The course analyses the major processes and principles of contemporary history. It introduces the method of historical research and the use of new sources. Afterwards, the attention will be focused on the history of the Italian Republic.
The first part of the course (6 hours) is devoted to the introduction of the meaning of historical knowledge, the public use of history, the value of social memory and periodizations. The second part of the course (6 hours) outlines the historical changes that lead to the contemporary age: the creation of the nation-state, industrial revolutions, social structure, "globalization". The third part of the course (18 hours) focuses on the history of: the laboratory of contemporary age (1870-1914), the age of catastrophe (1914-1945), the golden age of capitalism (1945- 1968) and the age of transition (1968-1991). The final part of the course (6 hours) will be focused on the history of the Italian Republic.

- A handbook of Contemporary History. A book to be chosen from:

G. Monina, F. Motta, S. Pavone, E. Taviani, "Processo Storico", vol. 3, "Dal Novecento a oggi", Torino, Loescher Editore, 2017, p. 740, € 32,90

L. Caracciolo, A. Roccucci, "Storia contemporanea. Dal mondo europeo al mondo senza centro (1848-2016)", Milano, Mondadori education, 2017, pp. 800, € 38,00

Monographic book. A book to be chosen from:
A. Giovagnoli, "La Repubblica degli italiani (1946-2016)", Roma-Bari, Laterza, 2016, € 24,00

G. Crainz, "Storia della Repubblica", Roma, Donzelli, 2016, € 27,00


FILMOGRAPHY. A choice between the following movies: Der Triumph des Willens (Germany 1935) Leni Riefenstahl - Senso (Italy 1954) Luchino Visconti - Paths of Glory (USA 1957) Stanley Kubrick - Una vita difficile (Italy 1961) Dino Risi - Uomini contro (Italy 1971) Francesco Rosi.

The course analyzes historical developments, poetics and crucial junctions of the visual arts of the modernity from impressionism to historical avant-gardes and up to the Sixties, focusing on themes such as the act of seeing, the construction of the modern gaze, the dialectic between the visible and the invisible. The analysis of these issues will also provide the necessary methodological approach to the study of the history of the different languages that characterize contemporary art, providing the critical tools necessary for reading different types of works of art.

1. General texts

• Federica Rovati, L’arte del primo Novecento, Einaudi, Torino 2015
• Francesco Poli (a cura di), Arte moderna. Dal Postimpressionismo all’Informale, Electa, Milano 2007 (i seguenti saggi: Claudio Zambianchi, Le ricerche postimpressioniste, pp. 10-29; M. Lorandi, Simbolismo, pp. 30-53; Francesco Poli, Informale ed espressionismo astratto, pp. 262-283)
• Francesco Poli (a cura di), Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, Electa, Milano 2003 (i seguenti saggi: Catherine Grenier, Nuovi realismi e pop art(s), pp. 10-35; Francesco Poli, Ricerche minimaliste e analitiche, pp. 70-95; F. Poli, Arte e ambiente, pp. 96-121; Maddalena Disch, Process art e arte povera, pp. 121-149; Maria Teresa Roberto, Arte concettuale, pp. 150-181).

2. Textbook

• H. Foster, R. Krauss, Y.A. Bois, B.H.D. Buchloh, Arte dal 1900. Modernismo, Antimodernismo, Postmodernismo, anni 1959-69.

3. Essays

• Jonathan Crary, Le tecniche dell’osservatore, Einaudi 2013, IV capitolo, pp. 102-140
• Victor Stoichita, Dello sguardo ostacolato. Per una storia dell’Impressionismo, in “Annali della Fondazione Europea del Disegno”, Il Melangolo, Genova 2009, pp. 65-87; https://www.academia.edu/21227571/126-Dello_sguardo_ostacolato_-_Per_una_storia_dellImpressionismo
• Victor Stoichita, La pittura impressionista vista da e con Schapiro: Caillebotte e l’intreccio visivo, in Meyer Schapiro e i metodi della storia dell’arte, a cura di L. Bortolotti, C. Cieri Via, M.G. Di Monte, M. Di Monte, Mimesis Edizioni, Milano – Udine 2010, pp. 105-113. https://www.academia.edu/21447530/134-La_pittura_impressionista_vista_da_e_con_Schapiro_-_Caillebotte_e_lintreccio_visivo

3. Online collection of images (available at the end of the course).

Poetics and politics of the gaze

Course content
The course analyzes poetics and crucial junctions of the visual arts in the modern era – from Impressionism to the historical avant-gardes, until the 1960s – focusing on themes like the act of seeing, the device of the gaze, the dialectic between the visible and the invisible. The analysis also provides the necessary methodological approach to the study of the history of the various languages of contemporary art, furnishing indispensable tools for the interpretation of different types of artworks.

Texts of a general character:

- F. Rovati, L’arte del primo Novecento, Einaudi, Torino 2015

- F. Poli (a cura di), Arte moderna. Dal Postimpressionismo all’Informale, Electa, Milano 2007 (i seguenti saggi: C. Zambianchi, Le ricerche postimpressioniste, pp. 10-29; M. Lorandi, Simbolismo, pp. 30-53; F. Poli, Informale ed espressionismo astratto, pp. 262-283)

- F. Poli (a cura di), Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, Electa, Milano 2003 (i seguenti saggi: C. Grenier, Nuovi realismi e pop art(s), pp. 10-35; F. Poli, Ricerche minimaliste e analitiche, pp. 70-95; F. Poli, Arte e ambiente, pp. 96-121; M. Disch, Process art e arte povera, pp. 121-149; M. T. Roberto, Arte concettuale, pp. 150-181).

2. In-depth readings

- J. Crary, Techniques of the Observer. On Vision and Modernity in the Nineteenth, The MIT Press, Massachusetts 1990, IV, pp. 97-137

- V. I. Stoichita, Dello sguardo ostacolato. Per una storia dell’Impressionismo, in “Annali della Fondazione Europea del Disegno”, Il Melangolo, Genova 2009, pp. 65-87

- V. I. Stoichita, La pittura impressionista vista da e con Schapiro: Caillebotte e l’intreccio visivo, in Meyer Schapiro e i metodi della storia dell’arte, a cura di L. Bortolotti, C. Cieri Via, M. G. Di Monte, M. Di Monte, Mimesis Edizioni, Milano – Udine 2010, pp. 105-113.

3. Online gathering of images projected during lectures (available at the end of the course).

After a general introduction on digital art concepts and "hacker attitude", the course will show some examples of artistic digital use. They will show and explain the reasons and the design approaches of different works and artists. Students will then be invited to produce, individually or in small groups of three people, one of their projects accomplished with the supplied technologies, or to develop the presentation of a project which requires equipment that is not available. Students must already be able to accomplish basic tasks of filming and editing, how to surf the Internet and / or use basic programs of digital graphics. And it is obligatory to have a mail box to keep in touch with the teacher.

Giacomo Verde – ARTIVISMO TECNOLOGICO, scritti e interviste su arte, politica, teatro e tecnologie - Ed. BFS, Pisa – 2007
See: http://www.verdegiac.org/artivismo.html

Study meetings and laboratory meetings dedicated to specific areas of puppet theatre framed by scholars, artists and teachers both from an historiographical point of view and from the scenic practice's perspective. “Marionettes, puppets, shadows and dummies between East and West”: these are the topics of the meetings of this course, meetings with scholars and, above all, with the masters of these theatrical traditions.
The objective is to analyse the “living” puppet theatre, its expressive possibilities and, at the same time, the great traditions included in it, that today live renewing themselves. So, traditions and crafts, but also history and modernity of a living theatre. Material theatre and, at the same time, theatre of history and memory.

Calendar of lessons and meetings
25 March, h. 10-13 - DAMS
Valentina Venturini
Teatro (e figure). La volontaria sospensione dell’incredulità

29 March, h. 10-13 – DAMS
Mariano Dolci
Burattini in società. 40 anni di teatro.
Teatro disabilità sociale. L’ombra: presenza di un’assenza

1 April, h. 10-13 - TEATRO VILLA PAMPHILJ
Valter Broggini
Piccola grammatica del gioco coi burattini

5 April, h. 10-13 - DAMS
Veronica Olmi e Andrea Calabretta
Teatro Verde a Roma: un presidio culturale dedicato all’infanzia e alla gioventù

8 April, h. 10-13 - DAMS
Aldo De Martino e Violetta Ercolano
Da Orlando, il Furioso, ad Ardjuna, l’eroe arciere del Mahabharata

12 April, h. 10-13 - DAMS
Claudio Cinelli
Figure e controfigure
Burattini pupazzi e immagini tra teatro e televisione

15 April, h. 10-13 - DAMS
Maurizio Stammati
Il teatro di figura nell’Africa profonda: Ghana e Kenya

3 May, h. 10-13 - DAMS
Simone Guerro
Tra sociale e innovazione

6 May, h. 10-13 - DAMS
Bruno Leone
Pulcinella e Mamma Africa. Dove vive Pulcinella?

10 May, h. 10-13 - DAMS
Maurizio Gioco

13 May, h. 10-13 - TEATRO VERDE
Veronica Olmi and Andrea Calabretta
Il teatro fa crescere liberi.

17 May, h. 10-13 - DAMS
Valentina Venturini
Tradizioni, mestieri, teatro vivo

TEXTS FOR THE EXAMINATION:

ATTENDING STUDENTS
1) Alfonso Cipolla, Giovanni Moretti, "Storia dei burattini e delle marionette in Italia", Corazzano, Titivillus, 2011
2) Mariano Dolci, Vito Minoia, "Dialogo sul trasferimento del burattino in educazione", Urbino, Edizioni Nuove Catarsi, 2009 (for information on volume distribution, see the website www.edizioninuovecatarsi.org)
3) Texts and materials that will be recommended and / or provided during the lessons (it will be possible to diversify the study topics by choosing from the topics covered in class and agreed with the teacher).


NON ATTENDING STUDENTS
1) Alfonso Cipolla, Giovanni Moretti, "Storia dei burattini e delle marionette in Italia", Corazzano, Titivillus, 2011
2) Mariano Dolci, Vito Minoia, "Dialogo sul trasferimento del burattino in educazione", Urbino, Edizioni Nuove Catarsi, 2009 (see www.edizioninuovecatarsi.org)
3) Giorgio Agamben, "Pulcinella ovvero Divertimento per li regazzi", Roma, ed. nottetempo, 2016
4) Materials prepared by the professor and published in the teacher's area on the site of the FilCoSpe department, to be downloaded online

The aim of the class is to give an overview of the more relevant issues of film and media aesthetics. In particular, the class will be focused on both the historically relevant perspective and more recent topics and methodologies.
The program will be articulated around two main stages. In the first one, the main approaches to film and media aesthetics will be taken into account. In the second one, 20th-century film and media aesthetics will be compared to the current "postmedia" condition.

1) Francesco Casetti, L'occhio del Novecento. Cinema, esperienza, modernità, Bompiani, Milano 2005 (eng. ed. Eye of the Century. Film, Experience, Modernity, Columbia University Press, New York 2008
2) Ruggero Eugeni, La condizione postmediale, La Scuola, Brescia 2015
3) An anthology of essays edited by the course teacher

The class aims at making an audiovisual product and will be split into three parts, each devoted to the three filmmaking production steps:

1. literary step (from the idea to the script); 2. production step (pre-preduction and shooting); 3. post-production step (video and sound editing).

Each of the three parts will consist of a brief theoretical introduction and of a lab workshop.

None. It is essentially a practical workshop.

After the presentation of theoretical elements about filmmaking (pre-production, production and post-production), students will realise a short film.

There is not a course book.

The course analyses the major processes and principles of contemporary history. It introduces the method of historical research and the use of new sources. Afterwards, the attention will be focused on the history of the Italian Republic.
The first part of the course (6 hours) is devoted to the introduction of the meaning of historical knowledge, the public use of history, the value of social memory and periodizations. The second part of the course (6 hours) outlines the historical changes that lead to the contemporary age: the creation of the nation-state, industrial revolutions, social structure, "globalization". The third part of the course (18 hours) focuses on the history of: the laboratory of contemporary age (1870-1914), the age of catastrophe (1914-1945), the golden age of capitalism (1945- 1968) and the age of transition (1968-1991). The final part of the course (6 hours) will be focused on the history of the Italian Republic.

- A handbook of Contemporary History. A book to be chosen from:

G. Monina, F. Motta, S. Pavone, E. Taviani, "Processo Storico", vol. 3, "Dal Novecento a oggi", Torino, Loescher Editore, 2017, p. 740, € 32,90

L. Caracciolo, A. Roccucci, "Storia contemporanea. Dal mondo europeo al mondo senza centro (1848-2016)", Milano, Mondadori education, 2017, pp. 800, € 38,00

Monographic book. A book to be chosen from:
A. Giovagnoli, "La Repubblica degli italiani (1946-2016)", Roma-Bari, Laterza, 2016, € 24,00

G. Crainz, "Storia della Repubblica", Roma, Donzelli, 2016, € 27,00


FILMOGRAPHY. A choice between the following movies: Der Triumph des Willens (Germany 1935) Leni Riefenstahl - Senso (Italy 1954) Luchino Visconti - Paths of Glory (USA 1957) Stanley Kubrick - Una vita difficile (Italy 1961) Dino Risi - Uomini contro (Italy 1971) Francesco Rosi.

Body, Language and Society

P. Marolda, Il comportamento nominante, Roma, Aracne, 2018
F. Ferretti-I. Adornetti, Dalla comunicazione al linguaggio, Milano, Mondadori, 2012

A) Lectures at DAMS University Roma3: 1) background information on the context of the contemporary prison; 2) items of information on the relationship between aesthetics and ethics with specific application to the context of the theater with social worth.
B) Workshop at the Theatre of the Rebibbia prison N.C. Via R. Majetti, 70: 1) direct interaction with the work carried out by the inmates-actors at the Theatre of the Prison.
C) Each student must prepare a final report on the experience of the Laboratory.

Handouts provided by the teacher
FILMOGRAPHY:
"Caesar Must Die" by Paolo and Vittorio Taviani.
"Naufragio con spettatore" di Fabio Cavalli
"Rebibbia 24" di Fabio Cavalli

After a general introduction, the program includes the active participation of students in the collection of testimonies, the identification of forms, rhythms, narrative modes in relation to the presence and actions of the narrator-actor. During the workshop students will be provided with useful texts to deepen the experimented work.

After a general introduction, the program includes the active participation of students in the collection of testimonies, the identification of forms, rhythms, narrative modes in relation to the presence and actions of the narrator-actor. During the workshop students will be provided with useful texts to deepen the experimented work.

Dramaturgy through the body:
the foundations of performative practices in Ankoku Buto and of vocal techniques in Steinerian Eurhythmia.

The educational and creative path that I would like to propose is open to all interested students, professionals and non-professionals, who want to approach the materiality of the body universe as it was investigated by the latest currents of contemporary dance: the Butoh Dance and the Steinerian Eurhythmia. The possibility of intercepting the physical reality of an invisible space, within the body, in the artistic focus of performing it and projecting it into visible, scenic space, is significantly combined with the attention given to the nature of the human being, awakened in richness and in the harmonious integration of his physical, spiritual and intellectual resources. In both methodologies, one oriental and the other western, observed and practiced in their grammatical elements: defined dance exercises in the first case and vocal and consonant vocalization in the second one, find that precious attitude in the search for new expressive possibilities, new types of feeling. In terms of creative writing, the attempt is to realize a dramaturgy that is above all manifestation, objectified emanation of memories, sensory experiences, perceptual intelligences. The body in all its breadth is the first “domus” to inhabit. In this perspective a substantial part of the meetings will be dedicated to the training phase, redeeming it from being considered merely a gymnastic exercise and relaunching it as a dimension, a field to be moved in its deepest clods, to appropriately acquire an individual and personal body. We can experience perception through the delicacy of breathing and the release of weight. Eastern practices teach us how creative it is to awaken the articular joints of the body structure, taking care of them through breathing in them. The joints are defined as acoustic places, spaces in which the energy enters in its own resonance, where the physical and the spiritual meet each other mysteriously; they are cavities to keep empty for the fluid transit of some mysterious activation to the movement. It is necessary to take root in the body, so that the building is not only strong and elastic in its foundations, but at the same time also poetic and creative. In the condition of listening, refined during the training, precious dance attitudes are sedimented: body states, real thermometers of material and ineffable energy of the person; dance exercises strategically linked to an image. Some of them: the leaf of Lotus, the exchange on a beam, needles, the rainbow, the madness of the exact center, rotting, rusty can, blooming, withering ... As creative tools they suggest attitudes of the human being through equivalences with the phenomenal world. By attending this performative practice, one will be guided in tracing - in itself - the objectivity of an organic mechanism, which is equivalent to saying the reality of one's own nature. In the direct experience of dance, each participant will see his most intuitive creative faculties acting, articulating different body states in a first phase and then relate to precise words and poetic verses chosen to access his inner landscape. The evocative and alogical force of Japanese Haiku is surprising and effective in this sense. These short compositions, considered the highest expression of Zen culture, grasp the emotional perception that one has of reality, to transmit it to a more intimate understanding of the same. The previous performative elements will be joined by some structures of the Steinerian Eurythmy, which train to move harmoniously in the concreteness of given form, in all its directions and in all its volumes. It will highlight the irreducible energy traffic between an internal and personal dimension of presence and its projection in the external space, shared corally. The grammars of language and sound will be introduced in the Steiner methodology: vowels, consonants and their physical aspect. In the continuous sensorial game between an internal dimension and an external one, the first stimulate the flow of vital energy inside the body, the second its molding into sculptures carved in the surrounding space. The introduction of simple vocal and consonantal mantras will more clearly probe the connection between voice emission and body perception. The force of vocalization has been known since ancient times as the Technique of Ephesus and for its importance it was practiced in the temples where the movement was created looking for the point of origin of the voice. An outdoor opening is planned as the final day of the workshop.

Alessandra Cristiani, "Masaki Iwana e la tradizione del Butō Bianco. Metodologia della danza" e "Un’ulteriore riflessione" in "Trasform’azioni - Rassegna internazionale di danza butō. Fotografia di un’esperienza" edited by Samantha Marenzi, Editoria e Spettacolo, Roma 2010.

The lessons will mainly focus on the following topics: Europe and its interrelation with non-European worlds; Crisis and identity of modern Italy; Humanism and Renaissance; Protestant Reformation and Catholic Counter-Reformation; The old regime society: classes and classes; Economic models: the earth, work, finance and the market in the modern age; Political systems and their dynamics: empire, monarchies and republics; Family and demography; Literacy and culture; The birth of modern science; Enlightenment and reforms; The first industrial revolution; The American Revolution and the birth of the United States; French Revolution; the Napoleonic era and the Europe of nations.

A) A university manual of modern history, chosen by the student :

1) F. Benigno, L’età moderna. Dalla scoperta dell’America alla Restaurazione, Roma-Bari, Laterza
2) C. Capra, Storia Moderna (1492-1848), Firenze, Le Monnier Università
3) G. Gullino-G. Muto-E.Stumpo, Il Mondo Moderno, Bologna, Monduzzi

B) P. Prodi, La storia moderna, Bologna, Il Mulino

General introduction and fundamentals. Methods and techniques. The fieldwork.
Anthropology today: who are the others; migrations; traditional societies; societies and cultures in the globalized world.
A basic course useful to teachers, professors, and social workers.

I testi per non frequentanti / The texts for not-attending students

1. Manuale o parte generale / A textbook for the general part:
Ugo Fabietti, Elementi di antropologia culturale, Milano, Mondadori, 2015.

2. Parte monografica / The monographic part includes:
Stefano de Matteis, La false libertà. Verso la post globalizzazione, Milano, Meltemi, 2017.
Victor Turner, Antropologia dell’esperienza, trad. it. di Milena Zemira Ciccimarra, Bologna, il Mulino, 2014.

The program is the same of the course given to Storia e Conservazione del Patrimonio Artistico e Archeologico Students. Students attending a 6 CFU course must study from 1400 to Leonardo included.

BIBLIOGRAPHY
1) SUGGESTED MANUAL:
P. DE VECCHI – A. CERCHIARI, ARTE NEL TEMPO, ED. BOMPANI. EDIZIONE BLU PER I LICEI volum 2.1
https://www.libreriauniversitaria.it/arte-tempo-ediz-blu-scuole/libro/9788845042218

2) ONE OF THE FOLLOWING TEXTS IS REQUESTED:

- J. SHEARMAN, ARTE E SPETTATORE NEL RINASCIMENTO ITALIANO. “ONLY CONNECT”, ORIGINAL ED. 1992, ED.IT. MILANO,
JACA BOOK, 1995
- M. BAXANDALL, PITTURA ED ESPERIENZE SOCIALI NELL’ITALIA DEL QUATTROCENTO, TORINO, EINAUDI, 1978
- A. PINELLI, LA BELLA MANIERA. ARTISTI DEL CINQUECENTO TRA REGOLA E LICENZA, TORINO, EINAUDI , 2003
- E. PANOFSKY, STUDI DI ICONOLOGIA. I TEMI UMANISTICI NELL’ARTE DEL RINASCIMENTO, ORIGINAL ED., 1939, ED.IT.
TORINO, EINAUDI, 1999 (FROM CHAPTER 2 to 6)
- F. ZERI, DIETRO L’IMMAGINE. CONVERSAZIONI SULL’ARTE DI LEGGERE L’ARTE, MILANO, TEA, 1990
- A. BALLARIN, GIORGIONE E LA COMPAGNIA DEGLI AMICI: IL "DOPPIO RITRATTO" LUDOVISI, IN STORIA DELL''ARTE ITALIANA.
PART II, VOL. 1. DAL MEDIOEVO AL QUATTROCENTO, TORINO, EINAUDI, 1983, PP.481-541.
- F. ZERI, PITTURA E COTRORIFORMA. L’ARTE SENZA TEMPO DI SCIPIONE DA GAETA, ORIGINAL ED., EINAUDI 1957
- F. HASKELL, MECENATI E PITTORI. STUDIO SUI RAPPORTI TRA ARTE E SOCIETÀ ITALIANA NELL’ETÀ BAROCCA, SANSONI, ORIGINAL ED. 1966
- G. BRIGANTI, PIETRO DA CORTONA O DELLA PITTURA BAROCCA, IN ROMA 1630: IL TRIONFO DEL PENNELLO, CATALOGO DELLA MOSTRA (ROMA), ED. O. BONFAIT, MILANO 1994, PP. 23-52.
- I. LAVIN, VISIBLE SPIRIT: THE ART OF GIAN LORENZO BERNINI, LONDON 2009.
- F. HASKELL – N. PENNY, L’ANTICO NELLA STORIA DEL GUSTO: LA SEDUZIONE DELLA SCULTURA CLASSICA 1500-1900, TORINO 1984.

General introduction and fundamentals. Methods and techniques. The fieldwork.
Anthropology today: who are the others; migrations; traditional societies; societies and cultures in the globalized world.
A basic course useful to teachers, professors, and social workers.

I testi per non frequentanti / The texts for not-attending students

1. Manuale o parte generale / A textbook for the general part:
Ugo Fabietti, Elementi di antropologia culturale, Milano, Mondadori, 2015.

2. Parte monografica / The monographic part includes:
Stefano de Matteis, La false libertà. Verso la post globalizzazione, Milano, Meltemi, 2017.
Victor Turner, Antropologia dell’esperienza, trad. it. di Milena Zemira Ciccimarra, Bologna, il Mulino, 2014.

Body, Language and Society

P. Marolda, Il comportamento nominante, Roma, Aracne, 2018
F. Ferretti-I. Adornetti, Dalla comunicazione al linguaggio, Milano, Mondadori, 2012

The course aims to highlight the convergence, or even the substantial identity, between the two famous Aristotelian definitions of Homo sapiens: "animal that has language" and "political animal". By studying the texts of some important linguists and philosophers of language (E. Benveniste, JL Austin), as well as the major work of Hannah Arendt, Vita Activa, we would like to clarify the reasons why verbal language should be considered the biological organ of public practice.

G. Graffi, S. Scalise, Le lingue e il linguaggio. Introduzione alla linguistica, Il Mulino, chapters I, II, VII, VIII (excluding the in-depth paragraphs marked with an asterisk). To buy
NOTES BY PROF. VIRNO, Il parlante come artista esecutore. Available in photocopy.
Text P. Virno, to be read in relation to Austin and Malinowski.
Optional, available in photocopy.
J.L. AUSTIN, Enunciati performativi, in Id., Saggi Filosofici, Guerini e Associati, Milano 1990, pp. 221-36. Available in photocopy.
E. BENVENISTE, Problemi di linguistica generale I, Il Saggiatore, Milano 1971, pp. 301-347,
including the following essays: La natura dei pronomi, La soggettività del linguaggio, La filosofia analitica e il linguaggio. Available in photocopy.
E. BENVENISTE, Problemi di linguistica generale II, Il Saggiatore, Milano 1987, lincluding the following essays: Il linguaggio e l’esperienza umana, pp. 83-95; L’apparato formale dell’enunciazione, pp. 96-106. Available in photocopy.
B. MALINOWSKI, Il problema del significato dei linguaggi primitivi, in C.L. Ogden, I.A. Richards, Il significato del significato, Garzanti, Milano 1975, pp. 353-357. Available in photocopy.
H. ARENDT, Vita Activa, Bompiani, chapters 1, 2, 5. To buy.
Students who have to take a 4-credit exam do not have to answer for chapters. VII and VIII of the manual of Graffi and Scalise, nor of the chap. 1 and 2 of Vita activa by Arendt.


Linguaggio e natura umana, Bollati Boringhieri, only chap. 6° (“Storia naturale”).Photocopy avaible.

The course intends to build a historical-critical path around the documentary cinema, with a monographic focus on artist portraits made through the cinema of the real.

Adriano Aprà, Breve ma veridica storia del cinema documentario-Dal cinema del reale alla nonfiction, Falsopiano, Alessandria, 2017.
Selected essays by the teacher deposited at the copy shop next to Libropoli.

Filmography:
L’uomo con la macchina da presa (D. Vertov, 1929)
Nick’s Film (W. Wenders, 1980)
Tokio-ga (W. Wenders, 1985)
Appunti di viaggio su moda e città (W.Wenders, 1989)
Pina (W. Wenders, 2011)
Il sale della terra (W. Wenders, 2014)
Ak (C.Marker, 1985)
Sans Soleil (C. Marker, 1982)

Doubt, error, truth.

The course aims to provide the basic conceptual tools for understanding the vocabulary and some of the main questions involved in the development of the concepts of doubt, error, and truth in the context of Platonic-Cartesian rationalism and in some pragmatic re-elaborations of modern empiricism.

Module A

Platone, "Teeteto", Roma-Bari: Editori Laterza 1999.
Cartesio, "Discorso sul metodo", in "Opere filosofiche", vol. 1, Roma-Bari: Laterza 2009.
Ch. S. Peirce, "Il fissarsi della credenza", in "Opere", Torino: UTET 2005, pp. 185-203 (fotocopie disponibili presso la copisteria “Copyando”).
R. M. Calcaterra, G. Marchetti, G. Maddalena (a cura di), "Il pragmatismo. Dalle origini agli sviluppi contemporanei", Roma: Carocci 2015.

Recommended texts:
E. Scribano, "Guida alla lettura delle Meditazioni metafisiche di Descartes". Roma-Bari, Laterza 1997. Oppure: G. Crapulli, "Introduzione a Descartes", Roma-Bari: Laterza 1998
G. Maddalena, "Peirce", Brescia: La Scuola 2015.


Module B

D. Hume, "Ricerca sull’intelletto umano", Roma-Bari: Laterza 1996, pp. 1-205.
W. James, "Il significato della verità", Torino: Aragno 2010 (fotocopie disponibili presso la copisteria “Copyando”).
F. W. Nietzsche, "Su verità e menzogna in senso extra-morale", Milano: Adelphi 2015.
R. M. Calcaterra, G. Marchetti, G. Maddalena (a cura di), "Il pragmatismo. Dalle origini agli sviluppi contemporanei", Roma: Carocci 2015.

Recommended texts:
S. Franzese, "L’uomo indeterminato. Saggio su William James", Roma: D’Anselmi 2000.
L. McGranahan, "Darwinism and Pragmatism. William James on Evolution and Self-Transformation", London: Routledge 2017.
C. Piazzesi, "Nietzsche", Roma: Carocci 2015. Oppure: C. Gentili, "Introduzione a Nietzsche", Bologna: Il Mulino 2017.

ITALIAN CINEMA. FROM POSTWAR TO THE 60s
Program: The course examines two of the most significant periods in the history of Italian cinema: the post-war period and the 1960s. The first part is dedicated to the most emblematic theories, authors, figures and styles of neorealism. The major works of Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Giuseppe De Santis, Pietro Germi are analyzed. Particular emphasis is given to the thought and practices of Cesare Zavattini. The second part deals with the auteur cinema of the old and new generations of the Sixties: Michelangelo Antonioni, Federico Fellini, Marco Ferreri, Ermanno Olmi, Pier Paolo Pasolini, Bernardo Bertolucci, Marco Bellocchio. Historical-critical reflection are accompanied by the aesthetic analysis of films.

TEXTS: Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (in particular chapters III and IV); Stefania Parigi, Immagini del neorealismo, Marsilio, Venezia 2014; Emiliano Morreale, Cinema d'autore degli anni Sessanta, Il Castoro, Milano 2011; a compilation of texts on neorealism by the teacher (you can find it at the beginning of the course at the shop in Via G. Rocco, n. 11). Non-attending students must also read Stefania Parigi, Pier Paolo Pasolini. Accattone, Lindau, Turin 2008. FILMOGRAPHY: Ossessione (1943) by L.Visconti; Paisà (1946) by R. Rossellini; Germania anno zero (1948) by R. Rossellini; Ladri di biciclette (1948) by V. De Sica; La terra trema (1948) by L. Visconti; Riso amaro (1949) by G. De Santis; Miracolo a Milano (1950) by V. De Sica; Il cammino della speranza (1950) by P. Germi; Due soldi di speranza (1951) by R. Castellani; Pane amore e fantasia (1953) by L. Comencini; Il grido (1957) by M. Antonioni; L’avventura (1960) by M. Antonioni; La dolce vita (1960) by F. Fellini; Accattone (1961) by P. P. Pasolini; I fidanzati (1963) by E. Olmi; Prima della rivoluzione (1964) by B. Bertolucci; I pugni in tasca (1965) by M. Bellocchio; Blow-up (1967) by M. Antonioni; Dillinger è morto (1969) by M. Ferreri. Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The course examines the period from the post-war to the present, focusing in the first part on the main stages that have marked the history of Italian cinema in terms of films, authors and genres. In the second part, we will focus instead on a particular topos, that of the beach, which has always been central to the national imagination and of course also in our cinematographic tradition. We will therefore examine the aesthetic, narrative, productive and cultural peculiarities of some cinematographic works in which the "bathing condition" has become a privileged occasion to investigate the main historical, social and anthropological changes experienced by our country in more than half a century.

G.P. Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (dal cap. III in poi);
E. Giacovelli, C’era una volta la commedia all’italiana, Gremese, Roma 2015;
F. Montini, V. Zagarrio, Istantanee sul cinema italiano: film, volti, idee del nuovo millennio, Rubbettino, Soveria Mannelli (CZ) 2012;
Selection of texts by the teacher (available at the print shop in Via G. Rocco, 11).

FILMOGRAPHY
Paisà (1946) di R. Rossellini; Ladri di biciclette (1948) di V. De Sica; Domenica d’agosto (1950) di L. Emmer; La spiaggia (1954) di A. Lattuada; Vacanze a Ischia (1957) di M. Camerini; La dolce vita (1960) di F. Fellini; L’avventura (1960) di M. Antonioni; Accattone (1961) di P. P. Pasolini; Il sorpasso (1962) di D. Risi; La voglia matta (1962) di L. Salce; Prima della rivoluzione (1964) di B. Bertolucci; Per un pugno di dollari (1964) di S. Leone; L’ombrellone (1965) di D. Risi; Indagine su un cittadino al di sopra di ogni sospetto (1970) di E. Petri; Morte a Venezia (1971) di L. Visconti; Sapore di mare (1983) di C. Vanzina; Ferie d’agosto (1996) di P. Virzì; Le conseguenze dell'amore (2004) di P. Sorrentino; Il principe di Ostia Bronx (2017) di R. Passerini

The films will be shown fully or partially during the lessons.

Basic sound physics concepts and definition of musical sound sources. Basic concepts of musical theory (rhythm, melody, harmony). Basic concepts on the operation of the main instruments used for recording and playback (microphones, amplifiers, mixers and equalizers, loudspeakers). Sampling of sound. Introduction to Audio Files and MIDI. The physical and logical sequencers. Practical examples of professional music software management in the various phases of writing music tracks, equalization, reverberation, compression, harmonic excitement, stereophonic image creation, limiter and dithering use.

handouts by the teacher

Basic sound physics concepts and definition of musical sound sources. Basic concepts of musical theory (rhythm, melody, harmony). Basic concepts on the operation of the main instruments used for recording and playback (microphones, amplifiers, mixers and equalizers, loudspeakers). Sampling of sound. Introduction to Audio Files and MIDI. The physical and logical sequencers. Practical examples of professional music software management in the various phases of writing music tracks, equalization, reverberation, compression, harmonic excitement, stereophonic image creation, limiter and dithering use.

handouts by the teacher

This course first settles the framework of the theoretical and methodological aspects of the history of food cultures. In particular, the class will focus on the cultural and social features that have marked the imaginary and the use of food in the contemporary age.
The first part of the course (6 hours) is devoted to the introduction of the theoretical and methodological aspects of cultural history and the history of material cultures. The second part of the course (6 hours) addresses the long-term historical changes of agriculture in the contemporary age. The third part of the course (18 hours) is concerned with the history of Italian food culture with particular attention to Mediterranean food cultures. The fourth part of the course (6 hours) is focused on three aspects on the cultural relations between food and society: food and the environment, food and inequalities, food and religions.

Alberto Capatti e Massimo Montanari, La cucina italiana. Storia di una cultura, Roma-Bari, Laterza 20177, 424 p., € 14,00.

A book to be chosen from:
Cibo, a cura di Ester Fano, Nora McKeon e Giancarlo Monina, numero monografico di “Parolechiave”, 58, dicembre 2017, 240 p., € 22,00.
Massimo Montanari, Il cibo come cultura, Roma-Bari, Laterza, 20178, 186 p. € 10,00
Choice essays (minimum 3) from Storia d’Italia, Annali 13, L’alimentazione, Torino, Einaudi, 1998 (in the library)

The students will confront with case studies. They will deepen and analyse them.

The texts for non-attending students:

Ugo Fabietti, Vincenzo Matera, Etnografie. Scritture e rappresentazioni dell’antropologia, Carocci.

After the presentation of theoretical elements about filmmaking (pre-production, production and post-production), students will work with the Professor and realise a short film, measuring with the difficulties proposed by the various production phases.

There is not a course book.

I TEACHING MODULE (6CFU)
Title: Modern History Institutions
The lessons will focus mainly on the following topics: Europe and its interrelation with non-European worlds; Crisis and identity of modern Italy; Humanism and the Renaissance; Protestant Reformation and Catholic Counter-Reformation; The ancient regime society: classes and classes; Economic models: the land, work, finance and the market in the modern age; Political systems and their dynamics: empire, monarchies and republics; Family and demography; Literacy and culture; The birth of modern science; Enlightenment and reforms; The first industrial revolution; The American Revolution and the birth of the United States; French Revolution; the Napoleonic Age and the Europe of nations.

II TEACHING MODULE (6CFU)
Title: The age of the Renaissance between Italy and Europe
The course will examine the main historical events that have characterized the history of Italy and of the main European monarchies from the last thirty years of the fifteenth century to the first half of the sixteenth century.The lessons will also address the following topics: the intellectual and conceptual contents of the Renaissance, the discussion on Renaissance interpretations, the chronology and spaces of its diffusion, the use of the "Renaissance" historiographical category through the analysis of authoritative texts and appropriate sources.

General introduction and fundamentals. Methods and techniques. The fieldwork.
Anthropology today: who are the others; migrations; traditional societies; societies and cultures in the globalized world.
A basic course useful to teachers, professors, and social workers.

The texts for non-attending students

1. A textbook for the general part:
Ugo Fabietti, Elementi di antropologia culturale, Milano, Mondadori, 2015.

2. The monographic part includes:
Stefano de Matteis, La false libertà. Verso la post globalizzazione, Milano, Meltemi, 2017.
Victor Turner, Antropologia dell’esperienza, trad. it. di Milena Zemira Ciccimarra, Bologna, il Mulino, 2014.

Cultural Entrepreneurship workshop

The workshop aims to develop entrepreneurial skills for the establishment of new cultural and entertainment projects.
During the workshop, the functioning systems of a cultural enterprise will be examined. The cultural enterprise will be observed from its legal point of view, studying the work standards and contractual responsibilities, especially in relation to the live performance, but also in relation with other areas of cultural production. During the lessons, the process of writing the project will be also discussed, with particular attention to the development of the ability to find public and private funding.

Supporting Text
Lucio Argano, Alessandro Bollo, Paolo Dalla Sega “Organizzare eventi culturali. Ideazione, progettazione e gestione strategica del pubblico” Franco Angeli 2017
Notes: saranno fornite dal docente durante il corso

Workshop texts
Lucio Argano, Alessandro Bollo, Paolo Dalla Sega “Organizzare eventi culturali. Ideazione, progettazione e gestione strategica del pubblico” Franco Angeli 2017
Lecture notes will be given by the professor

After a general introduction on digital art concepts and "hacker attitude", the course will show some examples of artistic digital use. They will show and explain the reasons and the design approaches of different works and artists. Students will then be invited to produce, individually or in small groups of three people, one of their projects accomplished with the supplied technologies, or to develop the presentation of a project which requires equipment that is not available. Students must already be able to accomplish basic tasks of filming and editing, how to surf the Internet and / or use basic programs of digital graphics. And it is obligatory to have a mail box to keep in touch with the teacher.

Giacomo Verde – ARTIVISMO TECNOLOGICO, scritti e interviste su arte, politica, teatro e tecnologie - Ed. BFS, Pisa – 2007
See: http://www.verdegiac.org/artivismo.html

The themes of the laboratory will be: The word on the radio, radio language and orality; The peculiarities of radio journalism; The search and writing of the news for the radio bulletin; Structuring and performing the news; Performing and conducting an interview; Writing and conducting radio features, surveys, documentaries.

CONTENT: In the first part we will examine how TV production is changing in the new digital environment. In the second part we will focus on a particular stage of the production process (video editing). Students will be involved in an off-line production of a “sigla” of a tv program. In addiction to the classroom lectures, we will have exercises, visits to studios and television sets, meetings with professionals.

REFERENCE BOOKS:
G. Feyles, Il montaggio televisivo, Carocci, 2010
E. Menduni, A. Catolfi, Produrre tv. Dallo studio televisivo a Internet, Laterza, 2009

1. ELEMENTS OF THE ECONOMY OF MOVIE AND AUDIOVISUAL SECTOR
2. DEVELOPMENT: from the script to the BUDGETING
3. PREPRODUCTION: from the budgeting to the financial plan and funding
4. SHOOTING
5. POSTPRODUCTION
6. MOVIE DISTRIBUTION/SALES
7. MOVIE THEATER AND RELEASE WINDOWS (THE CHAIN OF THE VALUE OF THE FILM AND THE AUDIOVISUAL PRODUCTION)
8. VIDEO ON DEMAND (VOD
9. OVER THE TOP (OTT )
10. ONLINE VIDEO AGGREGATOR
11. CONNECTED TELEVISION
12. RISK AND SUCCESS FACTORS
13. FILM MARKETING/PUBLICITY
14. CINEMA and BIG DATA

https://stores.streetlib.com/it/giandomenico-celata-e-rossella-gaudio/economiamanagement-e-finanza-dellimpresa-cinematografica-ed-audiovisiva/

Theoretical contextualization of Electronic Arts’ experience in the chronologies and histories of the Arts, in relationship with Cinema, Television, Sound and Contemporary Art histories: focus on the Italian case.

- A. Amaducci, Videoarte. Storia, autori, linguaggi, Kaplan, Torino 2014;
-M. M. Gazzano. Il Cinema & Cinema. Dal film alle arti elettroniche, andata e ritorno (permitted), Roma 2018

Optional:
- M. M. Gazzano, Kinema. Il Cinema sulle tracce del cinema. Dal film alle arti elettroniche, andata e ritorno, (new edition) Exorma, Roma 2019.
- L. Leuzzi, S. Partridge, REWIND/Italia. Early Video Art in Italy / I primi anni della videoarte in Italia, John Libbey Publishing, New Barnet 2016 (Italian/English).
Foreign Students can plan specific bibliographies with the Professor and the Tutors.

If someone would like to better examine (and optionally) the Course issues, please see the list “Programmi dei Corsi” on Dams / Mazzano website.

FILM: Presentation of video art works from the fifties to today, not available on the market .

The course will start from Isaiah Berlin’s text on Romanticism and will then focus on how Romanticism influenced all the Avantgardes, especially Dadaism. We will take in consideration theoretical and aesthetic problems of the movement, with particular regard to Duchamp’s ready made art works. Finally we will examine Nadja, a masterpiece of French literature by Andre Breton.

I. Berlin, Le radici del romanticismo, Milano, Adelphi, 2001
A. Breton, Nadja, Torino, Einaudi, 2007
V. Magrelli, Profilo del dada, Roma, Laterza 2006

FUNDAMENTS OF THE SCIENTIFIC DEBATE ON PSYCHOLOGY. HISTORY OF PSYCHOANALYS. FREUD AND BREUER. FREUD AND FLIESS. FREUD AND JUNG. THE ORIGIN OF THE TECHNIQUE OF FREE ASSOCIATION. THE FIRST AND SECOND FREUDIAN TOPIC. ETIC AND FREUDIAN THEORY. THE INTERPRETATION OF DREAMS. FREUD AND MOSES OF MICHELANGELO. FREUD'S JEWISH HERITAGE. THE ORIGIN OF THE PSYCHOANALYTIC MOVEMENT IN ITALY.

S. FREUD, IL MOS.E' DI MICHELANGELO. IN OPERE COMPLETE BY SIGMUND FREUD.
S. FREUD, L'INTERPRETAZIONE DEI SOGNI. IN OPERE COMPLETE BY SIGMUND FREUD.
E BONAVENTURA (1938). LA PSICOANALISI. (ed. D. Meghnagi). VENEZIA: MARSILIO, 2016.
D. MEGHNAGI, IL PADRE E LA LEGGE. VENEZIA: MARSILIO, 2016.

Course content: The course provides a general understanding of the main actors, rules and processes of the modern media system. The first part of the course is devoted to a brief history of Italian journalism in comparison with some of the major foreign models. The second part is devoted to the analysis of the main sectors of the Italian system of information - newspapers, television, radio, publishing, web - and to the structural and quantitative analysis of the market - investment, consumption, audiences. The third part is devoted to the acquisition of basic knowledge of the vocabulary of journalism and of the treatment process of the news. The fourth part of the course is devoted to the impact of new media on the system of information and to new trends such as the citizen journalism and the Hybrid System News.
The course includes practical end theoretical exercises on various aspects pertaining to the production and the packaging of the news.

M Forno, Informazione e potere, Laterza, Roma 2019, chapters 5 and 6.
M. Mezza, Giornalismi nella rete, Donzelli, Roma 2015.
Osservatorio sulle testate online. Rapporto 2018, AgCom, available at: www.agcom.it/documents/10179/10214149/Studio-Ricerca+13-04-2018/4f2f5a5f-b76b-40f5-b07c-cb89359edecb?version=1.1

Theoric contextualisation of photographic experience in the chronologies and histories of art, in relation to Cinema, Television, Sound and Arts histories: focus on the Italian case.

- Claudio Marra, Fotografia e arti visive, Carocci Roma 2014;

- Three essays downloadable from the web and included in the volume:
E. Menduni, L. Marmo (a cura di), Fotografia e culture visuali del XXI secolo, RomaTrE-Press 2018
(http://romatrepress.uniroma3.it/ojs/index.php/fotografia).

Dramaturgy through the body:
the foundations of performative practices in Ankoku Buto and of vocal techniques in Steinerian Eurhythmia.

The educational and creative path that I would like to propose is open to all interested students, professionals and non-professionals, who want to approach the materiality of the body universe as it was investigated by the latest currents of contemporary dance: the Butoh Dance and the Steinerian Eurhythmia. The possibility of intercepting the physical reality of an invisible space, within the body, in the artistic focus of performing it and projecting it into visible, scenic space, is significantly combined with the attention given to the nature of the human being, awakened in richness and in the harmonious integration of his physical, spiritual and intellectual resources. In both methodologies, one oriental and the other western, observed and practiced in their grammatical elements: defined dance exercises in the first case and vocal and consonant vocalization in the second one, find that precious attitude in the search for new expressive possibilities, new types of feeling. In terms of creative writing, the attempt is to realize a dramaturgy that is above all manifestation, objectified emanation of memories, sensory experiences, perceptual intelligences. The body in all its breadth is the first “domus” to inhabit. In this perspective a substantial part of the meetings will be dedicated to the training phase, redeeming it from being considered merely a gymnastic exercise and relaunching it as a dimension, a field to be moved in its deepest clods, to appropriately acquire an individual and personal body. We can experience perception through the delicacy of breathing and the release of weight. Eastern practices teach us how creative it is to awaken the articular joints of the body structure, taking care of them through breathing in them. The joints are defined as acoustic places, spaces in which the energy enters in its own resonance, where the physical and the spiritual meet each other mysteriously; they are cavities to keep empty for the fluid transit of some mysterious activation to the movement. It is necessary to take root in the body, so that the building is not only strong and elastic in its foundations, but at the same time also poetic and creative. In the condition of listening, refined during the training, precious dance attitudes are sedimented: body states, real thermometers of material and ineffable energy of the person; dance exercises strategically linked to an image. Some of them: the leaf of Lotus, the exchange on a beam, needles, the rainbow, the madness of the exact center, rotting, rusty can, blooming, withering ... As creative tools they suggest attitudes of the human being through equivalences with the phenomenal world. By attending this performative practice, one will be guided in tracing - in itself - the objectivity of an organic mechanism, which is equivalent to saying the reality of one's own nature. In the direct experience of dance, each participant will see his most intuitive creative faculties acting, articulating different body states in a first phase and then relate to precise words and poetic verses chosen to access his inner landscape. The evocative and alogical force of Japanese Haiku is surprising and effective in this sense. These short compositions, considered the highest expression of Zen culture, grasp the emotional perception that one has of reality, to transmit it to a more intimate understanding of the same. The previous performative elements will be joined by some structures of the Steinerian Eurythmy, which train to move harmoniously in the concreteness of given form, in all its directions and in all its volumes. It will highlight the irreducible energy traffic between an internal and personal dimension of presence and its projection in the external space, shared corally. The grammars of language and sound will be introduced in the Steiner methodology: vowels, consonants and their physical aspect. In the continuous sensorial game between an internal dimension and an external one, the first stimulate the flow of vital energy inside the body, the second its molding into sculptures carved in the surrounding space. The introduction of simple vocal and consonantal mantras will more clearly probe the connection between voice emission and body perception. The force of vocalization has been known since ancient times as the Technique of Ephesus and for its importance it was practiced in the temples where the movement was created looking for the point of origin of the voice. An outdoor opening is planned as the final day of the workshop.

Alessandra Cristiani, "Masaki Iwana e la tradizione del Butō Bianco. Metodologia della danza" e "Un’ulteriore riflessione" in "Trasform’azioni - Rassegna internazionale di danza butō. Fotografia di un’esperienza" edited by Samantha Marenzi, Editoria e Spettacolo, Roma 2010.

CONTENT: In the first part we will examine how TV production is changing in the new digital environment. In the second part we will focus on a particular stage of the production process (video editing). Students will be involved in an off-line production of a “sigla” of a tv program. In addiction to the classroom lectures, we will have exercises, visits to studios and television sets, meetings with professionals.

REFERENCE BOOKS:
G. Feyles, Il montaggio televisivo, Carocci, 2010
E. Menduni, A. Catolfi, Produrre tv. Dallo studio televisivo a Internet, Laterza, 2009

The histories and the art of the actors will be analyzed through the practices, the processes of composition and their relationships with the contemporary theaters.
TEXT BOOKS: Lecture notes edited by the teacher, (available at the beginning of the course on the site https://sites.google.com/com/site/stefanogeraci1);L. Jouvet, Lezioni su Molière, a cura di S.Geraci, Officina Edizioni, 2015 ;
The non-attending students must add to the program one of the following books: Copeau, Artigiani di una tradizione vivente: l’attore e la pedagogia teatrale; a cura di Maria Ines Aliverti, La casa Usher, 2009; C. Dullin, La ricerca degli dei. Pedagogia di attore e professione di teatro, a cura di D. Seragnoli, ETS, 2005.

TEXT BOOKS: Lecture notes edited by the teacher, (available at the beginning of the course on the site https://sites.google.com/com/site/stefanogeraci1);L. Jouvet, Lezioni su Molière, a cura di S.Geraci, Officina Edizioni, 2015 ;
The non-attending students must add to the program one of the following books: Copeau, Artigiani di una tradizione vivente: l’attore e la pedagogia teatrale; a cura di Maria Ines Aliverti, La casa Usher, 2009; C. Dullin, La ricerca degli dei. Pedagogia di attore e professione di teatro, a cura di D. Seragnoli, ETS, 2005.

The course will start from Isaiah Berlin’s text on Romanticism and will then focus on how Romanticism influenced all the Avantgardes, especially Dadaism. We will take in consideration theoretical and aesthetic problems of the movement, with particular regard to Duchamp’s ready made art works. Finally we will examine Nadja, a masterpiece of French literature by Andre Breton.

I. Berlin, Le radici del romanticismo, Milano, Adelphi, 2001
A. Breton, Nadja, Torino, Einaudi, 2007
V. Magrelli, Profilo del dada, Roma, Laterza 2006

FUNDAMENTS OF THE SCIENTIFIC DEBATE ON PSYCHOLOGY. HISTORY OF PSYCHOANALYS. FREUD AND BREUER. FREUD AND FLIESS. FREUD AND JUNG. THE ORIGIN OF THE TECHNIQUE OF FREE ASSOCIATION. THE FIRST AND SECOND FREUDIAN TOPIC. ETIC AND FREUDIAN THEORY. THE INTERPRETATION OF DREAMS. FREUD AND MOSES OF MICHELANGELO. FREUD'S JEWISH HERITAGE. THE ORIGIN OF THE PSYCHOANALYTIC MOVEMENT IN ITALY.

S. FREUD, IL MOS.E' DI MICHELANGELO. IN OPERE COMPLETE BY SIGMUND FREUD.
S. FREUD, L'INTERPRETAZIONE DEI SOGNI. IN OPERE COMPLETE BY SIGMUND FREUD.
E BONAVENTURA (1938). LA PSICOANALISI. (ed. D. Meghnagi). VENEZIA: MARSILIO, 2016.
D. MEGHNAGI, IL PADRE E LA LEGGE. VENEZIA: MARSILIO, 2016.

The themes of the laboratory will be: The word on the radio, radio language and orality; The peculiarities of radio journalism; The search and writing of the news for the radio bulletin; Structuring and performing the news; Performing and conducting an interview; Writing and conducting radio features, surveys, documentaries.

Basic sound physics concepts and definition of musical sound sources. Basic concepts of musical theory (rhythm, melody, harmony). Basic concepts on the operation of the main instruments used for recording and playback (microphones, amplifiers, mixers and equalizers, loudspeakers). Sampling of sound. Introduction to Audio Files and MIDI. The physical and logical sequencers. Practical examples of professional music software management in the various phases of writing music tracks, equalization, reverberation, compression, harmonic excitement, stereophonic image creation, limiter and dithering use.

handouts by the teacher

Theoretical contextualization of Electronic Arts’ experience in the chronologies and histories of the Arts, in relationship with Cinema, Television, Sound and Contemporary Art histories: focus on the Italian case.

- A. Amaducci, Videoarte. Storia, autori, linguaggi, Kaplan, Torino 2014;
-M. M. Gazzano. Il Cinema & Cinema. Dal film alle arti elettroniche, andata e ritorno (permitted), Roma 2018

Optional:
- M. M. Gazzano, Kinema. Il Cinema sulle tracce del cinema. Dal film alle arti elettroniche, andata e ritorno, (new edition) Exorma, Roma 2019.
- L. Leuzzi, S. Partridge, REWIND/Italia. Early Video Art in Italy / I primi anni della videoarte in Italia, John Libbey Publishing, New Barnet 2016 (Italian/English).
Foreign Students can plan specific bibliographies with the Professor and the Tutors.

If someone would like to better examine (and optionally) the Course issues, please see the list “Programmi dei Corsi” on Dams / Mazzano website.

FILM: Presentation of video art works from the fifties to today, not available on the market .

1. ELEMENTS OF THE ECONOMY OF MOVIE AND AUDIOVISUAL SECTOR
2. DEVELOPMENT: from the script to the BUDGETING
3. PREPRODUCTION: from the budgeting to the financial plan and funding
4. SHOOTING
5. POSTPRODUCTION
6. MOVIE DISTRIBUTION/SALES
7. MOVIE THEATER AND RELEASE WINDOWS (THE CHAIN OF THE VALUE OF THE FILM AND THE AUDIOVISUAL PRODUCTION)
8. VIDEO ON DEMAND (VOD
9. OVER THE TOP (OTT )
10. ONLINE VIDEO AGGREGATOR
11. CONNECTED TELEVISION
12. RISK AND SUCCESS FACTORS
13. FILM MARKETING/PUBLICITY
14. CINEMA and BIG DATA

https://stores.streetlib.com/it/giandomenico-celata-e-rossella-gaudio/economiamanagement-e-finanza-dellimpresa-cinematografica-ed-audiovisiva/

After a general introduction on digital art concepts and "hacker attitude", the course will show some examples of artistic digital use. They will show and explain the reasons and the design approaches of different works and artists. Students will then be invited to produce, individually or in small groups of three people, one of their projects accomplished with the supplied technologies, or to develop the presentation of a project which requires equipment that is not available. Students must already be able to accomplish basic tasks of filming and editing, how to surf the Internet and / or use basic programs of digital graphics. And it is obligatory to have a mail box to keep in touch with the teacher.

Giacomo Verde – ARTIVISMO TECNOLOGICO, scritti e interviste su arte, politica, teatro e tecnologie - Ed. BFS, Pisa – 2007
See: http://www.verdegiac.org/artivismo.html

The course aims to pinpoint and analyze the main tendencies of the contemporary audiovisual fiction narrative, addressing hegemonic imaginaries as well as the subversive trajectories delineated by film and television series in Europe and the United States.
The course addresses in particular transnational narratives in film and postcolonialism/globalization; audiovisual aesthetics, subjectivity and gender identity; complex television, serial narratives, and transmedia storytelling.
The final syllabus is online at https://ilariaadepascalis.wordpress.com/informazioni-generali/

Ilaria A. De Pascalis, "Il cinema europeo contemporaneo: scenari transnazionali, immaginari globali", Bulzoni, Roma 2015.
Collection of essays.
The final syllabus will be available online on the teacher's website https://ilariaadepascalis.wordpress.com/

Regulation and market of the film and audiovisual industry in Italy and in Europe
Programme
Purposes
The course aims to provide an in-depth knowledge of the legal framework that regulates the audio-visual sector in Italy and in Europe and on the underlying principles.
During the lessons, an overview will be carried out on the institutional actors, on the supply chain system and a legislative evolution will be outlined in the new economic and technological context, in the light of the new digital ecosystem. Operators of the sector can be invited to illustrate case studies and best practices.
Students will be provided with informative elements and tools to know the procedures and the regulatory framework to support businesses and audio-visual works.
Course structure
First part: the European framework that regulates cinema and the audio-visual sector
1.1 The creation of the Digital Single Market and the European audio-visual subjects
1.2 The revision of the Audio-visual Media Services Directive and main issues on the revision of the Copyright Directive and the "Sat Cab" regulation
1.3 The Creative Europe Programme - Media
1.4 The European co-productions Convention and the Eurimages Fund
1.5 The legislation on state aid
Second part: cinema and audio-visual national legislation: the Law n. 220/2018 and the implementing decrees
2.1 Governance and competent authorities: overall framework. Structure, duties and attributions of the General Directorate of Cinema of MIBAC
2.2 The law n.220 of 2016: origin, objectives, strategic lines of intervention and resources
2.3 The law n.220 of 2016: nationality, beneficiary subjects and works
2.4 The law n. 220 of 2016: selective support for production and automatic contributions
2.5 The law n. 220 of 2016: the system of tax credits for the audio-visual supply chain
2.6. Support for promotion; festivals, awards, reviews, writers, associations and development of cinematographic and audio-visual culture. The main public institutions (ILC, CSC, Cineteca Bologna, Turin Museum, Cinema Biennale)
2.7 The law n. 220 of 2016: extraordinary plans for the audio-visual heritage digitization and for cinema’s strengthening
2.8 The MIUR - MIBAC action plan for media education
2.9 The State – Regions relationship and the recognition of the Film Commission
2:10. The three reforms envisaged by the Law: protection of minors in the film and audio-visual sector and the classification of works; promotion of cinematographic and audio-visual works: planning and investment obligations for audio-visual media service providers; job market reform on cinematographic and audio-visual matters.

- 2 Research Projects:
+ Rapporto ANICA su Cinema e Audiovisivo – l’impatto per l’occupazione e la crescita in Italia:
http://www.anica.it/allegati/RapportoCSC_per_ANICA_11_4_2019.pdf
+ 1^ Rapporto sulla produzione audiovisiva nazionale - APA: https://www.apt.it/wp-content/uploads/2019/03/apa-PER-OSPITI.pdf
- Rapporto Symbola 2018 - "Io sono cultura"; chapter "3.4 Audiovisivo", pp. 122-144. See:
http://www.symbola.net/assets/files/Io%20sono%20cultura%202018%20DEF_1532333766.pdf
- Report "Il sistema audiovisivo - Evoluzione e dimensioni economiche", Istituto Bruno Leoni 2018. See:
http://www.brunoleoni.it/il-sistema-audiovisivo-evoluzione-e-dimensioni-economiche-2018
- Notes and Press to be asked: bruno.zambardino@uniroma3.it; teoliazzurra@yahoo.it

The class aims at making an audiovisual product and will be split into three parts, each devoted to the three filmmaking production steps:

1. literary step (from the idea to the script); 2. production step (pre-preduction and shooting); 3. post-production step (video and sound editing).

Each of the three parts will consist of a brief theoretical introduction and of a lab workshop.

None. It is essentially a practical workshop.

After the presentation of theoretical elements about filmmaking (pre-production, production and post-production), students will realise a short film.

There is not a course book.

How do you write a television format? How do you analyze a program created from a format? What is the relationship between format and TV genres? Do the formats also work for seriality? Why do people watch the same programs all over the world, from The Wheel of Fortune to Masterchef? In the laboratory these questions will be addressed, with constant reference to the international television production. The laboratory provides exercises in writing a paper format.

The list of optional readings will be delivered at the beginning of the laboratory.

The laboratory intends to develop and deepen the themes, styles, authors and trends of contemporary photography with a special regard to the photographic display, intended as exhibitions and therefore the natural outcome of many of the contemporary photographic projects.
Contemporary photography and its, so to speak, “phototelling” will therefore be the topic on which the lessons and work sessions will be based.

Mandatory texts

Walter Benjamin, L’opera d’arte nell’epoca della sua riproducibilità tecnica – arte e società di massa, Torino, Einaudi.

Roland Barthes, La camera chiara, Torino Einaudi.

Alessandra Mauro, Photoshow – le mostre che hanno segnato la storia della fotografia, Roma, Contrasto, 2014

During the work and study sessions, other texts will be recommended and provided.


Recommended texts

Charlotte Cotton, La fotografia come arte contemporanea, Torino, Einaudi, 2015

Giuliana Bruno, Pubbliche intimità – architetture e atri visive, Milano, Bruno Mondadori, 2007

1. Legal protection of the creative act. 2. Requirements for the protection of intellectual products such as intellectual works. 3. Rights of copyright: analysis of rights and main characteristics. 4. Moral rights: analysis and main characteristics. 5. Copyright and related rights. 6. Author and artist/interpreter/performer. 7. Cinematographic work, musical work and theater play. 8. The music publisher and the phonogram producer. 9. Producer of cinematographic and assimilated products. 10. Commercialization of cinematographic and assimilated products. 11. The theater manager. 12. Analysis of the main contracts in the sector. 13. The mediator bodies of copyright and related rights.

Entertainment Law of A. Miccichè - Artemide Editions, only chapters below indicated:

Chapter 5: all excluded; chapter 6: all excluded; chapter 7: include only form 7.1 to 7.10, avoid all the rest; chapter 8: all excluded; chapter 9: all excluded; chapter 10: exclude only 10.10, consider all the rest; chapter 11: exclude only 11.6, consider all the rest; chapter 13: exclude only 13.33 consider all the rest; chapter 14: exclude only 14.25 and 14.27 consider all the rest; chapter 15: consider only 15.1 and 15.2, exclude all the rest; chapter 16: exclude only 16.19 and 16.20 consider all the rest.

First World War: history and literature

a) Le notti chiare erano tutte un’alba. Antologia dei poeti italiani nella Prima guerra mondiale, edited by Andrea Cortellessa, Milano, Bompiani, 2018

b) plus one author, by choice, among:

Federico De Roberto, La paura e altri racconti di guerra, a cura di Gabriele Pedullà, Milano, Garzanti, 2015

Giovanni Comisso, Giorni di guerra, Milano, Longanesi, 2009

Carlo Emilio Gadda, Giornale di guerra e di prigionia, Milano, Garzanti, 2001

Emilio Lussu, Un anno sull’altipiano, Torino, Einaudi, 2014

c) to give a context in the 20th and 21st century italian literary history:

Giulio Ferroni, Storia della letteratura italiana, vol. IV: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

The course intends to build a historical-critical path around the documentary cinema, with a monographic focus on artist portraits made through the cinema of the real.

Adriano Aprà, Breve ma veridica storia del cinema documentario-Dal cinema del reale alla nonfiction, Falsopiano, Alessandria, 2017.
Selected essays by the teacher deposited at the copy shop next to Libropoli.

Filmography:
L’uomo con la macchina da presa (D. Vertov, 1929)
Nick’s Film (W. Wenders, 1980)
Tokio-ga (W. Wenders, 1985)
Appunti di viaggio su moda e città (W.Wenders, 1989)
Pina (W. Wenders, 2011)
Il sale della terra (W. Wenders, 2014)
Ak (C.Marker, 1985)
Sans Soleil (C. Marker, 1982)

First World War: history and literature

a) Le notti chiare erano tutte un’alba. Antologia dei poeti italiani nella Prima guerra mondiale, edited by Andrea Cortellessa, Milano, Bompiani, 2018

b) plus one author, by choice, among:

Federico De Roberto, La paura e altri racconti di guerra, a cura di Gabriele Pedullà, Milano, Garzanti, 2015

Giovanni Comisso, Giorni di guerra, Milano, Longanesi, 2009

Carlo Emilio Gadda, Giornale di guerra e di prigionia, Milano, Garzanti, 2001

Emilio Lussu, Un anno sull’altipiano, Torino, Einaudi, 2014

c) to give a context in the 20th and 21st century italian literary history:

Giulio Ferroni, Storia della letteratura italiana, vol. IV: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

General introduction and fundamentals. Methods and techniques. The fieldwork.
Anthropology today: who are the others; migrations; traditional societies; societies and cultures in the globalized world.
A basic course useful to teachers, professors, and social workers.

The texts for non-attending students

1. A textbook for the general part:
Ugo Fabietti, Elementi di antropologia culturale, Milano, Mondadori, 2015.

2. The monographic part includes:
Stefano de Matteis, La false libertà. Verso la post globalizzazione, Milano, Meltemi, 2017.
Victor Turner, Antropologia dell’esperienza, trad. it. di Milena Zemira Ciccimarra, Bologna, il Mulino, 2014.

Doubt, error, truth.

The course aims to provide the basic conceptual tools for understanding the vocabulary and some of the main questions involved in the development of the concepts of doubt, error, and truth in the context of Platonic-Cartesian rationalism and in some pragmatic re-elaborations of modern empiricism.

Module A

Platone, "Teeteto", Roma-Bari: Editori Laterza 1999.
Cartesio, "Discorso sul metodo", in "Opere filosofiche", vol. 1, Roma-Bari: Laterza 2009.
Ch. S. Peirce, "Il fissarsi della credenza", in "Opere", Torino: UTET 2005, pp. 185-203 (fotocopie disponibili presso la copisteria “Copyando”).
R. M. Calcaterra, G. Marchetti, G. Maddalena (a cura di), "Il pragmatismo. Dalle origini agli sviluppi contemporanei", Roma: Carocci 2015.

Recommended texts:
E. Scribano, "Guida alla lettura delle Meditazioni metafisiche di Descartes". Roma-Bari, Laterza 1997. Oppure: G. Crapulli, "Introduzione a Descartes", Roma-Bari: Laterza 1998
G. Maddalena, "Peirce", Brescia: La Scuola 2015.


Module B

D. Hume, "Ricerca sull’intelletto umano", Roma-Bari: Laterza 1996, pp. 1-205.
W. James, "Il significato della verità", Torino: Aragno 2010 (fotocopie disponibili presso la copisteria “Copyando”).
F. W. Nietzsche, "Su verità e menzogna in senso extra-morale", Milano: Adelphi 2015.
R. M. Calcaterra, G. Marchetti, G. Maddalena (a cura di), "Il pragmatismo. Dalle origini agli sviluppi contemporanei", Roma: Carocci 2015.

Recommended texts:
S. Franzese, "L’uomo indeterminato. Saggio su William James", Roma: D’Anselmi 2000.
L. McGranahan, "Darwinism and Pragmatism. William James on Evolution and Self-Transformation", London: Routledge 2017.
C. Piazzesi, "Nietzsche", Roma: Carocci 2015. Oppure: C. Gentili, "Introduzione a Nietzsche", Bologna: Il Mulino 2017.

The course develops methodological skills in order to undertake research in the field of communication studies. The first part of the course will examine the methodological framework for the study of culture and communication.
The main stages and strategies of the field research, with particular emphasis on the ethnographic method, will be explored during the second part. Students will participate in laboratory activities to plan and implement research projects on topics agreed with the teacher.

W. Griswold , Un framework metodologico per lo studio della cultura, in M. Santoro, R. Sassatelli, 2009 (a cura di), Studiare la cultura. Nuove prospettive sociologiche, Il Mulino, Bologna, pp. 253-285.
G. Gobo, Descrivere il mondo. Teoria e pratica del metodo etnografico in sociologia, Carocci, Roma 2001

The laboratory intends to develop and deepen the themes, styles, authors and trends of contemporary photography with a special regard to the photographic display, intended as exhibitions and therefore the natural outcome of many of the contemporary photographic projects.
Contemporary photography and its, so to speak, “phototelling” will therefore be the topic on which the lessons and work sessions will be based.

Mandatory texts

Walter Benjamin, L’opera d’arte nell’epoca della sua riproducibilità tecnica – arte e società di massa, Torino, Einaudi.

Roland Barthes, La camera chiara, Torino Einaudi.

Alessandra Mauro, Photoshow – le mostre che hanno segnato la storia della fotografia, Roma, Contrasto, 2014

During the work and study sessions, other texts will be recommended and provided.


Recommended texts

Charlotte Cotton, La fotografia come arte contemporanea, Torino, Einaudi, 2015

Giuliana Bruno, Pubbliche intimità – architetture e atri visive, Milano, Bruno Mondadori, 2007

The course intends to build a historical-critical path around the documentary cinema, with a monographic focus on artist portraits made through the cinema of the real.

Adriano Aprà, Breve ma veridica storia del cinema documentario-Dal cinema del reale alla nonfiction, Falsopiano, Alessandria, 2017.
Selected essays by the teacher deposited at the copy shop next to Libropoli.

Filmography:
L’uomo con la macchina da presa (D. Vertov, 1929)
Nick’s Film (W. Wenders, 1980)
Tokio-ga (W. Wenders, 1985)
Appunti di viaggio su moda e città (W.Wenders, 1989)
Pina (W. Wenders, 2011)
Il sale della terra (W. Wenders, 2014)
Ak (C.Marker, 1985)
Sans Soleil (C. Marker, 1982)

General introduction and fundamentals. Methods and techniques. The fieldwork.
Anthropology today: who are the others; migrations; traditional societies; societies and cultures in the globalized world.
A basic course useful to teachers, professors, and social workers.

The texts for non-attending students

1. A textbook for the general part:
Ugo Fabietti, Elementi di antropologia culturale, Milano, Mondadori, 2015.

2. The monographic part includes:
Stefano de Matteis, La false libertà. Verso la post globalizzazione, Milano, Meltemi, 2017.
Victor Turner, Antropologia dell’esperienza, trad. it. di Milena Zemira Ciccimarra, Bologna, il Mulino, 2014.

1. Legal protection of the creative act. 2. Requirements for the protection of intellectual products such as intellectual works. 3. Rights to copyright: analysis of rights and main characteristics. 4. Moral rights: analysis of rights and main characteristics. 5. Copyright and related rights. 6. Author and artist/interpreter/performer. 7. Cinematographic work, musical work and theater play. 8. The music publisher and the phonogram producer. 9. Producer of cinematographic and assimilated products. 10. Commercialization of cinematographic and assimilated products. 11. The theater manager. 12. Analysis of the main contracts in the sector. 13. The mediator bodies of copyright and related rights.

Entertainment law of A. Miccichè - Artemide Editions, only chapters indicated by the teacher

The following chapters are not subject of examination and maybe therefore avoided:
chapter 5: all excluded; chapter 6 all excluded; chapter 7 include only from 7.1 to 7.10, avoid all the rest; chapter 8: all excluded; chapter 9 all excluded; chapter 10 exclude only 10.10, consider all the rest; chapter 11 exclude only 11.6, consider all the rest; chapter 13 exclud only 13.33 consider all the rest; chapter 14 exclude only 14.25 and 14.27 consider all the rest; chapter 15 consider only 15.1 and 15.2, exclude all the rest; chapter 16 exclude only 16.19 and 16.20 consider all the rest.

The chapters not listed above are to be fully studied.

A) Lectures at DAMS University Roma3: 1) background information on the context of the contemporary prison; 2) items of information on the relationship between aesthetics and ethics with specific application to the context of the theater with social worth.
B) Workshop at the Theatre of the Rebibbia prison N.C. Via R. Majetti, 70: 1) direct interaction with the work carried out by the inmates-actors at the Theatre of the Prison.
C) Each student must prepare a final report on the experience of the Laboratory.

Handouts provided by the teacher
FILMOGRAPHY:
"Caesar Must Die" by Paolo and Vittorio Taviani.
"Naufragio con spettatore" di Fabio Cavalli
"Rebibbia 24" di Fabio Cavalli

After a general introduction, the program includes the active participation of students in the collection of testimonies, the identification of forms, rhythms, narrative modes in relation to the presence and actions of the narrator-actor. During the workshop students will be provided with useful texts to deepen the experimented work.

After a general introduction, the program includes the active participation of students in the collection of testimonies, the identification of forms, rhythms, narrative modes in relation to the presence and actions of the narrator-actor. During the workshop students will be provided with useful texts to deepen the experimented work.

Cultural Entrepreneurship workshop

The workshop aims to develop entrepreneurial skills for the establishment of new cultural and entertainment projects.
During the workshop, the functioning systems of a cultural enterprise will be examined. The cultural enterprise will be observed from its legal point of view, studying the work standards and contractual responsibilities, especially in relation to the live performance, but also in relation with other areas of cultural production. During the lessons, the process of writing the project will be also discussed, with particular attention to the development of the ability to find public and private funding.

Supporting Text
Lucio Argano, Alessandro Bollo, Paolo Dalla Sega “Organizzare eventi culturali. Ideazione, progettazione e gestione strategica del pubblico” Franco Angeli 2017
Notes: saranno fornite dal docente durante il corso

Workshop texts
Lucio Argano, Alessandro Bollo, Paolo Dalla Sega “Organizzare eventi culturali. Ideazione, progettazione e gestione strategica del pubblico” Franco Angeli 2017
Lecture notes will be given by the professor

The course aims to highlight the convergence, or even the substantial identity, between the two famous Aristotelian definitions of Homo sapiens: "animal that has language" and "political animal". By studying the texts of some important linguists and philosophers of language (E. Benveniste, JL Austin), as well as the major work of Hannah Arendt, Vita Activa, we would like to clarify the reasons why verbal language should be considered the biological organ of public practice.

G. Graffi, S. Scalise, Le lingue e il linguaggio. Introduzione alla linguistica, Il Mulino, chapters I, II, VII, VIII (excluding the in-depth paragraphs marked with an asterisk). To buy
NOTES BY PROF. VIRNO, Il parlante come artista esecutore. Available in photocopy.
Text P. Virno, to be read in relation to Austin and Malinowski.
Optional, available in photocopy.
J.L. AUSTIN, Enunciati performativi, in Id., Saggi Filosofici, Guerini e Associati, Milano 1990, pp. 221-36. Available in photocopy.
E. BENVENISTE, Problemi di linguistica generale I, Il Saggiatore, Milano 1971, pp. 301-347,
including the following essays: La natura dei pronomi, La soggettività del linguaggio, La filosofia analitica e il linguaggio. Available in photocopy.
E. BENVENISTE, Problemi di linguistica generale II, Il Saggiatore, Milano 1987, lincluding the following essays: Il linguaggio e l’esperienza umana, pp. 83-95; L’apparato formale dell’enunciazione, pp. 96-106. Available in photocopy.
B. MALINOWSKI, Il problema del significato dei linguaggi primitivi, in C.L. Ogden, I.A. Richards, Il significato del significato, Garzanti, Milano 1975, pp. 353-357. Available in photocopy.
H. ARENDT, Vita Activa, Bompiani, chapters 1, 2, 5. To buy.
Students who have to take a 4-credit exam do not have to answer for chapters. VII and VIII of the manual of Graffi and Scalise, nor of the chap. 1 and 2 of Vita activa by Arendt.


Linguaggio e natura umana, Bollati Boringhieri, only chap. 6° (“Storia naturale”).Photocopy avaible.

Doubt, error, truth.

The course aims to provide the basic conceptual tools for understanding the vocabulary and some of the main questions involved in the development of the concepts of doubt, error, and truth in the context of Platonic-Cartesian rationalism and in some pragmatic re-elaborations of modern empiricism.

Module A

Platone, "Teeteto", Roma-Bari: Editori Laterza 1999.
Cartesio, "Discorso sul metodo", in "Opere filosofiche", vol. 1, Roma-Bari: Laterza 2009.
Ch. S. Peirce, "Il fissarsi della credenza", in "Opere", Torino: UTET 2005, pp. 185-203 (fotocopie disponibili presso la copisteria “Copyando”).
R. M. Calcaterra, G. Marchetti, G. Maddalena (a cura di), "Il pragmatismo. Dalle origini agli sviluppi contemporanei", Roma: Carocci 2015.

Recommended texts:
E. Scribano, "Guida alla lettura delle Meditazioni metafisiche di Descartes". Roma-Bari, Laterza 1997. Oppure: G. Crapulli, "Introduzione a Descartes", Roma-Bari: Laterza 1998
G. Maddalena, "Peirce", Brescia: La Scuola 2015.


Module B

D. Hume, "Ricerca sull’intelletto umano", Roma-Bari: Laterza 1996, pp. 1-205.
W. James, "Il significato della verità", Torino: Aragno 2010 (fotocopie disponibili presso la copisteria “Copyando”).
F. W. Nietzsche, "Su verità e menzogna in senso extra-morale", Milano: Adelphi 2015.
R. M. Calcaterra, G. Marchetti, G. Maddalena (a cura di), "Il pragmatismo. Dalle origini agli sviluppi contemporanei", Roma: Carocci 2015.

Recommended texts:
S. Franzese, "L’uomo indeterminato. Saggio su William James", Roma: D’Anselmi 2000.
L. McGranahan, "Darwinism and Pragmatism. William James on Evolution and Self-Transformation", London: Routledge 2017.
C. Piazzesi, "Nietzsche", Roma: Carocci 2015. Oppure: C. Gentili, "Introduzione a Nietzsche", Bologna: Il Mulino 2017.

The topic of the course concerns the development of musical criticism, seen in its historical and methodological dimension, from the late eighteenth century up to current times. The theme will be introduced by a series of lessons dedicated to the concept of musical communication.

Selected essays provided by the teacher, available in copy shops in via Giulio Rocco

First World War, history and literature

a) Le notti chiare erano tutte un’alba. Antologia dei poeti italiani nella Prima guerra mondiale, edited by Andrea Cortellessa, Milano, Bompiani, 2018

b) plus one author, by choice, among:

Federico De Roberto, La paura e altri racconti di guerra, a cura di Gabriele Pedullà, Milano, Garzanti, 2015

Giovanni Comisso, Giorni di guerra, Milano, Longanesi, 2009

Carlo Emilio Gadda, Giornale di guerra e di prigionia, Milano, Garzanti, 2001

Emilio Lussu, Un anno sull’altipiano, Torino, Einaudi, 2014

c) to give a context in the 20th and 21st century italian literary history:

Giulio Ferroni, Storia della letteratura italiana, vol. IV: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

The course develops methodological skills in order to undertake research in the field of communication studies. The first part of the course will examine the methodological framework for the study of culture and communication.
The main stages and strategies of the field research, with particular emphasis on the ethnographic method, will be explored during the second part. Students will participate in laboratory activities to plan and implement research projects on topics agreed with the teacher.

W. Griswold , Un framework metodologico per lo studio della cultura, in M. Santoro, R. Sassatelli, 2009 (a cura di), Studiare la cultura. Nuove prospettive sociologiche, Il Mulino, Bologna, pp. 253-285.
G. Gobo, Descrivere il mondo. Teoria e pratica del metodo etnografico in sociologia, Carocci, Roma 2001

How do you write a television format? How do you analyze a program created from a format? What is the relationship between format and TV genres? Do the formats also work for seriality? Why do people watch the same programs all over the world, from The Wheel of Fortune to Masterchef? In the laboratory these questions will be addressed, with constant reference to the international television production. The laboratory provides exercises in writing a paper format.

The list of optional readings will be delivered at the beginning of the laboratory.

This course first settles the framework of the theoretical and methodological aspects of the history of food cultures. In particular, the class will focus on the cultural and social features that have marked the imaginary and the use of food in the contemporary age.
The first part of the course (6 hours) is devoted to the introduction of the theoretical and methodological aspects of cultural history and the history of material cultures. The second part of the course (6 hours) addresses the long-term historical changes of agriculture in the contemporary age. The third part of the course (18 hours) is concerned with the history of Italian food culture with particular attention to Mediterranean food cultures. The fourth part of the course (6 hours) is focused on three aspects on the cultural relations between food and society: food and the environment, food and inequalities, food and religions.

Alberto Capatti e Massimo Montanari, La cucina italiana. Storia di una cultura, Roma-Bari, Laterza 20177, 424 p., € 14,00.

A book to be chosen from:
Cibo, a cura di Ester Fano, Nora McKeon e Giancarlo Monina, numero monografico di “Parolechiave”, 58, dicembre 2017, 240 p., € 22,00.
Massimo Montanari, Il cibo come cultura, Roma-Bari, Laterza, 20178, 186 p. € 10,00
Choice essays (minimum 3) from Storia d’Italia, Annali 13, L’alimentazione, Torino, Einaudi, 1998 (in the library)

The course deals with a critical analysis of gender representations in the media. The first part gives an overview on the concept of gender and the role of media in the social construction of male and female identities. The course aims to provide students with the methodological tools to analyse communication practices in various media (whether digital or not) from a gendered perspective. The second part is dedicated to lab activities. The research lab includes working in groups and will involve students in the design of research projects on specific topics.

D. Richardson (2015), Conceptualising Gender, in V. Robinson & D. Richardson (eds), Gender and Women’s Studies, Palgrave, pp. 3-22
A. L. Tota (2008), Gender e media. Verso un immaginario sostenibile, Meltemi, Milano
S. Capecchi (2014), Methodological problems in gender and media research, Qual Quant, 48, pp. 837–844

A voyage in about three decades of narratives for the big and the small screen, with the second generation immigrants as leads, behind and before the camera. The battle for a new nationality law showed the presence of groups resisting the redefinition of the main narrative on Italianness. The fears raised by the attacks in the heart of Europe joined the return of some “race figures” linked to the past of Italy, as a country involved in dynamics of power and abuse on subaltern groups, from slavery to colonialism to biopolitical governance of the immigration.

Leonardo De Franceschi, La cittadinanza come luogo di lotta. Le seconde generazioni in Italia fra cinema e serialità (Canterano, Aracne Editrice, 2017).
An online collection of articles and datasheets, edited by the professor in charge.

After the presentation of theoretical elements about filmmaking (pre-production, production and post-production), students will work with the Professor and realise a short film, measuring with the difficulties proposed by the various production phases.

There is not a course book.

The class aims at making an audiovisual product and will be split into three parts, each devoted to the three filmmaking production steps:

1. literary step (from the idea to the script); 2. production step (pre-preduction and shooting); 3. post-production step (video and sound editing).

Each of the three parts will consist of a brief theoretical introduction and of a lab workshop.

None. It is essentially a practical workshop.