Emotions: definition, biological and social functions, types, regulation, expression, and communication. Basic emotions, image, cognitive, social, moral emotions. Their relationships with interpersonal interaction and relations, on the job, in teaching and learning, politics, art, music, and entertainment.
In-depth study and research on the psychological processes (cognitive, affective, relational) of communication in all of its modalities: verbal and body (words and sentences, prosody and intonation, gestures, facial expression, gaze, touch, posture, proxemics, music), and technological media. Analysis of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, and entertainment.

Teaching material for the course “Psychology of Emotions and Multimodal Communication”, 6 Credits
The items to be studied for the oral exam are the following:

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.


Teaching material for those who have to give the following exam: “Psychology of Emotions”, 6 Credits
The items to be studied for the oral exam are the following:

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I. (a cura di): La mente del cuore. Roma, Armando 2008.
C. Un testo o insieme di testi, a scelta fra i 13 punti del seguente elenco:

1. Castelfranchi C.: Che figura. Emozioni e immagine sociale. Il Mulino, Bologna 2005.
2. Nussbaum, M.: L’intelligenza delle emozioni. Il Mulino, Bologna 2013.
3. Matarazzo O. e Zammuner V. (a cura di): La regolazione delle emozioni. Il Mulino, Bologna 2012.
4. Ledoux J.: Il cervello emotivo. Baldini e Castoldi, Milano 2005.
5. Damasio A.R.: Emozione e coscienza. Adelphi, Milano 2010.
6. Miceli M. e Castelfranchi C.: Expectancy and Emotion. Oxford University Press, Oxford 2013.
7. D’Amico A.: Intelligenza emotiva e metaemotiva. Il Mulino, Bologna. 2018.
8. Palvarini P.: Le emozioni che rendono forti. Il lavoro con le emozioni in psicoterapia. Alpes Italia.
9. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
10. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
11. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
12. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019

13. 4 papers on emotions, to be downloaded from the following link:
https://www.researchgate.net/profile/Isabella_Poggi


Teaching material for those who have to give the following exam: “Psychology of Multimodal Communication”, 6 Credits
The items to be studied for the oral exam are the following:


A. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.
B. One text or set of texts, chosen within the following items:

1. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
2. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
3. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
4. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
5. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
6. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento.
7. Bologna, Il Mulino. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
8. Bambini V. Il cervello pragmatico. Roma, Carocci.
9. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
10. Ferrari M. e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

11. La seguente coppia di testi:

- Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
- Riva G.: I social network. Bologna, Il Mulino

12. La seguente coppia di testi:
- Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
- Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

13. 4 articoli sulla comunicazione multimodale scelti fra i seguenti, scaricabili dal link:
https://www.researchgate.net/profile/Isabella_Poggi

This course provides the students with the study of experiences and skills concerning the basic elements of composition in performing arts: Movement, Space, Expression, Rhythm.
The course will treat some definitions and experiences of the expressive movement, of his formal, dynamic and symbolic values, in practices and reflections on the physical action during the first decades of the twentieth century, searching in a field shared by theatre, dance, gymnastics, visual cultures and anthropology.

Foreign students can study Eisenstein, Mauss and Warburg's texts in their native language versions or translations

This course proposes the study of some experiences that arose in the context of postwar Japanese avant-garde and that influenced international dance in the second half of the 20th century by transforming its principles and aesthetics and proposing a new philosophy of the body and movement. Through the observation of Butoh and its origins, the course will analyze the experiences of Japanese dancers who were active as performers and as pedagogues in Europe and the paths of some of their Western students will be observed, identifying the elements of continuity and rupture and highlighting the fruitful aspects of one of the great dance revolutions of the last century.

- Trasform'azioni – rassegna internazionale di danza butō. Fotografia di un'esperienza, a cura di Samantha Marenzi, Editoria & Spettacolo, Roma 2010
- Paola Bianchi, Corpo politico. Distopia del gesto utopia del movimento, a cura di Silvia Bottiroli e Silvia Parlagreco, Editoria & Spettacolo, Spoleto 2014
- I corpi del Butō. Fotografie di danza tra Oriente e Occidente, a cura di Samantha Marenzi, Postcart, Roma 2018 (catalogo mostra).
- Lecture notes by the teacher available on Teams

Specific object of investigation will be the dialect theatre “of exception” (especially the one of Raffaele Viviani), essential piece to look in a new way at that moment of the Italian theatre history identifies with the “years of the delay” with regard to the phenomenon of the emerging theatrical direction. It is foreseen the projection and analysis of films made out of the plays of Viviani ("La tavola dei poveri", directed by A. Blasetti, 1932, and "I dieci comandamenti", directed by M. Martone, 2000),and the docu-film "Viva Viviani" written and directed by Mario e Stefano Martone, and of unpublished documentary clips.

ATTENDING STUDENTS
(to be considered attending the student can not make more than 2 absences):
1) Valentina Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Ettore Petrolini, "Modestia a parte", a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
4) Eventuali materiali a cura del docente (caricati nella sezione “FILE” del corso sulla piattaforma TEAMS)
5) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: "Viva Viviani" di M. e S. Martone [the film will be screened during the lessons; the relative link will be available from 16 April]

NON ATTENDING STUDENTS:
1) Valentina Venturini, Raffaele Viviani. La compagnia, Napoli e l’Europa, Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, Dalla vita alle scene. L’altra biografia (1888-1947), a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Franca Angelini, Teatro e spettacolo nel primo Novecento, Bari-Roma, Laterza, 2009
4) Ettore Petrolini, Modestia a parte, a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
5) FILM: La tavola dei poveri di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: I dieci comandamenti di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: Viva Viviani di M. e S. Martone [the relative link will be available from 16 April]

The course deals with the theory and the analysis of musical performance, both in terms of a specifically musicological approach (vocal and instrumental performance practices from the Baroque to the twentieth century), and on that of cultural history. In particular, it will be examined the figure of Maria Callas, also in the relations with the social context and with other arts (literature, theater, cinema, art, media).

- Selected essays which will be communicated at the beginning of the lessons
- "Mille e una Callas. Voci e studi", a cura di Luca Aversano e Jacopo Pellegrini, II ed., Quodlibet, Macerata 2017.

Additional materials for student non attending the lessons:
One book of free choice among:
Enrico Careri, Studi su esecuzione e interpretazione. Vivaldi, Schubert, E.A. Mario, Lim, Lucca 2014; Arturo Toscanini: il direttore e l'artista mediatico, a cura di Marco Capra e Ivano Cavallini, Lim, Lucca 2011; Davide Bertotti, Il direttore d'orchestra da Wagner a Furtwängler : l'illustre aberrazione, L’epos, Palermo 2005; Hans-Heinrich Unger, Musica e retorica fra XVI e XVIII secolo, a cura di Elisabetta Zoni, Alinea Editrice, Firenze 2003; Ivano Cavallini, Il direttore d’orchestra. Genesi e storia di un’arte, Marsilio, Venezia 1998; Piero Rattalino, Storia del pianoforte, Il Saggiatore, Milano 2008; Bernard Sherman, Interviste sulla musica antica. Dal canto gregoriano a Monteverdi, Edt, Torino 2002; Free improvisation: history and perspectives, a cura di A. Sbordoni e A. Rostagno, Lucca, LIM, 2018.

Historical route:
Supported by some framing lessons, the student will study independently the most significant movements and authors of the twentieth century. A short list of compositions to listen to will be provided.
Focus:
The course will focus on György Ligeti.

Historical route:
Chose among: ELVIDIO SURIAN, Manuale di Storia della Musica, Vol. IV (Il Novecento), Milano, Rugginenti, 2002; GIACOMO FRONZI, Percorsi musicali del Novecento. Storie, personaggi, poetiche da Schoenberg a Sciarrino, Roma, Carocci, 2021 (for non musicians); JEAN-NOËL VON DER WEID, La musica del XX secolo. Le opere, i compositori, le tecniche, i linguaggi, gli scritti, la critica, le tendenze, Lucca, Ricordi-LIM, 2002.
Focus:
Selected parts from: MARIA GRAZIA SITÀ, Béla Bartók, Palermo, L’Epos, 2008; INGRID PUSTIJANAC, György Ligeti. Il maestro dello spazio immaginario, Lucca, LIM, 2013

The course is divided in two parts: the first one is a general introduction on the basic concepts of public communication. The included topics are: the Forms and Devices of Public Communication, the Relationship between Power and Communication, the Features of the Public Space as a space of discussion articulated on Global Communication Networks. The first part will mainly include frontal lessons supported by PowerPoint presentations.
The second part of the course explores the relationship between public communication and the media. The media will be approached as spaces of negotiation between civil society and the institutions, in which public knowledge is created and reproduced. In particular, the role of the ecosystem of digital platforms and social media will be addressed. Interested students can take part in laboratory activities focused on case studies on how old and new media platforms contribute to the narration of public and political phenomena.

Below are the exam texts presented in the suggested order of reading:

1) M. Castells (2017), Comunicazione e potere. UBE Paperback, Milano 2017 (nuova edizione). The following chapters:
- Le reti digitali e la cultura dell’autonomia;
- Il potere nella società in rete
- La comunicazione nell'età digitale
- Intervenire sulle reti di comunicazione: politica mediatica, politica dello scandalo e crisi della democrazia (up to paragraph “L’impatto politico della politica dello scandalo” INCLUDED)
- Riprogrammare le reti di comunicazione: movimenti sociali, politica insorgente e nuovo spazio pubblico (up to paragraph “Scaldarsi per il riscaldamento globale: il movimento ecologista e la nuova cultura della natura INCLUDED).

2) José van Dijck and Thomas Poell (2013), Understanding Social Media Logic, in Media and Communication, Volume 1, Issue 1, pp. 2–14
3) José van Dijck (2012), Facebook and the engineering of connectivity: A multi-layered approach to social media platforms, in Convergence: The International Journal of Research into New Media Technologies 19(2), pp. 141-155
4) José Van Dijck, Thomas Poell, Martijn De Waal (2019), Il sistema dell’informazione (capitolo terzo) in “Platform Society. Valori pubblici e società connessa”, Edizione Italiana a cura di Giovanni Boccia Artieri e Alberto Marinelli, Guerini, Milano, pp. 103-142.
5) Thomas Poell, José van Dijck (2018), Social Media and new protest movements. In The SAGE Handbook of Social Media, 546-561, edited by Jean Burgess, Alice Marwick & Thomas Poell, London, Sage.

The first part of the course is dedicated to the transformations taking place within the modern public and political scene and to the most relevant theoretical contributions in political communication. The main areas of transformation of Italian political communication and its actors and the evolution of electoral campaigns will be examined.
The second part, dedicated to visual politics, analyzes the history and evolution of political graphics and aesthetic codes of Italian political propaganda from 1945 to today and the contacts and influences with the main artistic currents. This part includes the analysis and study of new aesthetics related to the spread of digital communication and the use of social networks.
An integral part of the course is the viewing and analysis of a wide range of original audiovisual propaganda materials such as films, commercials, television programs, posters, and web cards, which constitute teaching materials and the subject of examination.
In the case of electoral campaigns during the teaching period, it is possible to activate their monitoring by involving the students actively and directly.

Syllabus
- E. Novelli, Le campagne elettorali in Italia, Laterza, Roma 2018.
- E. Novelli. I Manifesti Politici, Carocci, Roma 2021, forthcoming, available from October 2021
- P. Gribaudo, I partiti digitali, Il Mulino 2020

Participation in the "Laboratory for the design and analysis of platforms and digital archives", if not registered in the curriculum as "external activities" (equivalent to 3 CFU), exempts from Gerbaudo's book.

* The following websites and Tv programmes contain materials and documents illustrated in class and have to be considered audiovisual supports of the course:
–www.archivispotpolitici.it
– www.politicaltalkshow.it
– “Mi consenta” La Grande Storia, Rai Tre: https://www.raiplay.it/video/2010/07/Mi-consenta---I-politici-e-la-Tv---La-Grande-Storia-7ed9b459-9b06-41c5-8fd4-0bd9a3f997f3.html

In contemporary societies the arts affect the public discourse, becoming agency of social and cultural meanings, laboratory for the civil society, space and place for shaping the collective and public memories of controversial events, arenas where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the "author's death", theories of reception, art as social practice, the institutional definitions of artistic value, cases of " non-recognition " and plagiarism, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of social media in the production of artistic reputations and in relation to the "arts worlds", artistic intermediation processes and their social effects.
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia arts.

1) Anna Lisa Tota e Antonietta De Feo (2019), Sociologia delle arti. Musei, memoria e performance digitali, Carocci, Roma.
2) Anna Lisa Tota, Lia Luchetti e Trever Hagen (2018) (a cura di) Sociologie della memoria. Verso un’ecologia del passato, Carocci, Roma.

The course teaches the linguistic skills, in written and oral production, necessary to reach a B2 level, with particular attention to those associated with the artistic and multimedia worlds. We will focus on the grammar, syntax and lexicon related to the communicative context of the artistic field and which allow the thorough understanding of texts about cinema, theatre and television.

Peter May, "Compact First. Student's Book with Answers. Second Edition", Cambridge University Press.

Raymond Murphy, "English Grammar in Use. Fifth Edition," Cambridge University Press.

Theme of this year's course: Culture, habitat, environment

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.
Marshall Sahlins, L'economia dell'età della pietra, Milano, elèuthera, 2020.

2. The monographic part includes:
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi, 2021.

What can the theatre tell us about an extreme political situation? Theatre dramas say little in the case of a dictatorship. But the influence of history on theatre can make us understand many things. At the centre of the course is the proliferation of theatre magazines that took place around 1925, with Fascism already fully consolidated, but before the real changes decided from above on theatre began. The political situation did, however, influence the theatre, even though, throughout the 1920s, it still showed signs of vitality and a desire for change. The course includes a practical work on daily newspapers and theater magazines.

1) Gianfranco Pedullà, Il teatro italiano nel tempo del fascismo, Titivillus (oppure: Emanuela Scarpellini, Organizzazione teatrale e politica del teatro nell’età fascista (scaricabile gratuitamente on line http://www.studiumanistici.unimi.it/files/_ITA_/Filarete/131.pdf)
2) Dossier Teatri nel fascismo, “Teatro e Storia” n. 38 (pp. 59-384)
3) Dossier L’anticipo italiano (“Teatro e storia” n. 29, pp. 27-256, può essere letto gratuitamente on-line dal sito di “Teatro e Storia”, http://www.teatroestoria.it/volumi.php)

The course is part of the "Research Degree in Cultural Leadership" activated at the University of Groningen (Netherlands). It is held in English at the Roma Tre University and can also be attended by Italian or Erasmus students.

The course focuses on the analysis of the relationship between media and culture, with particular reference to Sociology and Cultural Studies. Particular emphasis is placed on the study of the transformations introduced by technological innovation and the globalization of cultural processes.

The teaching is divided into five parts, each of which will focus on different dimensions of media: 1) Trajectories of media innovation; 2) Platforms and algorithms; 3) Digital public spheres; 4) Media and geopolitics of the imagination; 5) Media ecologies. Each part will first be developed in theoretical terms and then analysed through case studies.

The course is based on the following list of compulsory readings:
1. Van Dijck, J., Poell, T. and de Waal, M., "Introduction" and "Chapter 1", in J. Van Dijck, T. Poell and M. de Waal, The Platform Society. Public Values in a Connective World, Oxford University Press, Oxford, 2018.
2. Bolin, G., “Introduction”, “Media production and cultural industries”, and “New Organisational Forms of Value Production”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, London and New York, 2016.
3. Katzenbach, C., and Ulbricht, L., "Algorithmic governance." Internet Policy Review 8.4 (2019), pp. 1-18.
4. Nieborg, D. B., and Poell, T., "The platformization of cultural production: Theorizing the contingent cultural commodity." New media & society 20.11 (2018), pp. 4275-4292.
5. Striphas, T., “Algorithmic culture”, European Journal of Cultural Studies, 18.4-5 (2015), pp. 395-412.
6. Hesmondhalgh, D. "Have digital communication technologies democratized the media industries?," in J. Curran and D. Hesmondhalgh (eds.), Media and Society, 6th edition, New York: Bloomsbury, 2019, pp. 101-120.
7. Alexander, N., “Catered to your future self: Netflix’s “predictive personalization” and the mathematization of taste”, in K. McDonald and D. Smith-Rowsey (Eds.), The Netflix effect: Technology and entertainment in the 21 century, New York, NY, Bloomsbury, 2016, pp. 81–98.
8. Brown, Jeffrey A., “Girl Revolutionaries. Neoliberalist, Postfeminist, and Feminist Heroines”, in J. A. Brown, Beyond Bombshells: The New Action Heroine in Popular Culture, University Press of Mississippi, Jackson, MS, 2016, pp. 167-196.
9. Georgiou, M., “Diaspora in the Digital Era: Minorities and Media Representation”, Journal on Ethnopolitics and Minority Issues in Europe, 12(4), 2013, pp. 80-99.

Students will also have access to teaching materials (power point and images) and to a series of suggested readings .

The teaching materials are available on the website http://filosofiacomunicazionespettacolo.uniroma3.it, in the teacher's personal webpage.

The course teaches the linguistic skills, in written and oral production, necessary to reach a B2 level, with particular attention to those associated with the artistic and multimedia worlds. We will focus on the grammar, syntax and lexicon related to the communicative context of the artistic field and which allow the thorough understanding of texts about cinema, theatre and television.

Peter May, "Compact First. Student's Book with Answers. Second Edition", Cambridge University Press.

Raymond Murphy, "English Grammar in Use. Fifth Edition," Cambridge University Press.

The course teaches the linguistic skills, in written and oral production, necessary to reach a B2 level, with particular attention to those associated with the artistic and multimedia worlds. We will focus on the grammar, syntax and lexicon related to the communicative context of the artistic field and which allow the thorough understanding of texts about cinema, theatre and television.

Peter May, "Compact First. Student's Book with Answers. Second Edition", Cambridge University Press.

Raymond Murphy, "English Grammar in Use. Fifth Edition," Cambridge University Press.

The first part of the course is dedicated to the transformations taking place within the modern public and political scene and to the most relevant theoretical contributions in political communication. The main areas of transformation of Italian political communication and its actors and the evolution of electoral campaigns will be examined.
The second part, dedicated to visual politics, analyzes the history and evolution of political graphics and aesthetic codes of Italian political propaganda from 1945 to today and the contacts and influences with the main artistic currents. This part includes the analysis and study of new aesthetics related to the spread of digital communication and the use of social networks.
An integral part of the course is the viewing and analysis of a wide range of original audiovisual propaganda materials such as films, commercials, television programs, posters, and web cards, which constitute teaching materials and the subject of examination.
In the case of electoral campaigns during the teaching period, it is possible to activate their monitoring by involving the students actively and directly.

Syllabus
- E. Novelli, Le campagne elettorali in Italia, Laterza, Roma 2018.
- E. Novelli. I Manifesti Politici, Carocci, Roma 2021, forthcoming, available from October 2021
- P. Gribaudo, I partiti digitali, Il Mulino 2020

Participation in the "Laboratory for the design and analysis of platforms and digital archives", if not registered in the curriculum as "external activities" (equivalent to 3 CFU), exempts from Gerbaudo's book.

* The following websites and Tv programmes contain materials and documents illustrated in class and have to be considered audiovisual supports of the course:
–www.archivispotpolitici.it
– www.politicaltalkshow.it
– “Mi consenta” La Grande Storia, Rai Tre: https://www.raiplay.it/video/2010/07/Mi-consenta---I-politici-e-la-Tv---La-Grande-Storia-7ed9b459-9b06-41c5-8fd4-0bd9a3f997f3.html

In contemporary societies the arts affect the public discourse, becoming agency of social and cultural meanings, laboratory for the civil society, space and place for shaping the collective and public memories of controversial events, arenas where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the "author's death", theories of reception, art as social practice, the institutional definitions of artistic value, cases of " non-recognition " and plagiarism, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of social media in the production of artistic reputations and in relation to the "arts worlds", artistic intermediation processes and their social effects.
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia arts.

1) Anna Lisa Tota e Antonietta De Feo (2019), Sociologia delle arti. Musei, memoria e performance digitali, Carocci, Roma.
2) Anna Lisa Tota, Lia Luchetti e Trever Hagen (2018) (a cura di) Sociologie della memoria. Verso un’ecologia del passato, Carocci, Roma.

The course deals with the analysis of images. It refers specifically to the social factors intervening in the construction of their meanings. The first part of the course will provide analytical and methodological tolls to the students in order to analyse the images and, more specifically, the photos (referring above all to the theories of Roland Barthes and Susan Sontag). The second part of the course will focus on the social and public use of images, especially in relation to photos of controversial pasts (wars, natural disasters, violence, terroristic attacks). The course will be divided into five teaching modules: (1) What is photography? Theories and methods; (2) The “stories” of photography, the photographs of history; (3) Gender and race in advertising image ; (4) Photography and memory from analog to digital; (5) Visual communication and violence. The course will have an interactive structure, in which students will be asked to actively participate through short presentations, the sharing of images, and the collective interpretation of the visual materials presented by the teacher.

The exam will be based on the reading of the following texts:
1) Roland Barthes (1979), La camera chiara. Nota sulla fotografia, Piccola Biblioteca Einaudi, Torino.
2) Roland Barthes (1964), Image-Music-Text. (Translation 1977), capitolo II, “The Rhetoric of the Image”. S. Heath, ed. London: Fontana, pp. 32-51.
3) Susan Sontag (1973), On Photography, Capitolo I, "In Plato's Cave”, Rosetta Books, New York, pp. 1-19.
4) David Bate (2017), Il primo libro di fotografia, Capitolo 7 "Fotografia e Arte", Piccola Biblioteca Einaudi,Torino, pp. 193-211.
5) Barbie Zelizer (2004), “The Voice of the Visual in Memory”, in Phillips R. Kendall (ed.), Framing Public Memory, University of Alabama Press, Tuscaloosa, pp. 157-186.
6) Anna Lisa Tota (2013), “A Photo that Matter: The Memorial Clock in Bologna and its Invented Tradition”, in Olga Shevchenko (ed.), Double Exposure: Memory and Photography, Transaction Publishers, Piscaway, pp. 41-64.
7) Susie Linfield (2013), La luce crudele. Fotografia e violenza politica, Contrasto Edizioni, Roma, pp. 10-46.
8) Merskin, Debra (2004), “Reviving Lolita? A Media Literacy Examination of Sexual Portrayals of Girls in Fashion Advertising”. American Behavioral Scientist 48, pp. 119-128.

Students will also have access the teaching materials used by the teacher (power points and images) and a series of suggested readings, whose reading is optional.

All materials are available on the website http://filosofiacomunicazionespettacolo.uniroma3.it on the teacher's personal page.

This course provides the students with the study of experiences and skills concerning the basic elements of composition in performing arts: Movement, Space, Expression, Rhythm.
The course will treat some definitions and experiences of the expressive movement, of his formal, dynamic and symbolic values, in practices and reflections on the physical action during the first decades of the twentieth century, searching in a field shared by theatre, dance, gymnastics, visual cultures and anthropology.

Foreign students can study Eisenstein, Mauss and Warburg's texts in their native language versions or translations

Specific object of investigation will be the dialect theatre “of exception” (especially the one of Raffaele Viviani), essential piece to look in a new way at that moment of the Italian theatre history identifies with the “years of the delay” with regard to the phenomenon of the emerging theatrical direction. It is foreseen the projection and analysis of films made out of the plays of Viviani ("La tavola dei poveri", directed by A. Blasetti, 1932, and "I dieci comandamenti", directed by M. Martone, 2000),and the docu-film "Viva Viviani" written and directed by Mario e Stefano Martone, and of unpublished documentary clips.

ATTENDING STUDENTS
(to be considered attending the student can not make more than 2 absences):
1) Valentina Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Ettore Petrolini, "Modestia a parte", a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
4) Eventuali materiali a cura del docente (caricati nella sezione “FILE” del corso sulla piattaforma TEAMS)
5) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: "Viva Viviani" di M. e S. Martone [the film will be screened during the lessons; the relative link will be available from 16 April]

NON ATTENDING STUDENTS:
1) Valentina Venturini, Raffaele Viviani. La compagnia, Napoli e l’Europa, Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, Dalla vita alle scene. L’altra biografia (1888-1947), a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Franca Angelini, Teatro e spettacolo nel primo Novecento, Bari-Roma, Laterza, 2009
4) Ettore Petrolini, Modestia a parte, a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
5) FILM: La tavola dei poveri di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: I dieci comandamenti di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: Viva Viviani di M. e S. Martone [the relative link will be available from 16 April]

This course proposes the study of some experiences that arose in the context of postwar Japanese avant-garde and that influenced international dance in the second half of the 20th century by transforming its principles and aesthetics and proposing a new philosophy of the body and movement. Through the observation of Butoh and its origins, the course will analyze the experiences of Japanese dancers who were active as performers and as pedagogues in Europe and the paths of some of their Western students will be observed, identifying the elements of continuity and rupture and highlighting the fruitful aspects of one of the great dance revolutions of the last century.

- Trasform'azioni – rassegna internazionale di danza butō. Fotografia di un'esperienza, a cura di Samantha Marenzi, Editoria & Spettacolo, Roma 2010
- Paola Bianchi, Corpo politico. Distopia del gesto utopia del movimento, a cura di Silvia Bottiroli e Silvia Parlagreco, Editoria & Spettacolo, Spoleto 2014
- I corpi del Butō. Fotografie di danza tra Oriente e Occidente, a cura di Samantha Marenzi, Postcart, Roma 2018 (catalogo mostra).
- Lecture notes by the teacher available on Teams

Emotions: definition, biological and social functions, types, regulation, expression, and communication. Basic emotions, image, cognitive, social, moral emotions. Their relationships with interpersonal interaction and relations, on the job, in teaching and learning, politics, art, music, and entertainment.
In-depth study and research on the psychological processes (cognitive, affective, relational) of communication in all of its modalities: verbal and body (words and sentences, prosody and intonation, gestures, facial expression, gaze, touch, posture, proxemics, music), and technological media. Analysis of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, and entertainment.

Teaching material for the course “Psychology of Emotions and Multimodal Communication”, 6 Credits
The items to be studied for the oral exam are the following:

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.


Teaching material for those who have to give the following exam: “Psychology of Emotions”, 6 Credits
The items to be studied for the oral exam are the following:

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I. (a cura di): La mente del cuore. Roma, Armando 2008.
C. Un testo o insieme di testi, a scelta fra i 13 punti del seguente elenco:

1. Castelfranchi C.: Che figura. Emozioni e immagine sociale. Il Mulino, Bologna 2005.
2. Nussbaum, M.: L’intelligenza delle emozioni. Il Mulino, Bologna 2013.
3. Matarazzo O. e Zammuner V. (a cura di): La regolazione delle emozioni. Il Mulino, Bologna 2012.
4. Ledoux J.: Il cervello emotivo. Baldini e Castoldi, Milano 2005.
5. Damasio A.R.: Emozione e coscienza. Adelphi, Milano 2010.
6. Miceli M. e Castelfranchi C.: Expectancy and Emotion. Oxford University Press, Oxford 2013.
7. D’Amico A.: Intelligenza emotiva e metaemotiva. Il Mulino, Bologna. 2018.
8. Palvarini P.: Le emozioni che rendono forti. Il lavoro con le emozioni in psicoterapia. Alpes Italia.
9. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
10. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
11. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
12. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019

13. 4 papers on emotions, to be downloaded from the following link:
https://www.researchgate.net/profile/Isabella_Poggi


Teaching material for those who have to give the following exam: “Psychology of Multimodal Communication”, 6 Credits
The items to be studied for the oral exam are the following:


A. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.
B. One text or set of texts, chosen within the following items:

1. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
2. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
3. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
4. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
5. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
6. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento.
7. Bologna, Il Mulino. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
8. Bambini V. Il cervello pragmatico. Roma, Carocci.
9. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
10. Ferrari M. e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

11. La seguente coppia di testi:

- Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
- Riva G.: I social network. Bologna, Il Mulino

12. La seguente coppia di testi:
- Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
- Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

13. 4 articoli sulla comunicazione multimodale scelti fra i seguenti, scaricabili dal link:
https://www.researchgate.net/profile/Isabella_Poggi

The course deals with the theory and the analysis of musical performance, both in terms of a specifically musicological approach (vocal and instrumental performance practices from the Baroque to the twentieth century), and on that of cultural history. In particular, it will be examined the figure of Maria Callas, also in the relations with the social context and with other arts (literature, theater, cinema, art, media).

- Selected essays which will be communicated at the beginning of the lessons
- "Mille e una Callas. Voci e studi", a cura di Luca Aversano e Jacopo Pellegrini, II ed., Quodlibet, Macerata 2017.

Additional materials for student non attending the lessons:
One book of free choice among:
Enrico Careri, Studi su esecuzione e interpretazione. Vivaldi, Schubert, E.A. Mario, Lim, Lucca 2014; Arturo Toscanini: il direttore e l'artista mediatico, a cura di Marco Capra e Ivano Cavallini, Lim, Lucca 2011; Davide Bertotti, Il direttore d'orchestra da Wagner a Furtwängler : l'illustre aberrazione, L’epos, Palermo 2005; Hans-Heinrich Unger, Musica e retorica fra XVI e XVIII secolo, a cura di Elisabetta Zoni, Alinea Editrice, Firenze 2003; Ivano Cavallini, Il direttore d’orchestra. Genesi e storia di un’arte, Marsilio, Venezia 1998; Piero Rattalino, Storia del pianoforte, Il Saggiatore, Milano 2008; Bernard Sherman, Interviste sulla musica antica. Dal canto gregoriano a Monteverdi, Edt, Torino 2002; Free improvisation: history and perspectives, a cura di A. Sbordoni e A. Rostagno, Lucca, LIM, 2018.

Sublime in Ancient Aesthetics

Pseudo-Longino Il Sublime, a cura di G. Lombardo, Aesthetica, Mimesis

Historical route:
Supported by some framing lessons, the student will study independently the most significant movements and authors of the twentieth century. A short list of compositions to listen to will be provided.
Focus:
The course will focus on György Ligeti.

Historical route:
Chose among: ELVIDIO SURIAN, Manuale di Storia della Musica, Vol. IV (Il Novecento), Milano, Rugginenti, 2002; GIACOMO FRONZI, Percorsi musicali del Novecento. Storie, personaggi, poetiche da Schoenberg a Sciarrino, Roma, Carocci, 2021 (for non musicians); JEAN-NOËL VON DER WEID, La musica del XX secolo. Le opere, i compositori, le tecniche, i linguaggi, gli scritti, la critica, le tendenze, Lucca, Ricordi-LIM, 2002.
Focus:
Selected parts from: MARIA GRAZIA SITÀ, Béla Bartók, Palermo, L’Epos, 2008; INGRID PUSTIJANAC, György Ligeti. Il maestro dello spazio immaginario, Lucca, LIM, 2013

The course is focussed on the digitization of audio-visual media, on multimedia convergence, on videogame cultures, on the multiplication of the distribution platforms, on the multimedia storytelling, with a special attention to entertainment as a meta-genre.

A. Arvidsson, A. Delfanti, Introduzione ai media digitali, seconda edizione
aggiornata, Bologna, Il Mulino, 2016

E. Menduni, Entertainment, Bologna, Il Mulino, 2013

T. BONINI, A. CALIANDRO, G. ANSELMI, La diffusione della musica
pop nel sistema ibrido dei media: tra piattaforme digitali e
broadcaster tradizionali, “Studi Culturali”, XVI, 2, pp. 225-56, 2019

L. BARRA, M. PERROTTA, “Il cinema italiano nell’era della
convergenza. Televisione, streaming, piattaforme digitali”, in
Scaglioni, M. (a cura di), Cinema Made in Italy, Roma, Carocci, 2020

The course presents different aspects of historical research methodology, meant both as a set of operational tools and techniques, and as an historical theory. The concept of the Global History will be examined.
The first part of the course (12 hours) introduces the main elements of the history of historiography starting from the birth of the discipline during the nineteenth century. The second part of the course (12 hours) addresses the theoretical and methodological aspects of the use of historical sources with particular attention to "new sources" and dynamic use. The third and final part of the course (12 hours) focuses on the monographic theme of use of oral sources

C. Sorba e F. Mazzini, La svolta culturale. Come è cambiata la pratica storiografica, Roma, Laterza, 2021 (184 pp., € 18,00)

A book to be chosen from:

- S. Conrad, Storia globale. Un’introduzione, Roma, Carocci, 2015 (212 pp., € 19,00)
- B. Bonomo, Voci della memoria, l’uso delle fonti orali nella ricerca storica, Roma, Carocci, 2015 (176 pp., € 18,00)

This course provides the students with the study of experiences and skills concerning the basic elements of composition in performing arts: Movement, Space, Expression, Rhythm.
The course will treat some definitions and experiences of the expressive movement, of his formal, dynamic and symbolic values, in practices and reflections on the physical action during the first decades of the twentieth century, searching in a field shared by theatre, dance, gymnastics, visual cultures and anthropology.

Foreign students can study Eisenstein, Mauss and Warburg's texts in their native language versions or translations

This course proposes the study of some experiences that arose in the context of postwar Japanese avant-garde and that influenced international dance in the second half of the 20th century by transforming its principles and aesthetics and proposing a new philosophy of the body and movement. Through the observation of Butoh and its origins, the course will analyze the experiences of Japanese dancers who were active as performers and as pedagogues in Europe and the paths of some of their Western students will be observed, identifying the elements of continuity and rupture and highlighting the fruitful aspects of one of the great dance revolutions of the last century.

- Trasform'azioni – rassegna internazionale di danza butō. Fotografia di un'esperienza, a cura di Samantha Marenzi, Editoria & Spettacolo, Roma 2010
- Paola Bianchi, Corpo politico. Distopia del gesto utopia del movimento, a cura di Silvia Bottiroli e Silvia Parlagreco, Editoria & Spettacolo, Spoleto 2014
- I corpi del Butō. Fotografie di danza tra Oriente e Occidente, a cura di Samantha Marenzi, Postcart, Roma 2018 (catalogo mostra).
- Lecture notes by the teacher available on Teams

The first part of the course is dedicated to the transformations taking place within the modern public and political scene and to the most relevant theoretical contributions in political communication. The main areas of transformation of Italian political communication and its actors and the evolution of electoral campaigns will be examined.
The second part, dedicated to visual politics, analyzes the history and evolution of political graphics and aesthetic codes of Italian political propaganda from 1945 to today and the contacts and influences with the main artistic currents. This part includes the analysis and study of new aesthetics related to the spread of digital communication and the use of social networks.
An integral part of the course is the viewing and analysis of a wide range of original audiovisual propaganda materials such as films, commercials, television programs, posters, and web cards, which constitute teaching materials and the subject of examination.
In the case of electoral campaigns during the teaching period, it is possible to activate their monitoring by involving the students actively and directly.

Syllabus
- E. Novelli, Le campagne elettorali in Italia, Laterza, Roma 2018.
- E. Novelli. I Manifesti Politici, Carocci, Roma 2021, forthcoming, available from October 2021
- P. Gribaudo, I partiti digitali, Il Mulino 2020

Participation in the "Laboratory for the design and analysis of platforms and digital archives", if not registered in the curriculum as "external activities" (equivalent to 3 CFU), exempts from Gerbaudo's book.

* The following websites and Tv programmes contain materials and documents illustrated in class and have to be considered audiovisual supports of the course:
–www.archivispotpolitici.it
– www.politicaltalkshow.it
– “Mi consenta” La Grande Storia, Rai Tre: https://www.raiplay.it/video/2010/07/Mi-consenta---I-politici-e-la-Tv---La-Grande-Storia-7ed9b459-9b06-41c5-8fd4-0bd9a3f997f3.html

In contemporary societies the arts affect the public discourse, becoming agency of social and cultural meanings, laboratory for the civil society, space and place for shaping the collective and public memories of controversial events, arenas where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the "author's death", theories of reception, art as social practice, the institutional definitions of artistic value, cases of " non-recognition " and plagiarism, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of social media in the production of artistic reputations and in relation to the "arts worlds", artistic intermediation processes and their social effects.
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia arts.

1) Anna Lisa Tota e Antonietta De Feo (2019), Sociologia delle arti. Musei, memoria e performance digitali, Carocci, Roma.
2) Anna Lisa Tota, Lia Luchetti e Trever Hagen (2018) (a cura di) Sociologie della memoria. Verso un’ecologia del passato, Carocci, Roma.

The course is divided in two parts: the first one is a general introduction on the basic concepts of public communication. The included topics are: the Forms and Devices of Public Communication, the Relationship between Power and Communication, the Features of the Public Space as a space of discussion articulated on Global Communication Networks. The first part will mainly include frontal lessons supported by PowerPoint presentations.
The second part of the course explores the relationship between public communication and the media. The media will be approached as spaces of negotiation between civil society and the institutions, in which public knowledge is created and reproduced. In particular, the role of the ecosystem of digital platforms and social media will be addressed. Interested students can take part in laboratory activities focused on case studies on how old and new media platforms contribute to the narration of public and political phenomena.

Below are the exam texts presented in the suggested order of reading:

1) M. Castells (2017), Comunicazione e potere. UBE Paperback, Milano 2017 (nuova edizione). The following chapters:
- Le reti digitali e la cultura dell’autonomia;
- Il potere nella società in rete
- La comunicazione nell'età digitale
- Intervenire sulle reti di comunicazione: politica mediatica, politica dello scandalo e crisi della democrazia (up to paragraph “L’impatto politico della politica dello scandalo” INCLUDED)
- Riprogrammare le reti di comunicazione: movimenti sociali, politica insorgente e nuovo spazio pubblico (up to paragraph “Scaldarsi per il riscaldamento globale: il movimento ecologista e la nuova cultura della natura INCLUDED).

2) José van Dijck and Thomas Poell (2013), Understanding Social Media Logic, in Media and Communication, Volume 1, Issue 1, pp. 2–14
3) José van Dijck (2012), Facebook and the engineering of connectivity: A multi-layered approach to social media platforms, in Convergence: The International Journal of Research into New Media Technologies 19(2), pp. 141-155
4) José Van Dijck, Thomas Poell, Martijn De Waal (2019), Il sistema dell’informazione (capitolo terzo) in “Platform Society. Valori pubblici e società connessa”, Edizione Italiana a cura di Giovanni Boccia Artieri e Alberto Marinelli, Guerini, Milano, pp. 103-142.
5) Thomas Poell, José van Dijck (2018), Social Media and new protest movements. In The SAGE Handbook of Social Media, 546-561, edited by Jean Burgess, Alice Marwick & Thomas Poell, London, Sage.

Emotions: definition, biological and social functions, types, regulation, expression, and communication. Basic emotions, image, cognitive, social, moral emotions. Their relationships with interpersonal interaction and relations, on the job, in teaching and learning, politics, art, music, and entertainment.
In-depth study and research on the psychological processes (cognitive, affective, relational) of communication in all of its modalities: verbal and body (words and sentences, prosody and intonation, gestures, facial expression, gaze, touch, posture, proxemics, music), and technological media. Analysis of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, and entertainment.

Teaching material for the course “Psychology of Emotions and Multimodal Communication”, 6 Credits
The items to be studied for the oral exam are the following:

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.


Teaching material for those who have to give the following exam: “Psychology of Emotions”, 6 Credits
The items to be studied for the oral exam are the following:

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I. (a cura di): La mente del cuore. Roma, Armando 2008.
C. Un testo o insieme di testi, a scelta fra i 13 punti del seguente elenco:

1. Castelfranchi C.: Che figura. Emozioni e immagine sociale. Il Mulino, Bologna 2005.
2. Nussbaum, M.: L’intelligenza delle emozioni. Il Mulino, Bologna 2013.
3. Matarazzo O. e Zammuner V. (a cura di): La regolazione delle emozioni. Il Mulino, Bologna 2012.
4. Ledoux J.: Il cervello emotivo. Baldini e Castoldi, Milano 2005.
5. Damasio A.R.: Emozione e coscienza. Adelphi, Milano 2010.
6. Miceli M. e Castelfranchi C.: Expectancy and Emotion. Oxford University Press, Oxford 2013.
7. D’Amico A.: Intelligenza emotiva e metaemotiva. Il Mulino, Bologna. 2018.
8. Palvarini P.: Le emozioni che rendono forti. Il lavoro con le emozioni in psicoterapia. Alpes Italia.
9. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
10. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
11. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
12. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019

13. 4 papers on emotions, to be downloaded from the following link:
https://www.researchgate.net/profile/Isabella_Poggi


Teaching material for those who have to give the following exam: “Psychology of Multimodal Communication”, 6 Credits
The items to be studied for the oral exam are the following:


A. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.
B. One text or set of texts, chosen within the following items:

1. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
2. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
3. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
4. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
5. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
6. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento.
7. Bologna, Il Mulino. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
8. Bambini V. Il cervello pragmatico. Roma, Carocci.
9. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
10. Ferrari M. e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

11. La seguente coppia di testi:

- Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
- Riva G.: I social network. Bologna, Il Mulino

12. La seguente coppia di testi:
- Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
- Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

13. 4 articoli sulla comunicazione multimodale scelti fra i seguenti, scaricabili dal link:
https://www.researchgate.net/profile/Isabella_Poggi

Historical route:
Supported by some framing lessons, the student will study independently the most significant movements and authors of the twentieth century. A short list of compositions to listen to will be provided.
Focus:
The course will focus on György Ligeti.

Historical route:
Chose among: ELVIDIO SURIAN, Manuale di Storia della Musica, Vol. IV (Il Novecento), Milano, Rugginenti, 2002; GIACOMO FRONZI, Percorsi musicali del Novecento. Storie, personaggi, poetiche da Schoenberg a Sciarrino, Roma, Carocci, 2021 (for non musicians); JEAN-NOËL VON DER WEID, La musica del XX secolo. Le opere, i compositori, le tecniche, i linguaggi, gli scritti, la critica, le tendenze, Lucca, Ricordi-LIM, 2002.
Focus:
Selected parts from: MARIA GRAZIA SITÀ, Béla Bartók, Palermo, L’Epos, 2008; INGRID PUSTIJANAC, György Ligeti. Il maestro dello spazio immaginario, Lucca, LIM, 2013

The course is focussed on the digitization of audio-visual media, on multimedia convergence, on videogame cultures, on the multiplication of the distribution platforms, on the multimedia storytelling, with a special attention to entertainment as a meta-genre.

A. Arvidsson, A. Delfanti, Introduzione ai media digitali, seconda edizione
aggiornata, Bologna, Il Mulino, 2016

E. Menduni, Entertainment, Bologna, Il Mulino, 2013

T. BONINI, A. CALIANDRO, G. ANSELMI, La diffusione della musica
pop nel sistema ibrido dei media: tra piattaforme digitali e
broadcaster tradizionali, “Studi Culturali”, XVI, 2, pp. 225-56, 2019

L. BARRA, M. PERROTTA, “Il cinema italiano nell’era della
convergenza. Televisione, streaming, piattaforme digitali”, in
Scaglioni, M. (a cura di), Cinema Made in Italy, Roma, Carocci, 2020

Film criticism has undergone substantial changes in recent years. Marginalized from the pages of newspapers, where film reviews have largely been replaced by news and interviews with talents, film criticism propagate on the web and on social media, in new and "unorthodox" forms. Film critics are increasingly less remunerated, but the web as a "showcase" is increasingly important as a launch pad to new careers, such as that of "programmer" for festivals and film exhibitions.
This Lab offers an excursus in the history of film criticism, with particular reference to the Italian and French cases, but the historical knowledge and lectures will be mixed with collective discussions and analysis of some relevant texts. A consistent part of the Lab will be devoted to decoding the "review form", with its rhetorical codes and communicative formulas, the contemporary panorama will be also analyzed, with all the opportunities offered by the web and connected to the film critic's activity. In order to be more pragmatical, part of the Lab will focus on "how" to become a film critic, on the role of the trade union (SNCCI) and its functions, on the system of previews and press offices, on film critic activity and its calendar, with particular attention to the international festivals’ coverage, the relationships with press offices, rules and embargoes, the editorial planning of the coverage of an international festival.
Students will be asked to produce a critical text: a written review or a video review, or an interview, or a video essay, or a podcast.

La critica cinematografica: un’introduzione di Claudio Bisoni, Archetipolibri
La critica cinematografica: metodo, storia e scrittura di Claudio Bisoni, Archetipolibri
La critica cinematografica di Alberto Pezzotta, Carocci
Culture del film. La critica cinematografica e la società italiana di Michele Guerra (a cura di), Sara Martin (a cura di), Il Mulino

Specific object of investigation will be the dialect theatre “of exception” (especially the one of Raffaele Viviani), essential piece to look in a new way at that moment of the Italian theatre history identifies with the “years of the delay” with regard to the phenomenon of the emerging theatrical direction. It is foreseen the projection and analysis of films made out of the plays of Viviani ("La tavola dei poveri", directed by A. Blasetti, 1932, and "I dieci comandamenti", directed by M. Martone, 2000),and the docu-film "Viva Viviani" written and directed by Mario e Stefano Martone, and of unpublished documentary clips.

ATTENDING STUDENTS
(to be considered attending the student can not make more than 2 absences):
1) Valentina Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Ettore Petrolini, "Modestia a parte", a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
4) Eventuali materiali a cura del docente (caricati nella sezione “FILE” del corso sulla piattaforma TEAMS)
5) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: "Viva Viviani" di M. e S. Martone [the film will be screened during the lessons; the relative link will be available from 16 April]

NON ATTENDING STUDENTS:
1) Valentina Venturini, Raffaele Viviani. La compagnia, Napoli e l’Europa, Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, Dalla vita alle scene. L’altra biografia (1888-1947), a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Franca Angelini, Teatro e spettacolo nel primo Novecento, Bari-Roma, Laterza, 2009
4) Ettore Petrolini, Modestia a parte, a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
5) FILM: La tavola dei poveri di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: I dieci comandamenti di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: Viva Viviani di M. e S. Martone [the relative link will be available from 16 April]

What can the theatre tell us about an extreme political situation? Theatre dramas say little in the case of a dictatorship. But the influence of history on theatre can make us understand many things. At the centre of the course is the proliferation of theatre magazines that took place around 1925, with Fascism already fully consolidated, but before the real changes decided from above on theatre began. The political situation did, however, influence the theatre, even though, throughout the 1920s, it still showed signs of vitality and a desire for change. The course includes a practical work on daily newspapers and theater magazines.

1) Gianfranco Pedullà, Il teatro italiano nel tempo del fascismo, Titivillus (oppure: Emanuela Scarpellini, Organizzazione teatrale e politica del teatro nell’età fascista (scaricabile gratuitamente on line http://www.studiumanistici.unimi.it/files/_ITA_/Filarete/131.pdf)
2) Dossier Teatri nel fascismo, “Teatro e Storia” n. 38 (pp. 59-384)
3) Dossier L’anticipo italiano (“Teatro e storia” n. 29, pp. 27-256, può essere letto gratuitamente on-line dal sito di “Teatro e Storia”, http://www.teatroestoria.it/volumi.php)

The course aims to problematize the teaching of cinema and audiovisual disciplines in the broader context of media education, both from a theoretical and methodological point of view and from a pragmatic point of view.
Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in education, the first part of the course will focus on the presence and function of media in pedagogical practices, both as an object of study (media education and cinematographic language) as a support for teaching in many different disciplines (education through the media), paying specific attention to audiovisual media.
In the second part of the course, media education will be put in dialogue with the most recent theories developed in the field of media studies and visual culture studies, to assess the effectiveness of some teaching strategies in the area of image education. Specific attention will be paid to: digital storytelling; educational tools; videocriticism practices (videoessay and desktop documentary); social media in educational practices.

- Pier Cesare Rivoltella, Media Education. Idea, metodo, ricerca, ELS La Scuola, Brescia 2017
- Lecture notes edited by the teacher

The course focuses on the forms of Media Literacy in contemporary digital culture. The first part is theoretical and deals with the transformations of pedagogical forms and school learning interpreted in synergy with the new forms of spectatorship based on the logic of participatory cultures. The second part focuses on the forms of the crito-film and the video-essay. Read in continuity with the theoretical analyzes on the motif of the picture frame, the paratext and the screen, these critical-expressive practices reinterpret peculiar motifs and styles of the history of cinema and art, promoting an unprecedented educational and creative elaboration of comparison with contemporary images.

Pier Cesare Rivoltella, Nuovi alfabeti. Educazione e culture nella società post-mediale, Scholé, Brescia, 2020.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop of via G. Rocco 11.

For non-attendance students. One book between:
Chiara Grizzaffi, I film attraverso i film. Dal “testo introvabile” ai video essay, Mimesis, Milano-Udine 2017
or
Henry Jenkins, Culture partecipative e competenze digitali. Media education per il XXI secolo, Guerini, Milano 2010.

FILM AND VIDEOGRAPHY:
feature films: Be Kind Rewind (2007) Michel Gondry; Rembrandt’s J’accuse (2008) Peter Greenaway; Shirley: Visions of Reality (2013) Gustav Deutsch;

short films, experimental videos, music videos: I bambini al cinema (1957) Francesco Maselli; Zorns Lemma (1970) Hollis Frampton; Live-taped Video Corridor (1970) Bruce Nauman; Present Continuous Past (1974) Dan Graham; Mein Fenster (La mia finestra, 1979) Zbigniew Rybczynski; Media (1980) Zbigniew Rybczynski; Tele-racconto (1991) Giacomo Verde; Evidence (1995) Godfrey Reggio; Blinkenlights (2001) Chaos Computer Club; Star Guitar (music video The Chemical Brothers, 2002) Michel Gondry; Arcade (2002) Chaos Computer Club; La pozzanghera (2006) Studio Azzurro; Stereoscope (2008) Chaos Computer Club;

anthology of found footage films: Trade Tattoo (1937) Len Lye, Rainbow Dance (1936) Len Lye, Rose Hobart (1939) Joseph Cornell, Le film est déjà commencé? (1951) Maurice Lemaitre, A movie (1958) Bruce Conner, Very Nice, Very Nice (1961) Arthur Lipsett, La rabbia (1963) Pier Paolo Pasolini, La verifica incerta (1965) Gianfranco Baruchello, Alberto Grifi, Movie Drome (1965-1968) Stan Vanderbeek, The Cut-Ups (1966) William S. Burroughs, Antony Balch, Exploding Plastic Inevitable (1966) Andy Warhol, Le stelle di Mario Schifano (1967), L’inizio (Načalo, 1967) Artavazd Pelešian, Tom Tom the Piper’s Son (1969-1971) Ken Jacobs, La société du spectacle (1973) Guy Debord, Technology Transformation: Wonder Woman (1978) Dara Birnbaum, Mongoloid (music video Devo, 1978) Bruce Conner, Koyaanisqatsi (1983) Godfrey Reggio, A TV Dante. The Inferno (1985-1989) Peter Greeneway e Tom Phillips, Dal polo all’equatore (1986) Yervant Gianikian e Angela Ricci Lucchi, Art of Memory (1987) Woody Vasulka, Steps (1987) Zbigniew Rybczynski, Histoire(s) du cinéma. 1a Toutes les histoires (1988) Jean Luc Godard, Dab (1988-2016) John Oswald, Alchemie (1992) Jürgen Reble, Filmarilyn (1992) Paolo Gioli, Passage à l’acte (1993) Martin Arnold, 24 Hour Psycho (1993) Douglas Gordon, Telephones (1995) Christian Marclay, The Georgetown Loop (1996) Ken Jacobs, Yours (1997) Jeff Scher, Film Ist 1. Movement and time (1998) Gustav Deutsch, L’arrivée (1998) Peter Tscherkassky, Outer Space (1999) Peter Tscherkassky, Essere morti o essere vivi è la stessa cosa (2000) Gianluigi Toccafondo, The Pentagon Tv Commercials (2003) Cane CapoVolto, Fast Film (2003) Virgil Widrich, Celestial Subway Lines/ Salvaging Noise (2004) Ken Jacobs, Sync(Watch) (2005) Marco Brambilla, 24 seconds Psycho (2005) Chris Bors, Installazione Film Ist (1-12) (2006) Gustav Deutsch, Crumax Rins (2006, visual Plaid) Bob Jaroc, Blob. THI$ I$ NOTH&ND (2008), Domine Jesus (2008) Leonardo Carrano, Alessandro Pierattini, Pasolini Requiem (2009) Mario Verger, The Clock (2010) Christian Marclay, Delia Derbyshire, Loop Composer (2011) AK_Alias, Blue Matter, Change Your Mind (2011) AK_Alias, Distorted Times (2012) Gideon van der Stelt, Creation (2012) Marco Brambilla, Cinema rianimato n. 3 (2012) Daniele Puppi, Cirrus (music video Bonobo, 2013) Cyriak, The Emoshjining (2014) Donato Sansone, Sigla Mostra Internazionale del Cinema di Pesaro (2016) Virgilio Villoresi, Purge The Odd Couple (2017) Pogo, RedruM (2018) Pogo;

anthology of crito-films: Stile di Piero della Francesca (1954) Carlo Ludovico Ragghianti, Carpaccio (1947) Roberto Longhi e Umberto Barbaro, Il dramma di Cristo (1948) Luciano Emmer ed Enrico Gras, Pittori di provincia (1953) Lucio Fulci, Cinéastes de notre temps (1964-1972) e Cinéma, de notre temps (1989-2018);

anthology of video-essays: Le combat avec l’ange (2004) Alain Bergala, The Doors of Perspection (2011) People Like Us (Vicki Bennett), Double Lives, Second Chances (2011) Cristina Álvarez López, Kubrick // One Point Perspective (2012) kogonada, Tarantino // From Below (2012) kogonada, Wes Anderson // From Above (2012) kogonada, The Career of Paul Thomas Anderson in Five Shots (2012) Kevin B. Lee, Rear Window Timelapse (2012) Jeff Desom, Zero De Doom (2012) Matthew Cheney, The Essay Film: Some Thoughts of Discontent (2013) Kevin B. Lee, Screen and Surface, Soft and Hard: the Cinema of Leos Carax (2013)Adrian Martin, Cristina Àlvarez López, [De Palma’s] Vision (2014) Adrian Martin, Cristina Àlvarez López, Wes Anderson // Centered (2014) kogonada, Peter Greenaway // Centered (2014) LaurentG, Evolution of the Dolly Zoom (2014) Vashi Nedomansky, Eyes of Hitchcock (2014) kogonada, Alphaville - A Crystal Maze (2014) Henrike Lindenberger, Cross-cut (2014) Drew Morton, Last Year At The Overlook (2015) Drew Morton, The Dutch Angle (2015) Jacob T. Swinney, First and Final Frames (2015) Jacob T.Swinney, The Definition of Film (2015) Richard Misek, Auteur in Space (2015) kogonada, Volumetric Cinema (2015) Kevin L. Ferguson, Manderley Motel (2015) Corey Creekmur, Blue Shining (2015) Richard Vezina, Joel & Ethan Coen - Shot | Reverse Shot (2016) Tony Zhou, Taylor Ramos, Amélie - Symmetry & Camera Movement (2016) Lessa Räbiger, Godard in Fragments (2016) kogonada, The Spielberg Touchscreen (2016) Ken Provencher, Graphic Spaces: Film Transitions in Steven Spielberg’s Filmmaking (2018) Andrea Minuz.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

Theme of this year's course: Culture, habitat, environment

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.
Marshall Sahlins, L'economia dell'età della pietra, Milano, elèuthera, 2020.

2. The monographic part includes:
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi, 2021.

The course teaches the linguistic skills, in written and oral production, necessary to reach a B2 level, with particular attention to those associated with the artistic and multimedia worlds. We will focus on the grammar, syntax and lexicon related to the communicative context of the artistic field and which allow the thorough understanding of texts about cinema, theatre and television.

Peter May, "Compact First. Student's Book with Answers. Second Edition", Cambridge University Press.

Raymond Murphy, "English Grammar in Use. Fifth Edition," Cambridge University Press.

Specific object of investigation will be the dialect theatre “of exception” (especially the one of Raffaele Viviani), essential piece to look in a new way at that moment of the Italian theatre history identifies with the “years of the delay” with regard to the phenomenon of the emerging theatrical direction. It is foreseen the projection and analysis of films made out of the plays of Viviani ("La tavola dei poveri", directed by A. Blasetti, 1932, and "I dieci comandamenti", directed by M. Martone, 2000),and the docu-film "Viva Viviani" written and directed by Mario e Stefano Martone, and of unpublished documentary clips.

ATTENDING STUDENTS
(to be considered attending the student can not make more than 2 absences):
1) Valentina Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Ettore Petrolini, "Modestia a parte", a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
4) Eventuali materiali a cura del docente (caricati nella sezione “FILE” del corso sulla piattaforma TEAMS)
5) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: "Viva Viviani" di M. e S. Martone [the film will be screened during the lessons; the relative link will be available from 16 April]

NON ATTENDING STUDENTS:
1) Valentina Venturini, Raffaele Viviani. La compagnia, Napoli e l’Europa, Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, Dalla vita alle scene. L’altra biografia (1888-1947), a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Franca Angelini, Teatro e spettacolo nel primo Novecento, Bari-Roma, Laterza, 2009
4) Ettore Petrolini, Modestia a parte, a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
5) FILM: La tavola dei poveri di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: I dieci comandamenti di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: Viva Viviani di M. e S. Martone [the relative link will be available from 16 April]

What can the theatre tell us about an extreme political situation? Theatre dramas say little in the case of a dictatorship. But the influence of history on theatre can make us understand many things. At the centre of the course is the proliferation of theatre magazines that took place around 1925, with Fascism already fully consolidated, but before the real changes decided from above on theatre began. The political situation did, however, influence the theatre, even though, throughout the 1920s, it still showed signs of vitality and a desire for change. The course includes a practical work on daily newspapers and theater magazines.

1) Gianfranco Pedullà, Il teatro italiano nel tempo del fascismo, Titivillus (oppure: Emanuela Scarpellini, Organizzazione teatrale e politica del teatro nell’età fascista (scaricabile gratuitamente on line http://www.studiumanistici.unimi.it/files/_ITA_/Filarete/131.pdf)
2) Dossier Teatri nel fascismo, “Teatro e Storia” n. 38 (pp. 59-384)
3) Dossier L’anticipo italiano (“Teatro e storia” n. 29, pp. 27-256, può essere letto gratuitamente on-line dal sito di “Teatro e Storia”, http://www.teatroestoria.it/volumi.php)

The course is part of the "Research Degree in Cultural Leadership" activated at the University of Groningen (Netherlands). It is held in English at the Roma Tre University and can also be attended by Italian or Erasmus students.

The course focuses on the analysis of the relationship between media and culture, with particular reference to Sociology and Cultural Studies. Particular emphasis is placed on the study of the transformations introduced by technological innovation and the globalization of cultural processes.

The teaching is divided into five parts, each of which will focus on different dimensions of media: 1) Trajectories of media innovation; 2) Platforms and algorithms; 3) Digital public spheres; 4) Media and geopolitics of the imagination; 5) Media ecologies. Each part will first be developed in theoretical terms and then analysed through case studies.

The course is based on the following list of compulsory readings:
1. Van Dijck, J., Poell, T. and de Waal, M., "Introduction" and "Chapter 1", in J. Van Dijck, T. Poell and M. de Waal, The Platform Society. Public Values in a Connective World, Oxford University Press, Oxford, 2018.
2. Bolin, G., “Introduction”, “Media production and cultural industries”, and “New Organisational Forms of Value Production”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, London and New York, 2016.
3. Katzenbach, C., and Ulbricht, L., "Algorithmic governance." Internet Policy Review 8.4 (2019), pp. 1-18.
4. Nieborg, D. B., and Poell, T., "The platformization of cultural production: Theorizing the contingent cultural commodity." New media & society 20.11 (2018), pp. 4275-4292.
5. Striphas, T., “Algorithmic culture”, European Journal of Cultural Studies, 18.4-5 (2015), pp. 395-412.
6. Hesmondhalgh, D. "Have digital communication technologies democratized the media industries?," in J. Curran and D. Hesmondhalgh (eds.), Media and Society, 6th edition, New York: Bloomsbury, 2019, pp. 101-120.
7. Alexander, N., “Catered to your future self: Netflix’s “predictive personalization” and the mathematization of taste”, in K. McDonald and D. Smith-Rowsey (Eds.), The Netflix effect: Technology and entertainment in the 21 century, New York, NY, Bloomsbury, 2016, pp. 81–98.
8. Brown, Jeffrey A., “Girl Revolutionaries. Neoliberalist, Postfeminist, and Feminist Heroines”, in J. A. Brown, Beyond Bombshells: The New Action Heroine in Popular Culture, University Press of Mississippi, Jackson, MS, 2016, pp. 167-196.
9. Georgiou, M., “Diaspora in the Digital Era: Minorities and Media Representation”, Journal on Ethnopolitics and Minority Issues in Europe, 12(4), 2013, pp. 80-99.

Students will also have access to teaching materials (power point and images) and to a series of suggested readings .

The teaching materials are available on the website http://filosofiacomunicazionespettacolo.uniroma3.it, in the teacher's personal webpage.

Theme of this year's course: Culture, habitat, environment

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.
Marshall Sahlins, L'economia dell'età della pietra, Milano, elèuthera, 2020.

2. The monographic part includes:
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi, 2021.

Travelling, seeing, Manganelli

a) Giorgio Manganelli, Esperimento con l’India, Milano, Adelphi, 1992 + Id., La favola pitagorica, Milano, Adelphi, 2005 + Id., L’isola pianeta, Milano, Adelphi, 2006 + Viaggio in Africa, Adelphi 2018

b) Giorgio Manganelli, La morte come luce. Scritti sulle arti, forthcoming

c) Andrea Cortellessa, Il libro è altrove. Ventisei piccole monografie su Giorgio Manganelli, Luca Sossella 2020 and/or Andrea Cortellessa, Filologia fantastica, forthcoming

d) Luigi Marfè, Oltre la «fine dei viaggi». I resoconti dell’altrove nella letteratura contemporanea, Olschki 2009

e) to give a context in 20th and 21st century italian literary history:
Giulio Ferroni, Storia della letteratura italiana, quarto volume: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

The course teaches the linguistic skills, in written and oral production, necessary to reach a B2 level, with particular attention to those associated with the artistic and multimedia worlds. We will focus on the grammar, syntax and lexicon related to the communicative context of the artistic field and which allow the thorough understanding of texts about cinema, theatre and television.

Peter May, "Compact First. Student's Book with Answers. Second Edition", Cambridge University Press.

Raymond Murphy, "English Grammar in Use. Fifth Edition," Cambridge University Press.