualities believed to be especially characteristic of the arts of seventeenth-century Europe. Thus the word is often adopted to embrace all seventeenth-century art, whether or not it exemplifies these qualities.\u201d See <em>Seventeenth-Century Art &amp; Architecture<\/em>, 2nd ed. (Upper Saddle River, NJ: Pearson, 2008), 88. <span class='footnotereverse'><a href='#fnref-17818-2'>&#8617;<\/a><\/span><\/li><li id='fn-17818-3'>Bernini\u2019s artistic production is deeply entangled with theater and performance in both literal and theoretical forms, as Genevieve Warwick and others have explored. See especially Warwick, <em>Bernini: Art as Theatre<\/em> (New Haven: Yale University Press, 2012). <span class='footnotereverse'><a href='#fnref-17818-3'>&#8617;<\/a><\/span><\/li><li id='fn-17818-4'>The <em>Apollo and Daphne<\/em> and <em>Rape of Proserpina<\/em> were originally intended for Borghese\u2019s pleasure palace, the Casino, but the patron gifted the latter soon after its completion to the Ludovisi family villa, where it was displayed until 1908. The Italian State returned the work to the Villa Borghese, where the <em>Rape of Proserpina<\/em> has resided since. <span class='footnotereverse'><a href='#fnref-17818-4'>&#8617;<\/a><\/span><\/li><li id='fn-17818-5'>Robert Neuman, <em>Baroque and Rococo Art and Architecture<\/em> (Boston: Pearson, 2013), 101. <span class='footnotereverse'><a href='#fnref-17818-5'>&#8617;<\/a><\/span><\/li><li id='fn-17818-6'>Harris, <em>Seventeenth-Century Art<\/em>, 88. <span class='footnotereverse'><a href='#fnref-17818-6'>&#8617;<\/a><\/span><\/li><li id='fn-17818-7'>There are a host of factors that might limit or inform an instructor\u2019s options for teaching. I offer suggestions and examples specific to my teaching experiences at various institutions in higher education and hope that instructors reading this essay will find at least some of its content to be relevant or helpful to their own courses, whatever those may be and whatever form they take. <span class='footnotereverse'><a href='#fnref-17818-7'>&#8617;<\/a><\/span><\/li><li id='fn-17818-8'>In this essay I use the term \u201ctrauma-aware,\u201d as the Missouri Department of Mental Health defines it: \u201cSchool staff have been informed about trauma, including historical and community trauma, are able to comfortably speak to its impacts, and have begun to consider how to translate that information into changes within the school.\u201d It is distinct from other terms like \u201ctrauma-informed\u201d and \u201ctrauma-responsive,\u201d which involve more institution-wide changes. See <a href=\"https:\/\/dmh.mo.gov\/media\/pdf\/missouri-model-trauma-informed-schools\">\u201cMissouri Model for Trauma-Informed Schools,\u201d<\/a> 6. See also Karen Costa, <a href=\"https:\/\/youtu.be\/_dy8u_sUvhQ\">\u201cWhy I Use \u2018Trauma-Aware\u2019 Instead of \u2018Trauma-Informed,\u2019\u201d<\/a> November 2020. <span class='footnotereverse'><a href='#fnref-17818-8'>&#8617;<\/a><\/span><\/li><li id='fn-17818-9'>SAMHSA (Substance Abuse and Mental Health Services Administration) developed six key principles and ten implementation domains that have served as the cornerstone for trauma-informed pedagogy. See <a href=\"https:\/\/store.samhsa.gov\/product\/SAMHSA-s-Concept-of-Trauma-and-Guidance-for-a-Trauma-Informed-Approach\/SMA14-4884\">\u201cSAMHSA\u2019s Concept of Trauma and Guidance for a Trauma-Informed Approach,\u201d<\/a> SAMHSA\u2019s Trauma and Justice Strategic Initiative, July 2014. For some approaches to trauma-aware and trauma-informed teaching, see Karen Costa, <a href=\"https:\/\/bit.ly\/traumachecklist\">\u201cTrauma-Aware Teaching Checklist\u201d<\/a>; Phyllis Thompson and Janice Carello, eds., <em>Trauma-Informed Pedagogies: A Guide for Responding to Crisis and Inequality in Higher Education<\/em> (Cham, Switzerland: Palgrave Macmillan, 2022). <span class='footnotereverse'><a href='#fnref-17818-9'>&#8617;<\/a><\/span><\/li><li id='fn-17818-10'>For information on how trauma affects the brain, see Mays Imad, \u201cOur Brains, Emotions, and Learning: Eight Principles of Trauma-Informed Teaching,\u201d in <em>Trauma-Informed Pedagogies<\/em>, 35\u201347; <a href=\"https:\/\/www.insidehighered.com\/advice\/2020\/06\/03\/seven-recommendations-helping-students-thrive-times-trauma\">\u201cLeveraging the Neuroscience of Now,\u201d<\/a> <em>Inside Higher Ed<\/em> (June 2020). <span class='footnotereverse'><a href='#fnref-17818-10'>&#8617;<\/a><\/span><\/li><li id='fn-17818-11'>Trauma-aware pedagogy is an iterative process and, in my experience, requires teachers to be attuned to audiences that themselves are neither static nor monolithic. I acknowledge the harsh realities of the academic workforce and the choices that all faculty, whether they hold permanent or contingent roles, must make in their teaching practices and course development. This essay provides suggestions to those who have the capacity to modify their teachings of seventeenth-century European art and visual culture. <span class='footnotereverse'><a href='#fnref-17818-11'>&#8617;<\/a><\/span><\/li><li id='fn-17818-12'>In the <em>Apollo and Daphne<\/em>, the god Apollo pursues the nymph Daphne in a lustful rage after being struck by Cupid\u2019s arrow. Apollo fails, as Daphne\u2019s father, the river god Peneus, \u201csaves\u201d his daughter by transforming her into a laurel tree. In the <em>Rape of Proserpina<\/em>, the god Pluto uses force and later deception through pomegranate seeds to abduct and then keep Proserpina in the underworld with him. While the exact origins of the story of Apollo and Daphne are unknown, those in the early modern period would have likely consulted Ovid\u2019s (43 BCE\u201317 CE) <em>Metamorphoses<\/em>. See Ovid, <em>Metamorphoses, Volume I: Books 1\u20138<\/em>, trans. Frank Justus Miller (Cambridge, MA: Harvard University Press, 1916), 1.452\u2013587. The <em>Homeric Hymns<\/em> detail the story of the rape of Proserpina. See <em>Homeric Hymns. Homeric Apocrypha. Lives of Homer<\/em>, ed. and trans. Martin L. West (Cambridge, MA: Harvard University Press, 2003), 2.1\u2013495. <span class='footnotereverse'><a href='#fnref-17818-12'>&#8617;<\/a><\/span><\/li><li id='fn-17818-13'>Corrine C. Bertram and M. Sue Crowley, \u201cTeaching About Sexual Violence in Higher Education: Moving from Concern to Conscious Resistance,\u201d <em>Frontiers: A Journal of Women Studies<\/em> 33, no. 1 (2012): 63\u201364, 70. <span class='footnotereverse'><a href='#fnref-17818-13'>&#8617;<\/a><\/span><\/li><li id='fn-17818-14'>Bertram and Crowley, \u201cTeaching Sexual Violence,\u201d 65. <span class='footnotereverse'><a href='#fnref-17818-14'>&#8617;<\/a><\/span><\/li><li id='fn-17818-15'>There was only a 19.3 percent response rate. See <a href=\"https:\/\/www.aau.edu\/key-issues\/aau-climate-survey-sexual-assault-and-sexual-misconduct-2015\">\u201cAAU Climate Survey on Sexual Assault and Sexual Misconduct (2015),\u201d<\/a> last modified September 3, 2015. <span class='footnotereverse'><a href='#fnref-17818-15'>&#8617;<\/a><\/span><\/li><li id='fn-17818-16'>Mary Sue Coleman, <a href=\"https:\/\/www.aau.edu\/key-issues\/campus-climate-and-safety\/aau-campus-climate-survey-2019\">\u201cAAU Campus Climate Survey (2019),\u201d<\/a> last modified October 15, 2019. The AAU reconducted their survey in 2019 with twenty-one schools participating, and the results increased slightly, though were not statistically significant. See \u201cReport on the AAU Climate Survey on Sexual Assault and Sexual Misconduct.\u201d <span class='footnotereverse'><a href='#fnref-17818-16'>&#8617;<\/a><\/span><\/li><li id='fn-17818-17'>Sarah Brown, <a href=\"https:\/\/www.chronicle.com\/article\/is-a-fair-title-ix-system-possible\">\u201cIs a Fair Title IX System Possible?\u201d<\/a> <em>The Chronicle of Higher Education<\/em> (May 2021); Lee Gardner, <a href=\"https:\/\/www.chronicle.com\/article\/with-title-ix-guidance-in-flux-it-may-be-open-hunting-season-for-lawyers\/\">\u201cWith Title IX Guidance in Flux, It May Be \u2018Open Hunting Season\u2019 for Lawyers,\u201d<\/a> <em>The Chronicle of Higher Education<\/em> 64, no. 8 (October 2017). For the most recent changes (at the time of writing) to Title IX policies, see The United States Department of Education, <a href=\"https:\/\/www2.ed.gov\/about\/offices\/list\/ocr\/docs\/202107-qa-titleix.pdf\">\u201cQuestions and Answers on the Title IX Regulations on Sexual Harassment (July 2021),\u201d<\/a> last modified June 28, 2022. <span class='footnotereverse'><a href='#fnref-17818-17'>&#8617;<\/a><\/span><\/li><li id='fn-17818-18'>Systematic studies of campus sexual assault are fairly uncommon and seem to vary on an institutional level. For instance, in 2018, 48 percent of female undergraduate students at Duke University reported that they experienced sexual assault in some form. See Lisa Fedina, Jennifer Lynne Holmes, and Bethany L. Backes, \u201cCampus Sexual Assault: A Systematic Review of Prevalence Research From 2000 to 2015,\u201d <em>Trauma, Violence, &amp; Abuse<\/em> 19, no. 1 (2018): 76\u201393; Katherine Mangan, <a href=\"https:\/\/www.chronicle.com\/article\/48-of-female-undergrads-at-duke-say-they-were-sexually-assaulted-while-enrolled-up-sharply-from-2016\/\">\u201c48% of Female Undergrads at Duke Say They Were Sexually Assaulted While Enrolled, Up Sharply from 2016,\u201d<\/a><em> The Chronicle of Higher Education<\/em> 65, no. 25 (March 2019). <span class='footnotereverse'><a href='#fnref-17818-18'>&#8617;<\/a><\/span><\/li><li id='fn-17818-19'>Stacey Scriver and Kieran M. Kennedy, \u201cDelivering education about sexual violence: reflections on the experience of teaching a sensitive topic in the social and health sciences,\u201d <em>Irish Educational Studies<\/em> 35, no. 2 (2016): 196. <span class='footnotereverse'><a href='#fnref-17818-19'>&#8617;<\/a><\/span><\/li><li id='fn-17818-20'>Additionally, while Bernini\u2019s sculptures and many Greco-Roman mythological stories focus on sexual violence against women, it is crucial to also affirm with students that sexual violence against male, trans, and nonbinary students are equally serious topics. With male students, the cases of student reporting tend to be statistically lower, not necessarily because of fewer occurrences, but because of social stigma and conditioning surrounding male victims. A study in 2017 of undergraduate students at a midsized university in Pennsylvania concluded that while female students were more likely to report unwanted sexual contact, both male and female students reported similar rates of rape and attempted rape, and the differences in cases of sexual coercion were marginal. See Cristina L. Reitz-Krueger, Sadie J. Mummert, and Sara M. Troupe, \u201cReal Men Can\u2019t Get Raped: An Examination of Gendered Rape Myths and Sexual Assault Among Undergraduates,\u201d <em>Journal of Aggression, Conflict and Peace Research<\/em> 9, no. 4 (2017): 318. <span class='footnotereverse'><a href='#fnref-17818-20'>&#8617;<\/a><\/span><\/li><li id='fn-17818-21'>Dena Simmons, <a href=\"https:\/\/www.ascd.org\/el\/articles\/the-trauma-we-dont-see\">\u201cConfronting Inequity \/ The Trauma We Don\u2019t See,\u201d<\/a><em> Educational Leadership<\/em> 77, no. 8 (May 2020). <span class='footnotereverse'><a href='#fnref-17818-21'>&#8617;<\/a><\/span><\/li><li id='fn-17818-22'>The history of art is replete with traumatic images and content, something with which the discipline needs to contend in the classroom. Instructors of art and visual culture, as much as they may not intend to traumatize or retraumatize their students, might still prepare for those possible outcomes, given art history\u2019s inability to avoid uncomfortable conversations altogether. Teachers can volunteer information on campus resources and encourage students to use them, especially institutions that champion mental health and diversity, equity, inclusivity, and accessibility. For strategies on inclusive teaching, see Viji Sathy and Kelly A. Hogan, <a href=\"https:\/\/www.chronicle.com\/article\/how-to-make-your-teaching-more-inclusive\">\u201cHow to Make Your Teaching More Inclusive,\u201d<\/a><em> The Chronicle of Higher Education<\/em>; Karen Oehme, et al, \u201cA Trauma-Informed Approach to Building College Students\u2019 Resilience,\u201d <em>Journal of Evidence-Based Social Work<\/em> 16, no. 1 (2019): 93\u2013107. <span class='footnotereverse'><a href='#fnref-17818-22'>&#8617;<\/a><\/span><\/li><li id='fn-17818-23'>Kirsten N. Mendoza, \u201cSexual Violence, Trigger Warnings, and the Early Modern Classroom,\u201d in <em>Teaching Social Justice through Shakespeare: Why Renaissance Literature Matters Now<\/em>, eds. Hillary Eklund and Wendy Beth Hyman (Edinburgh University Press, 2019), 103. <span class='footnotereverse'><a href='#fnref-17818-23'>&#8617;<\/a><\/span><\/li><li id='fn-17818-24'>For example, in my Baroque course from spring 2020, I layered readings, thinking points, and assessment summaries that present multiple ways of addressing theater and performance, beginning with readings that explore these themes with a more traditional lens and ending with theoretical conceptions of both as tools to demonstrate power, identity, and social status. Teachers might consider structuring their classes to show students how this period was significant then and how it has served subsequent art historical periods. <span class='footnotereverse'><a href='#fnref-17818-24'>&#8617;<\/a><\/span><\/li><li id='fn-17818-25'>There is continued debate over the efficacy of content warnings. I do not think content warnings serve as blanket solutions to inclusive teaching, but find them to be highly useful in my present-day teaching when they are coupled with other modes of inclusive teaching. <span class='footnotereverse'><a href='#fnref-17818-25'>&#8617;<\/a><\/span><\/li><li id='fn-17818-26'>Creating trust in the classroom and maintaining a learning space in which students feel safe are two cornerstones of my pedagogical practice. If a student were to express interest in an alternative assignment and after speaking with them individually, I would consult with the appropriate campus resource that provides academic support and specializes in mental health services. The modified assignment would maintain the same learning objectives as the original lesson plan, but would be shaped by all parties, giving agency to the individual student and preserving as much as possible their mental well-being. <span class='footnotereverse'><a href='#fnref-17818-26'>&#8617;<\/a><\/span><\/li><li id='fn-17818-27'>See Janice Carello and Phyllis Thompson, \u201cWhat Are We Centering? Developing a Trauma-Informed Syllabus,\u201d in <em>Trauma-Informed Pedagogies<\/em>, 212. <span class='footnotereverse'><a href='#fnref-17818-27'>&#8617;<\/a><\/span><\/li><li id='fn-17818-28'>Beginning to address hard topics like sexual violence and trauma would require additional labor, and a fundamental reframing of how instructors think about and teach sensitive topics to their students might feel like a daunting and impossible task. As noted by the Missouri Department of Mental Health, \u201cTrauma informed should feel like a through-line, improving existing programs and practices, replacing ones that no longer serve the needs of students, and creating an environment in which it is ultimately easier and healthier to educate.\u201d See \u201cMissouri Model,\u201d 2. <span class='footnotereverse'><a href='#fnref-17818-28'>&#8617;<\/a><\/span><\/li><li id='fn-17818-29'>Michael Baxandall, <em>Painting and Experience in Fifteenth Century Italy: A Primer in the Social History of Pictorial Style<\/em> (Oxford\/New York: Oxford University Press, 1972). <span class='footnotereverse'><a href='#fnref-17818-29'>&#8617;<\/a><\/span><\/li><li id='fn-17818-30'>Filippo Baldinucci, <em>The Life of Bernini<\/em>, trans. Catherine Enggass (University Park: Penn State University Press, 1966), 13. <span class='footnotereverse'><a href='#fnref-17818-30'>&#8617;<\/a><\/span><\/li><li id='fn-17818-31'>Baldinucci briefly concedes that the \u201cchaste spectator\u201d would find Daphne to be \u201cless offensive to the eyes\u201d if they acknowledge Barberini\u2019s added inscription. See Baldinucci, <em>Life of Bernini<\/em>, 13. <span class='footnotereverse'><a href='#fnref-17818-31'>&#8617;<\/a><\/span><\/li><li id='fn-17818-32'>Paul Fr\u00e9art de Chantelou, <em>Diary of the Cavaliere Bernini\u2019s Visit to France<\/em>, ed. Anthony Blunt, trans. Margery Corbett (Princeton, NJ: Princeton University Press, 1985), 30. <span class='footnotereverse'><a href='#fnref-17818-32'>&#8617;<\/a><\/span><\/li><li id='fn-17818-33'>Charles Avery, <em>Bernini: Genius of the Baroque<\/em> (Boston: Little, Brown, 1997), 55. <span class='footnotereverse'><a href='#fnref-17818-33'>&#8617;<\/a><\/span><\/li><li id='fn-17818-34'>Suzanne Edwards, \u201cMedieval Saints and Misogynist Times: Transhistorical Perspectives on Sexual Violence in the Undergraduate Classroom,\u201d in <em>Teaching Rape in the Medieval Literature Classroom<\/em>, ed. Alison Gulley (York, UK: Arc Humanities Press, 2018), 12\u201313. <span class='footnotereverse'><a href='#fnref-17818-34'>&#8617;<\/a><\/span><\/li><li id='fn-17818-35'>Mendoza, \u201cSexual Violence,\u201d 102\u20133. <span class='footnotereverse'><a href='#fnref-17818-35'>&#8617;<\/a><\/span><\/li><li id='fn-17818-36'>Scholars across disciplines and methodologies have done so compellingly and with nuance, often through a feminist lens. For instance, see Mary D. Garrard, <em>Brunelleschi\u2019s Egg: Nature, Art, and Gender in Renaissance Italy<\/em> (Berkeley: University of California Press, 2010); Diane Wolfthal, <em>Images of Rape: the \u2018Heroic\u2019 Tradition and Its Alternatives<\/em> (Cambridge\/New York: Cambridge University Press, 1999); Susan Brownmiller, <em>Against Our Will: Men, Women, and Rape<\/em> (New York: Fawcett Columbine, 1993). <span class='footnotereverse'><a href='#fnref-17818-36'>&#8617;<\/a><\/span><\/li><li id='fn-17818-37'>For an overview of violence in post-Tridentine Rome and an historiographic summary of how Caravaggio\u2019s paintings have been read in conjunction with his violent history and personality, see John Varriano, <em>Caravaggio: the Art of Realism<\/em> (University Park: Penn State University Press, 2006), 73\u201384. For connections between Caravaggio and Marino, see Elizabeth Cropper, \u201cThe Petrifying Art: Marino\u2019s Poetry and Caravaggio,\u201d <em>Metropolitan Museum Journal<\/em> 26 (1991): 193\u2013212. For an analysis of Rome\u2019s law enforcement, the <em>sbirri<\/em>, see Steven Hughes, \u201cFear and Loathing in Bologna and Rome: The Papal Police in Perspective,\u201d <em>Journal of Social History<\/em> 21, no. 1 (1987): 97\u2013116. <span class='footnotereverse'><a href='#fnref-17818-37'>&#8617;<\/a><\/span><\/li><li id='fn-17818-38'>For more on Costanza Bonarelli, see Sarah McPhee, <em>Bernini\u2019s Beloved: A Portrait of Costanza Piccolomini<\/em> (New Haven: Yale University Press, 2012). <span class='footnotereverse'><a href='#fnref-17818-38'>&#8617;<\/a><\/span><\/li><li id='fn-17818-39'>I follow the method foregrounded by scholars like Saidiya V. Hartman, who acknowledges the limitations and contradictions of relying on primary sources that do not reflect \u201cthe subaltern consciousness\u201d and adopts an approach that \u201crequires excavations at the margins of monumental history in order that the ruins of the dismembered past be retrieved, turning to forms of knowledge and practice not generally considered legitimate objects of historical inquiry or appropriate or adequate sources for history making and attending to the cultivated silence, exclusions, relations of violence and domination that engender the official accounts.\u201d See <em>Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America<\/em> (New York: Oxford University Press, 1997), 10\u201311. <span class='footnotereverse'><a href='#fnref-17818-39'>&#8617;<\/a><\/span><\/li><li id='fn-17818-40'>Two guidebooks, published before the Villa\u2019s major redecoration project from 1775\u20131800 under Marcantonio IV Borghese, reveal some insight into layout and navigation of the Casino and the surrounding estate. See Giacomo Manilli, <em>Villa Borghese fuori di Porta Pinciana: descritta da Iacomo Manilli Romano Guardarobba di detta Villa<\/em> (Rome: Per Lodovico Grignani, 1650); Domenico Montelatici, <em>Villa Borghese fuori di Porta Pinciana: con l\u2019ornamenti, che si offeruano nel di lei palazzo, con le figure delle statue pi\u00f9 singolari<\/em> (Rome: Gio. Francesco Buagni, 1700). <span class='footnotereverse'><a href='#fnref-17818-40'>&#8617;<\/a><\/span><\/li><li id='fn-17818-41'>For an historiographic account, see especially Joy Kenseth, \u201cBernini\u2019s Borghese Sculptures: Another View,\u201d <em>Art Bulletin<\/em> 63, no. 2 (1981): 191\u2013210. <span class='footnotereverse'><a href='#fnref-17818-41'>&#8617;<\/a><\/span><\/li><li id='fn-17818-42'>Some examples include Kenseth, \u201cBernini\u2019s Borghese Sculptures,\u201d 191\u2013210; Neuman, <em>Baroque and Rococo<\/em>, 102; Harris, <em>Seventeenth-Century Art<\/em>, 88\u201391. <span class='footnotereverse'><a href='#fnref-17818-42'>&#8617;<\/a><\/span><\/li><li id='fn-17818-43'>Kenseth, 195. <span class='footnotereverse'><a href='#fnref-17818-43'>&#8617;<\/a><\/span><\/li><li id='fn-17818-44'>Ibid. <span class='footnotereverse'><a href='#fnref-17818-44'>&#8617;<\/a><\/span><\/li><li id='fn-17818-45'>Warwick, however, investigates this plurality of meaning specifically through the lenses of theater and performance and \u201cwithin the tissue of a ludic aristocratic learning.\u201d See Warwick, <em>Bernini<\/em>, 79\u201380. <span class='footnotereverse'><a href='#fnref-17818-45'>&#8617;<\/a><\/span><\/li><li id='fn-17818-46'>McPhee, <em>Bernini\u2019s Beloved<\/em>, 37. <span class='footnotereverse'><a href='#fnref-17818-46'>&#8617;<\/a><\/span><\/li><li id='fn-17818-47'>Scholarly literature has debated whether Gentileschi\u2019s Susanna is a self-portrait. We know from historical records that Artemisia Gentileschi was raped by artist Agostino Tassi in May 1611. The trial concerning Gentileschi\u2019s rape is well-documented, and Mary Garrard includes an appendix of the trial documents in her monograph. See \u201cAppendix B: Testimony of the Rape Trial of 1612,\u201d in <em>Artemisia Gentileschi: The Image of the Female Hero in Baroque Art<\/em> (Princeton, NJ: Princeton University Press, 1989), 403\u201387. <span class='footnotereverse'><a href='#fnref-17818-47'>&#8617;<\/a><\/span><\/li><li id='fn-17818-48'>For a historiography of the <em>querelle des femmes<\/em>, see Julie D. Campbell, \u201cThe <em>Querelle des femmes<\/em>,\u201d in <em>The Ashgate Research Companion to Women and Gender in Early Modern Europe<\/em> (London: Taylor &amp; Francis, 2013), 353\u201370. <span class='footnotereverse'><a href='#fnref-17818-48'>&#8617;<\/a><\/span><\/li><li id='fn-17818-49'>It also allows students to explore how the early modern period navigated the aftermath of sexual violence through litigation. For a parsing of the historiographic treatment of Gentileschi\u2019s rape and sexuality when reading her paintings, see Elizabeth S. Cohen, \u201cThe Trials of Artemisia Gentileschi: A Rape as History,\u201d <em>The Sixteenth Century Journal<\/em> 31, no. 1 (2000): 50\u201355. Tina Olsin Lent addresses the fictionalized and sensationalized approach to Gentileschi\u2019s life. See \u201c\u2019My Heart Belongs to Daddy\u2019: The Fictionalization of Baroque Artist Artemisia Gentileschi in Contemporary Films and Novels,\u201d <em>Literary\/Film Quarterly<\/em> 34, no. 3 (2006): 212\u201318. <span class='footnotereverse'><a href='#fnref-17818-49'>&#8617;<\/a><\/span><\/li><li id='fn-17818-50'>Elizabeth S. Cohen, \u201cWhat\u2019s In a Name? Artemisia Gentileschi and the Politics of Reputation,\u201d in <em>Artemisia Gentileschi: Taking Stock<\/em>, ed. Judith W. Mann (Turnhout, Belgium: Brepols, 2005), 125. <span class='footnotereverse'><a href='#fnref-17818-50'>&#8617;<\/a><\/span><\/li><li id='fn-17818-51'>As Mary Garrard describes it, \u201cArtemisia\u2019s Susanna insists on the reality and validity of the girl-woman\u2019s experience, and the contradictory, gendered responses to the painting in modern times speak to its radical disruption of pictorial and social norms.\u201d See <em>Artemisia Gentileschi and Feminism in Early Modern Europe<\/em> (London: Reaktion, 2020), 79\u201380. <span class='footnotereverse'><a href='#fnref-17818-51'>&#8617;<\/a><\/span><\/li><li id='fn-17818-52'>Gloria Feman Orenstein, \u201cArt History,\u201d <em>Signs<\/em> 1, no. 2 (1975): 507\u20138. <span class='footnotereverse'><a href='#fnref-17818-52'>&#8617;<\/a><\/span><\/li><li id='fn-17818-53'>Simmons reflects on her own repressed traumas as an overachieving student. See \u201cConfronting Inequity.\u201d <span class='footnotereverse'><a href='#fnref-17818-53'>&#8617;<\/a><\/span><\/li><li id='fn-17818-54'>In embracing the idea that trauma-informed pedagogy is an iterative process and cannot be accomplished alone, I would be remiss if I did not acknowledge the amount of thinking and rethinking involved in getting this article to its present state, as well as the tremendous help and support I received along the way. This article has changed considerably since its initial conception as a conference paper at SECAC in 2020. I wish to thank especially the series\u2019 editors Drs. Kathleen Pierce and Jenevieve DeLosSantos, the editor and staff at <em>Art Journal Open<\/em>, the two peer reviewers, and fellow art historian and dear friend Dr. Brynne McBryde, all of whom have helped make this a stronger paper and contribution to art historical discourse. <span class='footnotereverse'><a href='#fnref-17818-54'>&#8617;<\/a><\/span><\/li><\/ol><\/div>","protected":false},"excerpt":{"rendered":"<p>The latest installment of the &#8220;Hard Lessons&#8221; series looks at teaching through a trauma-aware lens<\/p>\n","protected":false},"author":9,"featured_media":17844,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"kia_subtitle":"","footnotes":""},"categories":[339],"tags":[1548],"class_list":["post-17818","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pedagogies","tag-hardlessons",""],"_links":{"self":[{"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/posts\/17818","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=17818"}],"version-history":[{"count":0,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/posts\/17818\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/media\/17844"}],"wp:attachment":[{"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=17818"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=17818"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=17818"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}