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 Global History.

G. De Luna, La Passione e la ragione. Il mestiere dello storico contemporaneo, Milano, Bruno Mondadori, 2004 (pp. 259, € 20,00)

A book to be chosen from:
- E. Vanhaute, Introduzione alla World History, Bologna, il Mulino, 2015 (pp. 272, € 25,00)
- S. Conrad, Storia globale. Un’introduzione, Roma, Carocci, 2015 (pp. 212, € 19,00)

Reading it is suggested:
- S. Gruzinski, Abbiamo ancora bisogno della storia? Il senso del passato nel mondo globalizzato, Milano, Raffaello Cortina, 2016 (pp. 166, € 18,00)

In contemporary societies the arts affect the public discourse, becoming agency of meanings, laboratory for the civil society, space and place for shaping the public memory of controversial events, arena 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 definition 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".
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 investigates the film analysis through two Master of Hollywood cinema, Frank Capra and Francis Ford Coppola, who will be investigated in their authorial strategies and the historical context of their cinema. Re-viewing those film, the student will appreciate some clues to analyze both classic and modern cinema.

V. Zagarrio, "The Un-Happy Ending. Re-viewing the cinema of Frank Capra", New York, Bordighera Press, 2011.

V. Zagarrio, "Francis Ford Coppola. Un sogno lungo il cinema", Soveria Mannelli, Rubbettino, 2020. English students who does not speak Italian can substitute "Francis Ford Coppola. Un sogno lungo il cinema" with: J. Menne, "Francis Ford Coppola", Chicago, University of Illinois Press, 2014.

The course is divided into two parts.
The first part describes the main developments in the social, political, cultural, economic and technological environment, with particular attention to the urban dimension and territories, placing the performing arts in the perimeter of the tangible and intangible cultural resources, in order to provide, using multiple reading keys, a critical knowledge of the scenarios and fields of action and interaction.
In the second part, starting from the cultural planning approaches and from measurement legacy (outcomes, impacts), are investigated the various design platforms and opportunities with which the theatrical and performing arts organization can contribute to urban revitalization, regeneration spaces, social innovation and collaborative practices.
The course will use case studies, including international, with particular regard to ECoC (European Capital of Culture), the Italian Capital of Culture, the UNESCO creative cities.

For attending students:
Lucio Argano "Manuale di progettazione della cultura. Filosofia progettuale, design e project management in campo culturale e artistico" FrancoAngeli, Milan, 2012 (chapters 2, 4, 5, 6)
Carlini C., Gallina M., Ponte di Pino O. (esd), "Reinventare i luoghi della cultura contemporanea. Nuovi spazi, nuove creatività, nuove professioni, nuovi pubblici", FrancoAngeli, Milan, 2017

For non-attending students
Lucio Argano "Manuale di progettazione della cultura. Filosofia progettuale, design e project management in campo culturale e artistico" FrancoAngeli, Milan, 2012 (chapters 2, 4, 5, 6)
Carlini C., Gallina M., Ponte di Pino O. (esd), "Reinventare i luoghi della cultura contemporanea. Nuovi spazi, nuove creatività, nuove professioni, nuovi pubblici", FrancoAngeli, Milan, 2017

Annus mirabilis. Visual arts around 1968

The course aims to explore the artistic context around 1968, expanding the view to the years from 1967 to 1972. These were essential years for the birth and development of essential contemporary artistic experiences, from conceptual art to the various forms of post-minimalism, to Arte Povera and environmental art, to performance. Through the analysis of exhibitions, works, magazines, texts and documents the main critical and historical issues of the period and the new international dimension of the art scene will be addressed.

Classes are all available on Stream. Accessible from this page: https://www.uniroma3.it/en/persone/cFpYMElOZE1jSTNiTjFtQ1p0NlhaSTJqSkFpU2VJMEc0cFpHamZ1LzFoRT0=/ricevimento/

Hal Foster et al., Art since 1900, Thames & Hudson 2011 (1960 e il 1980) [PDF]
Anne Rorimer, New art in the 60 and 70s, Thames and Hudson 2001, p. 194-274 [PDF]

A wide selection of texts and essays is available to students in PDF format on the course Teams repository.

In contemporary societies the arts affect the public discourse, becoming agency of meanings, laboratory for the civil society, space and place for shaping the public memory of controversial events, arena 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 definition 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".
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 investigates the film analysis through two Master of Hollywood cinema, Frank Capra and Francis Ford Coppola, who will be investigated in their authorial strategies and the historical context of their cinema. Re-viewing those film, the student will appreciate some clues to analyze both classic and modern cinema.

V. Zagarrio, "The Un-Happy Ending. Re-viewing the cinema of Frank Capra", New York, Bordighera Press, 2011.

V. Zagarrio, "Francis Ford Coppola. Un sogno lungo il cinema", Soveria Mannelli, Rubbettino, 2020. English students who does not speak Italian can substitute "Francis Ford Coppola. Un sogno lungo il cinema" with: J. Menne, "Francis Ford Coppola", Chicago, University of Illinois Press, 2014.

The course is divided into two parts.
The first part describes the main developments in the social, political, cultural, economic and technological environment, with particular attention to the urban dimension and territories, placing the performing arts in the perimeter of the tangible and intangible cultural resources, in order to provide, using multiple reading keys, a critical knowledge of the scenarios and fields of action and interaction.
In the second part, starting from the cultural planning approaches and from measurement legacy (outcomes, impacts), are investigated the various design platforms and opportunities with which the theatrical and performing arts organization can contribute to urban revitalization, regeneration spaces, social innovation and collaborative practices.
The course will use case studies, including international, with particular regard to ECoC (European Capital of Culture), the Italian Capital of Culture, the UNESCO creative cities.

For attending students:
Lucio Argano "Manuale di progettazione della cultura. Filosofia progettuale, design e project management in campo culturale e artistico" FrancoAngeli, Milan, 2012 (chapters 2, 4, 5, 6)
Carlini C., Gallina M., Ponte di Pino O. (esd), "Reinventare i luoghi della cultura contemporanea. Nuovi spazi, nuove creatività, nuove professioni, nuovi pubblici", FrancoAngeli, Milan, 2017

For non-attending students
Lucio Argano "Manuale di progettazione della cultura. Filosofia progettuale, design e project management in campo culturale e artistico" FrancoAngeli, Milan, 2012 (chapters 2, 4, 5, 6)
Carlini C., Gallina M., Ponte di Pino O. (esd), "Reinventare i luoghi della cultura contemporanea. Nuovi spazi, nuove creatività, nuove professioni, nuovi pubblici", FrancoAngeli, Milan, 2017

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 Global History.

G. De Luna, La Passione e la ragione. Il mestiere dello storico contemporaneo, Milano, Bruno Mondadori, 2004 (pp. 259, € 20,00)

A book to be chosen from:
- E. Vanhaute, Introduzione alla World History, Bologna, il Mulino, 2015 (pp. 272, € 25,00)
- S. Conrad, Storia globale. Un’introduzione, Roma, Carocci, 2015 (pp. 212, € 19,00)

Reading it is suggested:
- S. Gruzinski, Abbiamo ancora bisogno della storia? Il senso del passato nel mondo globalizzato, Milano, Raffaello Cortina, 2016 (pp. 166, € 18,00)

The course will mainly tackle the following topics: the origins of local diplomatic representation; Italian models; social careers and roles of ambassadors and apostolic nuncios; treaties on the diplomatic profession; critical investigation of diplomatic sources; duties and regulations of the diplomatic profession; the actual practices of diplomacy at work in modern-era historical contexts.

Exam texts
1) S. ANDRETTA, L’arte della prudenza. Teorie e prassi della diplomazia nell’Italia del XVI e XVII secolo, Biblink, Roma 2006.
2) 2) Esperienza e diplomazia. Saperi, pratiche culturali e azione diplomatica nell’età moderna (XV-XVIII secc.)- Expérience et diplomatie. Savoirs, pratiques culturelles et action diplomatique à l’époque moderne (XV-XVIIIe siècle), a cura di S. Andretta, Lucien Bély, Alexander Koller, Géraud Poumarède (Introduction and 8 essays chosen by the student), Roma, Viella, 2020

Non-attending students must study in addition to the texts indicated above:
G. ALONGE, Ambasciatori. Diplomazia e politica nella Venezia del Rinascimento, Donzelli, Roma 2019
or as an alternative the book:
E. PLEBANI, E.VALERI, P.VOLPINI, Diplomazie. Linguaggi, negoziati e ambasciatori far XV e XVI secolo, ( a cura di), Franco Angeli, Milano 2017

The students will be introduced to the major concepts, theories and methods employed by anthropologists to understand social and cultural aspects of human experience, with a particular attention to specifical mechanisms of human relationships and social systems.
They will be also familiarised with fieldwork practice and ethnographic research, so as to form a skilled and qualified personnel, sensitive to the complexities of nowadays.
On completing the course, the students should be able to apply the concepts and perspectives learned in the course of the lessons to new, original research fields and broader contexts, making interdisciplinary connections.
Acquiring the knowledge of the fundamentals of ethno-anthropology, at the end of the course the students should be able to deal independently with anthropological topics and issues.
Besides knowledge and understanding of key terms, concepts and methods in ethnology and anthropology, at the end of the course students will be expected to demonstrate the capacity to express, present and explain with the necessary clarity their knowledge.
The systematic self-reflection peculiar to the anthropological approach, its critical self-conscious thinking not only about the “objects” of its research but also about the tools used to describe and interpret them, is expected to favour the develop in the student of important learning skills such as creative and critical thinking, which will be decisive throughout their formative years and beyond.
The course aims at providing the students with the fundamentals of anthropology, updated and adjusted to the urgencies of modernity and current affairs.

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.

2. The monographic part includes:
Victor Turner, Antropologia della performance, Bologna, il Mulino, 1992.
Stefano de Matteis, Le false libertà. Verso la post globalizzazione, Milano, Meltemi 2017.

The intertwining between individual and collective life. The action of individuals and their symbolic importance. The use of procedural interpretation in order to read the complexity of everyday life. The limits of globalization.

Ethnographical cases. Writing cultures. Methods and techniques. Anthropological movies and documentaries.

Symbolic Anthropology. A reader in the Study if Symbols and Meaning, edited by Jeanet L. Dolgin, David S. Kemnitzir and David M. Schneider
NY, Columbia University Press, 1977.

Through the study of the docent’s films (Zagarrio is also a filmmaker), the course will investigate the problems of film directing.

The students are required to follow the screenings and the Master classes of the Roma Tre Film Festival at the Palladium Theater.

V. Zagarrio, Eppure cinema, Roma, Sabinae edizioni, 2021

S. Scafidi, Gli strumenti della regia, voll 1-2, Roma, Dino Audino, 2020.

a) The contents of the course (as indicated in the three thematic groups in point c) will be made comprehensible for all students, both those attending and not attending, thanks to the continuous alternation between French and Italian;

b) The course will be carefully set out according to the number of credits assigned;

c) The course will address three topics: a first part dedicated to the history of the sixteenth century with a particular focus on the geographical discoveries, the religious wars inside and outside Christianity and French Renaissance; a second part will examine some of the authors of the Pléiade; in the third and final part we will discuss some poetic reading through a close analysis of the text.

C. Vivanti, Le guerre di religione nel Cinquecento, Laterza, 2007

F. Braudel, Espansione europea e capitalismo (1450-1650), Il Mulino, 1999

Du Bellay, Rimpianti, Dedalus, 2014

Du Bellay, Le antichità di Roma, Carocci, 2005

The students will be introduced to the major concepts, theories and methods employed by anthropologists to understand social and cultural aspects of human experience, with a particular attention to specifical mechanisms of human relationships and social systems.
They will be also familiarised with fieldwork practice and ethnographic research, so as to form a skilled and qualified personnel, sensitive to the complexities of nowadays.
On completing the course, the students should be able to apply the concepts and perspectives learned in the course of the lessons to new, original research fields and broader contexts, making interdisciplinary connections.
Acquiring the knowledge of the fundamentals of ethno-anthropology, at the end of the course the students should be able to deal independently with anthropological topics and issues.
Besides knowledge and understanding of key terms, concepts and methods in ethnology and anthropology, at the end of the course students will be expected to demonstrate the capacity to express, present and explain with the necessary clarity their knowledge.
The systematic self-reflection peculiar to the anthropological approach, its critical self-conscious thinking not only about the “objects” of its research but also about the tools used to describe and interpret them, is expected to favour the develop in the student of important learning skills such as creative and critical thinking, which will be decisive throughout their formative years and beyond.
The course aims at providing the students with the fundamentals of anthropology, updated and adjusted to the urgencies of modernity and current affairs.

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.

2. The monographic part includes:
Victor Turner, Antropologia della performance, Bologna, il Mulino, 1992.
Stefano de Matteis, Le false libertà. Verso la post globalizzazione, Milano, Meltemi 2017.

Through the study of the docent’s films (Zagarrio is also a filmmaker), the course will investigate the problems of film directing.

The students are required to follow the screenings and the Master classes of the Roma Tre Film Festival at the Palladium Theater.

V. Zagarrio, Eppure cinema, Roma, Sabinae edizioni, 2021

S. Scafidi, Gli strumenti della regia, voll 1-2, Roma, Dino Audino, 2020.

The course will mainly tackle the following topics: the origins of local diplomatic representation; Italian models; social careers and roles of ambassadors and apostolic nuncios; treaties on the diplomatic profession; critical investigation of diplomatic sources; duties and regulations of the diplomatic profession; the actual practices of diplomacy at work in modern-era historical contexts.

Exam texts
1) S. ANDRETTA, L’arte della prudenza. Teorie e prassi della diplomazia nell’Italia del XVI e XVII secolo, Biblink, Roma 2006.
2) 2) Esperienza e diplomazia. Saperi, pratiche culturali e azione diplomatica nell’età moderna (XV-XVIII secc.)- Expérience et diplomatie. Savoirs, pratiques culturelles et action diplomatique à l’époque moderne (XV-XVIIIe siècle), a cura di S. Andretta, Lucien Bély, Alexander Koller, Géraud Poumarède (Introduction and 8 essays chosen by the student), Roma, Viella, 2020

Non-attending students must study in addition to the texts indicated above:
G. ALONGE, Ambasciatori. Diplomazia e politica nella Venezia del Rinascimento, Donzelli, Roma 2019
or as an alternative the book:
E. PLEBANI, E.VALERI, P.VOLPINI, Diplomazie. Linguaggi, negoziati e ambasciatori far XV e XVI secolo, ( a cura di), Franco Angeli, Milano 2017

This workshop will get started from one of the definitions of the theater critic figure, as it went
transforming itself from the early 1900s to the present day, in connection with the many cultural and social changes,
with the infinite mutations of the theatre and with the radical revolutions of the media,
examining the reviews of the most important critical figures of the last century and recent years. We will
then propose examples of theatrical staging to be analyzed during the classes, with respect to which it will be
asked to the participants to compose reviews, from a more traditional construction
(text / director / actor / staging) to the most contemporary trends in artistic creation,
from stage writing to performance. We will then broaden our analysis to other forms of communication of the
theatre, such as press releases, interviews, presentations and (if technically possible) audio e
video reviews.

Pamphlets and texts will be provided during the workshop.
A bibliography is suggested in the space provided on this page.

In light of the close interrelation between music and visual arts within the historical Avant-garde and the second Avant-garde, the module will analyze the shared aesthetic concepts, with particular regard to the reception of the poetics of Impressionism and Symbolism by Claude Debussy, and of Paul Klee's work by Pierre Boulez. A monographic analysis will be dedicated to the incidental music composed by Claude Debussy for Le martyre de Saint Sébastien (1911), a 'mystery play' written by Gabriele d'Annunzio.

Reference text being defined.

1. Introduction:
• Educational approach
• What is history of music
• Objects of study
• Research methodology
2. Educational methodologies:
• Study of the works: didactic of listening
• Study of musical context
• History of music and others disciplines
• Handbooks and their methodology
3. Educational approaches:
in this part of the course will be presented some educational approaches, chronologically and methodologically different, in order to provide operational examples

All texts are available in pdf in Moodle platform
1. CRISTINA CANO, Didattica della Storia della Musica, «Musica/Realtà», XV, n. 45, dicembre 1994, pp. 89-115
2. CARL DAHLHAUS, Che significa e a quale fine si studia la storia della musica?, «Il Saggiatore musicale», XII, 2005, pp. 219-230
3. HANS HEINRICH EGGEBRECHT, La scienza come insegnamento, «Il Saggiatore Musicale», 2005, pp. 231-237
4. ANDREA CHEGAI, PAOLO RUSSO, La didattica della storia della musica, «Il Saggiatore musicale», XV, 2, 2008, pp. 269-279
5. ANTONIO SERRAVEZZA, L’educazione estetica alla musica, in Educazione musicale e Formazione, a cura di G. La Face Bianconi e F. Frabboni, Milano, FrancoAngeli, 2008, pp. 121-139
6. IVO MATTOZZI, Una didattica della storia per l’insegnamento della storia della musica, in Educazione musicale e Formazione, a cura di Giuseppina La Face Bianconi e Franco Frabboni, Milano, FrancoAngeli, 2008, pp. 346-378
7. FABRIZIO DELLA SETA, Musica nella storia e musica come storia, in Educazione musicale e Formazione, a cura di Giuseppina La Face Bianconi e Franco Frabboni, Milano, FrancoAngeli, 2008, pp. 379-386
8. LORENZO BIANCONI, La musica al plurale, in A. Nuzzaci – G. Pagannone, Musica Ricerca e Didattica. Profili culturali e competenza musicale, Lecce, Pensa Multimedia, 2008, pp. 23-32
9. PAOLO SOMIGLI, Didattica della musica. Un’introduzione, Roma, Aracne, 2013

10. GIUSEPPINA LA FACE BIANCONI, “La trota” fra canto e suoni. Un percorso didattico, «Saggiatore musicale», XII, n. 1, 2005, pp. 77-123
11. GIUSEPPINA LA FACE BIANCONI, Le Pedate di Pierrot. Comprensione musicale e didattica dell’ascolto, in Musikerziehung. Erfahrungen und Reflexionen, a cura di Franz Comploi, Bressanone/Brixen, Weger, 2005, pp. 40-60
12. GIUSEPPINA LA FACE BIANCONI, La linea e la rete. La costruzione della conoscenza in un Quartetto di Haydn, in «Finché non splende in ciel notturna face». Studi in memoria di Francesco Degrada, a cura di Cesare Fertonani, Emilio Sala e Claudio Toscani, Milano, LED, 2009, pp. 225-250
13. GIUSEPPINA LA FACE BIANCONI, Testo e musica: leggere, ascoltare, guardare, «Musica Docta. Rivista digitale di Pedagogia e Didattica della Musica», II, 2012, pp. 31-54
14. CARLA CUOMO - MARIA ROSA DE LUCA, La trasposizione del sapere musicale nella formazione intellettuale, «Musica Docta. Rivista digitale di Pedagogia e Didattica della Musica», III, 2013, pp. 17-38

Further bibliographical information on the educational routes will be provided at first lesson. Further texts and handouts will be made available, together with their list, on the Moodle platform.

This course provides the students with 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

The course aims to give the students elements of knowledge of scenic composition principles and methods, exploring the possible combinations of the different expressive elements of the theatrical work (body, word, movement, space, sound, light) in a single creative process, with reference to concrete experiences, historical and current, within the most aware theatrical research.

Fabrizio Crisafulli, Il teatro dei luoghi. Lo spettacolo generato dalla realtà. Artdigiland, Dublino, 2015 (reperibile su amazon).
Un secondo testo da scegliere tra:
Fabrizio Crisafulli, Luce attiva. Questioni della luce nel teatro contemporaneo, Titivillus, Corazzano, 2019.
oppure:
Fabrizio Crisafulli, Un teatro apocalittico. La ricerca teatrale di Giuliano Vasilicò negli anni Settanta, Artdigiland, Dublino, 2017 (reperibile su amazon)

Contemporary dance in the experience of some italian authors who have reinvented the language of the body and the performing art. Founders of traditions and creators of new research trajectories, their coreographic experience and writings constitute a heritage on the border between theory and practice. Despite the great technical and poetic differences, the radical nature of their experimentation unites them and places them in the heart of the investigation into the very nature of movement and the scenic act.

- Il corpo insorto nella pratica performativa di Habillé d’eau , a cura di Ada D’Adamo, Editoria & Spettacolo, Spoleto 2012
- Paola Bianchi, Corpo politico. Distopia del gesto utopia del movimento, a cura di Silvia Bottiroli e Silvia Parlagreco, Editoria & Spettacolo, Spoleto 2014
- Samantha Marenzi, Alessandra Cristiani. Il corpo come radice e l’invenzione di una tradizione, Editoria & Spettacolo, Spoleto 2014 [provisional title, volume in course of publication]
- Lecture notes and materials by the teacher available on the course website http://www.teorieepratichedelladanza.it/

Non-attending students will add to the program additional handouts available on the course website
http://www.teorieepratichedelladanza.it/

The course investigates the film analysis through two Master of Hollywood cinema, Frank Capra and Francis Ford Coppola, who will be investigated in their authorial strategies and the historical context of their cinema. Re-viewing those film, the student will appreciate some clues to analyze both classic and modern cinema.

V. Zagarrio, "The Un-Happy Ending. Re-viewing the cinema of Frank Capra", New York, Bordighera Press, 2011.

V. Zagarrio, "Francis Ford Coppola. Un sogno lungo il cinema", Soveria Mannelli, Rubbettino, 2020. English students who does not speak Italian can substitute "Francis Ford Coppola. Un sogno lungo il cinema" with: J. Menne, "Francis Ford Coppola", Chicago, University of Illinois Press, 2014.

This course provides the students with 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

The course aims to give the students elements of knowledge of scenic composition principles and methods, exploring the possible combinations of the different expressive elements of the theatrical work (body, word, movement, space, sound, light) in a single creative process, with reference to concrete experiences, historical and current, within the most aware theatrical research.

Fabrizio Crisafulli, Il teatro dei luoghi. Lo spettacolo generato dalla realtà. Artdigiland, Dublino, 2015 (reperibile su amazon).
Un secondo testo da scegliere tra:
Fabrizio Crisafulli, Luce attiva. Questioni della luce nel teatro contemporaneo, Titivillus, Corazzano, 2019.
oppure:
Fabrizio Crisafulli, Un teatro apocalittico. La ricerca teatrale di Giuliano Vasilicò negli anni Settanta, Artdigiland, Dublino, 2017 (reperibile su amazon)

Contemporary dance in the experience of some italian authors who have reinvented the language of the body and the performing art. Founders of traditions and creators of new research trajectories, their coreographic experience and writings constitute a heritage on the border between theory and practice. Despite the great technical and poetic differences, the radical nature of their experimentation unites them and places them in the heart of the investigation into the very nature of movement and the scenic act.

- Il corpo insorto nella pratica performativa di Habillé d’eau , a cura di Ada D’Adamo, Editoria & Spettacolo, Spoleto 2012
- Paola Bianchi, Corpo politico. Distopia del gesto utopia del movimento, a cura di Silvia Bottiroli e Silvia Parlagreco, Editoria & Spettacolo, Spoleto 2014
- Samantha Marenzi, Alessandra Cristiani. Il corpo come radice e l’invenzione di una tradizione, Editoria & Spettacolo, Spoleto 2014 [provisional title, volume in course of publication]
- Lecture notes and materials by the teacher available on the course website http://www.teorieepratichedelladanza.it/

Non-attending students will add to the program additional handouts available on the course website
http://www.teorieepratichedelladanza.it/

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 of unpublished documentary clips.

ATTENDING STUDENTS (to be considered attending the student can not make more than 2 absences)
1) V. Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (except chapter IV);

2) Materials edited by the teacher (uploaded in the FILE section of the course on the TEAM platform)

3) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]

4) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]

5) 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/)

[A copy of the scheduled films, available for free on you tube, is however available to students at the Dams Library, via Ostiense 139, floor -1].


NON ATTENDING STUDENTS
1) V. Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (except chapter IV)

2) F. Angelini, "Teatro e spettacolo nel primo Novecento", Bari-Roma, Laterza, 2009

3) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]

4) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]

5) 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/)

[A copy of the scheduled films, available for free on you tube, is however available to students at the Dams Library, via Ostiense 139, floor -1].

The Writing of the instant and politics

This course aims at analysing the two main avant-garde movements of the 20th century in France, Surrealism and Tel Quel. More specifically, we will explore, starting from the notion of the sacred by Georges Bataille, the mode of the writing, the instant and the link between writing and politics in the two groups.

1. LITERARY HISTORY (ONE OF YOUR CHOICE):

For Surrealism :

- Maurice Nadeau, Storia e antologia del surrealismo, Mondadori, Milano 1980 (for the critical part).

For Tel Quel (one text of your choice):

- Jacqueline Risset (ed.), Tel Quel; Bulzoni Roma-Nizet Paris, 1982.

- Philippe Forest, Histoire de Tel Quel. (1960-1982), Paris, Seuil, 1995.

2. TEXTS :

- André Breton, Nadja, Einaudi, Torino 2017.

- Georges Bataille, Scritti sul fascismo. 1933-34. Contro Heidegger, Mimesis, Milano 2010.

- Philippe Sollers, Il parco, translated by. J. Risset, Bompiani, Milano 1967.

- Jacqueline Risset, L’atomo del tempo in Jacqueline Risset, “Une certaine joie” Marina Galletti con Francesca Cera, Marta Felici, Sara Svolacchia eds.), Roma Tre Press, Roma 2017 (the text can be found here: http://romatrepress.uniroma3.it/libro/jacqueline-risset-une-certaine-joie-percorsi-di-scrittura-dal-trecento-al-novecento/ )


3. ANTHOLOGY:

- André Breton, Manifesto del surrealismo; Id., Secondo manifesto del surrealismo; Id., I vasi comunicanti (estratto); Id., Come in un bosco, in Per conoscere André Breton, Ivos Margoni (ed.), Milano Mondadori, 1976.

- Georges Bataille, Le surréalisme et sa différence avec l’existentialisme, in Oeuvres complètes, Paris, Gallimard, t. XI, 1981; Id., Dall’esistenzialismo al primato dell’economia, in Georges Bataille, L’aldilà del serio e altri saggi, Guida, Napoli, 2000; Id., La religione surrealista, in Georges Bataille, Sulla religione, Cronopio Napoli, 2007.

- Jacqueline Risset e Alfredo Giuliani (eds.), Poeti di Tel Quel, Einaudi, Torino 1968.

Other texts will be handed out and discussed in class.

4. ESSAYS

STUDENTS MUST STUDY 2 (AND FOR THOSE NOT ATTENDING CLASS 4) OF THE FOLLOWING ESSAYS. 1 OF THEM (2 FOR THOSE NOT ATTENDING) MUST BE ABOUT TEL QUEL:

About Surrealism:

- Germana Orlandi Cerenza (ed.), Traiettorie della modernità. Il surrealismo all’alba del terzo millennio, Lindau, Torino 2003.

Marina Galletti, Surrealism; Simonetta Falasca-Zamponi, Sociology and Ethnography; Andrew Hussey, Fascism and the Politics of the 1930s in France, in Mark Hewson & Marcus Coelen, Georges Bataille. Key Concepts, London and New York, Routledge, 2016,

- Franca Franchi and Marina Galletti (eds), Documents una rivista eterodossa, Bruno Mondadori, Milano 2010 (three essays of your choice)

-Jacqueline Risset, Georges Bataille, Marina Galletti and Sara Svolacchia (eds.), Artemide, Roma 2018 (the following chapters Il politico e il sacro; Bataille-Sartre. Un dialogo incompiuto; Documents and Un maître per il terzo millennio).

--. Marina Galletti, Il mostro bicefalo. Percorsi nell’eterologia di Georges Bataille, Artemide, Roma 2020 (besides the Introduzione, the following chapters: L’eterologia o scienza della parte esclusa; “In una visione nell’istante”: il riso; “Mangiare una stella del cielo”).


About Tel Quel:
- Jacqueline Risset, I pensieri dell’istante, Editori Internazionali Riuniti, Roma 2012 (the following texts: Rino Cortiana, Tra il tempo e l’istante; Giorgetto Giorgi, La teoria e la difesa della letteratura in Jacqueline Risset; Gianfranco Rubino, La letteratura come intensità).

- Roland Barthes, Sollers scrittore. La dissidenza della scrittura, Sugar, Milano 1979.
-- Jacqueline Risset, “Une certaine joie” Marina Galletti, Francesca Cera, Marta Felici, Sara Svolacchia (eds.), Roma Tre Press, Roma 2017 (the following chapters: Stefano Agosti, Il testo degli istanti; Germana Orlandi Cerenza Jacqueline Risset, Il politico e il sacro). The text can be found here: http://romatrepress.uniroma3.it/libro/jacqueline-risset-une-certaine-joie-percorsi-di-scrittura-dal-trecento-al-novecento/ )


-- Jacqueline Risset, Tel Quel et le surréalisme. Transgression, écriture, expérience-limite (trans. by Sara Svolacchia) , in Catherine Maubon (ed.), Tradizione e contestazione III: Canon et anti-canon. À propos du surréalisme et de ses fantômes, Alinea, Firenze 2009 ; Sara Svolacchia, Storia di una riscoperta. Dante, la Francia e Jacqueline Risset (the texte can be found here: https://oajournals.fupress.net/index.php/bsfm-lea/article/view/7820 )

5. FILMOGRAPHY
F.W. Murnau, Nosferatu (1922); Man Ray, Le Retour à la raison (1923), Emak Bakia (1927), Le Mystère du château du Dé (1929); Marcel Duchamp, Man Ray Anémic cinéma (1926); Germaine Dulac, Antonin Artaud, La coquille et le clergyman (1927); Man Ray, Robert Desnos, L’Etoile de mer (1928); Luis Buñuel, Un chien andalou (1928), L’Age d’or (1930).

NOTES/OTHER INFORMATION
During the course two lessons will be specifically focused on Jacqueline Risset.

Oral exam. Students must bring the receipt of the online enrolment for the exam.

1. LITERARY HISTORY (ONE OF YOUR CHOICE):

For Surrealism :

- Maurice Nadeau, Storia e antologia del surrealismo, Mondadori, Milano 1980 (for the critical part).

For Tel Quel (one text of your choice):

- Jacqueline Risset (ed.), Tel Quel; Bulzoni Roma-Nizet Paris, 1982.

- Philippe Forest, Histoire de Tel Quel. (1960-1982), Paris, Seuil, 1995.

2. TEXTS :

- André Breton, Nadja, Einaudi, Torino 2017.

- Georges Bataille, Scritti sul fascismo. 1933-34. Contro Heidegger, Mimesis, Milano 2010.

- Philippe Sollers, Il parco, translated by. J. Risset, Bompiani, Milano 1967.

- Jacqueline Risset, L’atomo del tempo in Jacqueline Risset, “Une certaine joie” Marina Galletti con Francesca Cera, Marta Felici, Sara Svolacchia eds.), Roma Tre Press, Roma 2017 (the text can be found here: http://romatrepress.uniroma3.it/libro/jacqueline-risset-une-certaine-joie-percorsi-di-scrittura-dal-trecento-al-novecento/ )


3. ANTHOLOGY:

- André Breton, Manifesto del surrealismo; Id., Secondo manifesto del surrealismo; Id., I vasi comunicanti (estratto); Id., Come in un bosco, in Per conoscere André Breton, Ivos Margoni (ed.), Milano Mondadori, 1976.

- Georges Bataille, Le surréalisme et sa différence avec l’existentialisme, in Oeuvres complètes, Paris, Gallimard, t. XI, 1981; Id., Dall’esistenzialismo al primato dell’economia, in Georges Bataille, L’aldilà del serio e altri saggi, Guida, Napoli, 2000; Id., La religione surrealista, in Georges Bataille, Sulla religione, Cronopio Napoli, 2007.

- Jacqueline Risset e Alfredo Giuliani (eds.), Poeti di Tel Quel, Einaudi, Torino 1968.

Other texts will be handed out and discussed in class.

4. ESSAYS

STUDENTS MUST STUDY 2 (AND FOR THOSE NOT ATTENDING CLASS 4) OF THE FOLLOWING ESSAYS. 1 OF THEM (2 FOR THOSE NOT ATTENDING) MUST BE ABOUT TEL QUEL:

About Surrealism:

- Germana Orlandi Cerenza (ed.), Traiettorie della modernità. Il surrealismo all’alba del terzo millennio, Lindau, Torino 2003.

Marina Galletti, Surrealism; Simonetta Falasca-Zamponi, Sociology and Ethnography; Andrew Hussey, Fascism and the Politics of the 1930s in France, in Mark Hewson & Marcus Coelen, Georges Bataille. Key Concepts, London and New York, Routledge, 2016,

- Franca Franchi and Marina Galletti (eds), Documents una rivista eterodossa, Bruno Mondadori, Milano 2010 (three essays of your choice)

-Jacqueline Risset, Georges Bataille, Marina Galletti and Sara Svolacchia (eds.), Artemide, Roma 2018 (the following chapters Il politico e il sacro; Bataille-Sartre. Un dialogo incompiuto; Documents and Un maître per il terzo millennio).

--. Marina Galletti, Il mostro bicefalo. Percorsi nell’eterologia di Georges Bataille, Artemide, Roma 2020 (besides the Introduzione, the following chapters: L’eterologia o scienza della parte esclusa; “In una visione nell’istante”: il riso; “Mangiare una stella del cielo”).


About Tel Quel:
- Jacqueline Risset, I pensieri dell’istante, Editori Internazionali Riuniti, Roma 2012 (the following texts: Rino Cortiana, Tra il tempo e l’istante; Giorgetto Giorgi, La teoria e la difesa della letteratura in Jacqueline Risset; Gianfranco Rubino, La letteratura come intensità).

- Roland Barthes, Sollers scrittore. La dissidenza della scrittura, Sugar, Milano 1979.
-- Jacqueline Risset, “Une certaine joie” Marina Galletti, Francesca Cera, Marta Felici, Sara Svolacchia (eds.), Roma Tre Press, Roma 2017 (the following chapters: Stefano Agosti, Il testo degli istanti; Germana Orlandi Cerenza Jacqueline Risset, Il politico e il sacro). The text can be found here: http://romatrepress.uniroma3.it/libro/jacqueline-risset-une-certaine-joie-percorsi-di-scrittura-dal-trecento-al-novecento/ )


-- Jacqueline Risset, Tel Quel et le surréalisme. Transgression, écriture, expérience-limite (trans. by Sara Svolacchia) , in Catherine Maubon (ed.), Tradizione e contestazione III: Canon et anti-canon. À propos du surréalisme et de ses fantômes, Alinea, Firenze 2009 ; Sara Svolacchia, Storia di una riscoperta. Dante, la Francia e Jacqueline Risset (the texte can be found here: https://oajournals.fupress.net/index.php/bsfm-lea/article/view/7820 )

5. FILMOGRAPHY
F.W. Murnau, Nosferatu (1922); Man Ray, Le Retour à la raison (1923), Emak Bakia (1927), Le Mystère du château du Dé (1929); Marcel Duchamp, Man Ray Anémic cinéma (1926); Germaine Dulac, Antonin Artaud, La coquille et le clergyman (1927); Man Ray, Robert Desnos, L’Etoile de mer (1928); Luis Buñuel, Un chien andalou (1928), L’Age d’or (1930).

This is an introductive course to sociolinguistics. The epistemological setting of this branch of knowledge will be discussed, and its basic elements and tools will be introduced. Specific attention will be paid to two major sociolinguistic approaches, i.e. correlational and interactional sociolinguistics.

Berruto, G. – M. Cerruti, (2015), Manuale di sociolinguistica, Torino, UTET

Additional material will be provided during the course.

Through the study of the docent’s films (Zagarrio is also a filmmaker), the course will investigate the problems of film directing.

The students are required to follow the screenings and the Master classes of the Roma Tre Film Festival at the Palladium Theater.

V. Zagarrio, Cinema a modo mio. Diario di un regista atipico, Roma, Sabinae edizioni, 2021

S. Scafidi, Gli strumenti della regia, 2 voll. Roma, Dino Audino, 2020.

Introduction:
• What is music analysis
• History of music analysis
Principal methodologies of music analysis
Exercises of phraseological analysis
Exercises of morphological analysis
Exercises of analysis of thematic derivation

1. CLEMENS KÜHN, Il linguaggio delle forme nella musica occidentale, Milano, Unicopli, 1987: part III (Musica e tempo), IV (Elementi strutturali della composizione), V (Melodia) e VI (Forma musicale e opera musicale)
2. IAN BENT – WILLIAM DRABKIN, Analisi musicale, Torino, EDT, 1990: chapters I (L’analisi musicale in generale) and IV (La metodologia dell’analisi)
Further texts, scores and handouts will be made available, together with their list, on the Moodle platform.

The course aims to analyze the relationships between visual arts, sound and music from the second post-war period to the Sixties of the XX century. Starting from the deepening of the relationship between painting and music in the field of artistic research of abstract expressionism and the poetics of informal matter and signs, the attention will focus on the silence of John Cage in relation to the monochrome, to the dematerialization of the work and the “theatricality” of minimalism. With a transversal path, taking into account continuity and discontinuity between the historical avant-gardes and the neo-avant-garde season, the analysis will touch on behavioral-performative practices which, in various ways, have focused their poetics on the voice and on the corporal sounds, also in relation to the use of new technologies.

Frequentanti
1) Texts of a general character for the study of Postwar Art:
- C. Zambianchi, Arte contemporanea: dall’Espressionismo Astratto alla Pop Art, Carozzi, Milano, 2011

- F. Poli (a cura di), Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, Electa, Milano 2003, pp. 36-221


2) In-depth readings:
- Art or sound, catalogo della mostra (Venezia, Fondazione Prada Ca’ Corner della Regina, 7 giugno – 8 novembre 2014), a cura di G. Celant, Fondazione Prada, Milano 2014 [in particolare i saggi: G. Celant, Dal plurilinguismo al multisensoriale; C. Cox, Vedere non è sentire. Sinestesia, anestesia e arte audiovisiva; L. Chessa, Un’orchestra metafisica. Una ricerca sulla ricostruzione degli intonarumori; R. Young, Così brutalmente forzata. La svolta del dopoguerra dalla musica al suono; E. de Visscher, Il silenzio come scultura musicale. John Cage e gli strumenti di 4’33’’; G. Dayal, Musica sperimentale e performance. David Tudor, John Cage e Merce Cunningham; Jo Applin, Rumore ottico. Il suono della scultura negli anni ’60; A. Licht, Il rumore della superficie. Rendere l’arte udibile nel XX Secolo; S. Menegoi, Sound Art? Arti visive e suono al passaggio fra anni ’70 e ’80; H. Rogers, Sinestesia distorta. Il video musicale e le arti visive ]

- P. Fameli, Il corpo risonante. Vocalità e gestualità nel Novecento, Campanotto Editore, Pasian di Prato (UD) 2013, pp. 43-84

The students will be introduced to the major concepts, theories and methods employed by anthropologists to understand social and cultural aspects of human experience, with a particular attention to specifical mechanisms of human relationships and social systems.
They will be also familiarised with fieldwork practice and ethnographic research, so as to form a skilled and qualified personnel, sensitive to the complexities of nowadays.
On completing the course, the students should be able to apply the concepts and perspectives learned in the course of the lessons to new, original research fields and broader contexts, making interdisciplinary connections.
Acquiring the knowledge of the fundamentals of ethno-anthropology, at the end of the course the students should be able to deal independently with anthropological topics and issues.
Besides knowledge and understanding of key terms, concepts and methods in ethnology and anthropology, at the end of the course students will be expected to demonstrate the capacity to express, present and explain with the necessary clarity their knowledge.
The systematic self-reflection peculiar to the anthropological approach, its critical self-conscious thinking not only about the “objects” of its research but also about the tools used to describe and interpret them, is expected to favour the develop in the student of important learning skills such as creative and critical thinking, which will be decisive throughout their formative years and beyond.
The course aims at providing the students with the fundamentals of anthropology, updated and adjusted to the urgencies of modernity and current affairs.

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.

2. The monographic part includes:
Victor Turner, Antropologia della performance, Bologna, il Mulino, 1992.
Stefano de Matteis, Le false libertà. Verso la post globalizzazione, Milano, Meltemi 2017.

Through the study of the docent’s films (Zagarrio is also a filmmaker), the course will investigate the problems of film directing.

The students are required to follow the screenings and the Master classes of the Roma Tre Film Festival at the Palladium Theater.

V. Zagarrio, Eppure cinema, Roma, Sabinae edizioni, 2021

S. Scafidi, Gli strumenti della regia, voll 1-2, Roma, Dino Audino, 2020.

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, 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 and detection of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, entertainment.

Teaching material for students who take the whole course, 12 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. Armando, Roma 2008.
C. Lotto L. e Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): esclusi i capitoli 3, 4, 5, 10, 11.
D. Poggi I. e D’Errico F.: Comunicazione multimodale e influenza sociale. Il corpo e il potere. Carocci, Roma 2020.
E. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012.
F. Un testo o insieme di testi, a scelta fra i 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. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
10. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
11. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
12. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
13. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019
14. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
15. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
16. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento. Bologna, Il Mulino.
17. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
18. Bambini V. Il cervello pragmatico. Roma, Carocci.
19. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
20. Ferrari M e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

21. Both the following books:
Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
Riva G.: I social network. Bologna, Il Mulino

22. Both the following books:
Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

23. 4 papers on emotions to download from the following links:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi

24. 4 papers on multimodal communication to download from the following links:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi



Other texts can be substituted for those at item F. upon agreement with the teacher.


Teaching material for students who only take the course of “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. Armando, Roma 2008.
C. One text or set of texts, chosen among the following:

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 about emotions, chosen among the following, to bdownload from:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi


Other texts can be substituted for those at item C. upon agreement with the teacher.

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


A. Lotto L. and Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): except for chapters 3, 4, 5, 10, 11.
B. Poggi I. and D’Errico F.: Comunicazione multimodale e influenza sociale. Il corpo e il potere.. Carocci, Roma 2020.
C. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012.
D. One text or set of texts, chosen among 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. Bologna, Il Mulino
7. Both of the following texts:
8. Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
9. Riva G.: I social network. Bologna, Il Mulino.
10. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
11. Bambini V. Il cervello pragmatico. Roma, Carocci.
12. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
13. Ferrari M e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

14. Both the following texts:
Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

15. 4 papers about multimodal communication, chosen among the following, to download from:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi


Other texts can be substituted for those at item C. upon agreement with the teacher.


Teaching material for students who take the course of “Psychology of Emotions and Multimodal Communication” for 6 credits only

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. Armando, Roma 2008.
C. Lotto L. e Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): esclusi i capitoli 3, 4, 5, 10, 11.
D. Poggi I.: Le parole del corpo. Introduzione alla comunicazione multimodale. Carocci, Roma 2006.

Theatre and fascism. 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 analyze the relationships between visual arts, sound and music from the second post-war period to the Sixties of the XX century. Starting from the deepening of the relationship between painting and music in the field of artistic research of abstract expressionism and the poetics of informal matter and signs, the attention will focus on the silence of John Cage in relation to the monochrome, to the dematerialization of the work and the “theatricality” of minimalism. With a transversal path, taking into account continuity and discontinuity between the historical avant-gardes and the neo-avant-garde season, the analysis will touch on behavioral-performative practices which, in various ways, have focused their poetics on the voice and on the corporal sounds, also in relation to the use of new technologies.

Frequentanti
1) Texts of a general character for the study of Postwar Art:
- C. Zambianchi, Arte contemporanea: dall’Espressionismo Astratto alla Pop Art, Carozzi, Milano, 2011

- F. Poli (a cura di), Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, Electa, Milano 2003, pp. 36-221


2) In-depth readings:
- Art or sound, catalogo della mostra (Venezia, Fondazione Prada Ca’ Corner della Regina, 7 giugno – 8 novembre 2014), a cura di G. Celant, Fondazione Prada, Milano 2014 [in particolare i saggi: G. Celant, Dal plurilinguismo al multisensoriale; C. Cox, Vedere non è sentire. Sinestesia, anestesia e arte audiovisiva; L. Chessa, Un’orchestra metafisica. Una ricerca sulla ricostruzione degli intonarumori; R. Young, Così brutalmente forzata. La svolta del dopoguerra dalla musica al suono; E. de Visscher, Il silenzio come scultura musicale. John Cage e gli strumenti di 4’33’’; G. Dayal, Musica sperimentale e performance. David Tudor, John Cage e Merce Cunningham; Jo Applin, Rumore ottico. Il suono della scultura negli anni ’60; A. Licht, Il rumore della superficie. Rendere l’arte udibile nel XX Secolo; S. Menegoi, Sound Art? Arti visive e suono al passaggio fra anni ’70 e ’80; H. Rogers, Sinestesia distorta. Il video musicale e le arti visive ]

- P. Fameli, Il corpo risonante. Vocalità e gestualità nel Novecento, Campanotto Editore, Pasian di Prato (UD) 2013, pp. 43-84

The students will be introduced to the major concepts, theories and methods employed by anthropologists to understand social and cultural aspects of human experience, with a particular attention to specifical mechanisms of human relationships and social systems.
They will be also familiarised with fieldwork practice and ethnographic research, so as to form a skilled and qualified personnel, sensitive to the complexities of nowadays.
On completing the course, the students should be able to apply the concepts and perspectives learned in the course of the lessons to new, original research fields and broader contexts, making interdisciplinary connections.
Acquiring the knowledge of the fundamentals of ethno-anthropology, at the end of the course the students should be able to deal independently with anthropological topics and issues.
Besides knowledge and understanding of key terms, concepts and methods in ethnology and anthropology, at the end of the course students will be expected to demonstrate the capacity to express, present and explain with the necessary clarity their knowledge.
The systematic self-reflection peculiar to the anthropological approach, its critical self-conscious thinking not only about the “objects” of its research but also about the tools used to describe and interpret them, is expected to favour the develop in the student of important learning skills such as creative and critical thinking, which will be decisive throughout their formative years and beyond.
The course aims at providing the students with the fundamentals of anthropology, updated and adjusted to the urgencies of modernity and current affairs.

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.

2. The monographic part includes:
Victor Turner, Antropologia della performance, Bologna, il Mulino, 1992.
Stefano de Matteis, Le false libertà. Verso la post globalizzazione, Milano, Meltemi 2017.

Through the study of the docent’s films (Zagarrio is also a filmmaker), the course will investigate the problems of film directing.

The students are required to follow the screenings and the Master classes of the Roma Tre Film Festival at the Palladium Theater.

V. Zagarrio, Eppure cinema, Roma, Sabinae edizioni, 2021

S. Scafidi, Gli strumenti della regia, voll 1-2, Roma, Dino Audino, 2020.

Theoric course focusing on the relationship between Music (P. Schaeffer and J. Cage mainly) Video Art and Sound Arts in the second half of XX century. Audiovision and historical-critical analysis of the most important works related to the videoartistic experiences in relationship with music and sound research.

- S. Lischi, "La Lezione della videoarte, Carocci, Roma 2019;
- M.M. Gazzano "Comporre AudioVisioni. Suono e musica nell'esperienza della videoarte", Exorma, Roma 2020.

Theoric course focusing on the relationship between Music (P. Schaeffer and J. Cage mainly) Video Art and Sound Arts in the second half of XX century. Audiovision and historical-critical analysis of the most important works related to the videoartistic experiences in relationship with music and sound research.

- S. Lischi, "La Lezione della videoarte, Carocci, Roma 2019;
- M.M. Gazzano "Comporre AudioVisioni. Suono e musica nell'esperienza della videoarte", Exorma, Roma 2020.

About the voice
- basic notions of anatomy and physiology of the vocal organ
- breathing techniques for singing
- phonation, emission and management of the sung sound
- voices range classification
- basic criteria and methodologies for voice education, modulation and pitch
- singing and body expression

The Choir
- role of conductor/teacher
- children's cohir, women's choir, men's choir, mixed choir
- school choirs
- didactic objectives and training purposes
- choir as a collective musical instrument
- creation of an inclusive musical environment
- listening and performing
- musical score learning technics
- "a cappella" chorus and accompanied chorus
- choral acoustics
- psychology in musical behaviour and experience
- organization models for choral work

Consultation and direction
- choral repertoires
- choice and adaptation of the repertoire
- rhythmic, melodic and harmonic elements of the score
- music/sung text ratio
- the impromptu processing
- instrumental accompaniment
- elements of musical organology
- choral music and technology tools
- elements of choral conducting technique
- communicative strength of the conducting gesture: technical/concertative, interpretative, poetic nature
- executive practice

Choral singing and conducting practice

Bibliography and handouts will be indicated over the lessons.

Theatre and fascism. 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)