Contemporary History
XIX and XX Century

Testi
A) XIX Century :
Le “Rivoluzioni borghesi”, la Seconda rivoluzione industriale e la Società di massa,
available on Website

B) XX Century. One of those books:
- Alberto Mario Banti, L’età Contemporanea. Dalla Grande Guerra a oggi, Laterza, Roma – Bari, 2009
- Lucio Caracciolo, Adriano Roccucci, Storia contemporanea, Le Monnier Università, Milano 2017, dal capitolo 10 in poi.

Anno accademico 2017-2018
S.S.D. STORIA MODERNA M-STO/02

I SEMESTRE

STORIA MODERNA
(6 CFU)
(Prof. Stefano ANDRETTA)


I modulo (6 CFU)

Titolo del corso: Istituzioni di Storia Moderna
Nel corso verranno analizzate e argomentate le linee principali che identificano i contenuti dell’età moderna dal XV secolo alla prima metà del XIX secolo con un’attenzione preliminare alle categorie storiografiche, agli orientamenti interpretativi, alle fonti e agli strumenti propri della disciplina. L’obiettivo formativo è di offrire agli studenti solide basi per acquisire una familiarità conoscitiva e critica sulla “storia generale” dell’età moderna.
Le lezioni verteranno principalmente sui seguenti temi: l’Europa e la sua interrelazione con i mondi extraeuropei; Crisi e identità dell’Italia moderna; Umanesimo e Rinascimento; Riforma protestante e Controriforma cattolica; La società di antico regime: ceti e classi; Modelli economici: la terra, il lavoro, la finanza e il mercato nell’età moderna; I sistemi politici e le loro dinamiche: impero, monarchie e repubbliche; Famiglia e demografia; Alfabetizzazione e cultura; La nascita della scienza moderna; Illuminismo e riforme; La prima rivoluzione industriale; La Rivoluzione americana e la nascita degli Stati Uniti; La Rivoluzione francese; l’Età napoleonica e l’Europa delle nazioni.




II modulo (6 CFU)

Titolo del corso: L’età del Rinascimento tra Italia ed Europa
Nel corso saranno presi in esame i principali eventi storici che hanno caratterizzato la storia d’Italia e delle principali monarchie europee dall’ultimo trentennio del XV secolo alla prima metà del XVI secolo. Verranno inoltre affrontate tematiche in grado di illustrare la gamma dei contenuti intellettuali e concettuali dell’epoca rinascimentale e delineati i termini principali della discussione metodologica e interpretativa interni ai tempi e agli spazi di manifestazione e applicazione della categoria storiografica Rinascimento attraverso l’analisi di autorevoli testi e fonti appropriate.

Testi d’esame

A)

1)P. Burke, Il Rinascimento europeo. Centri e periferie, Roma-Bari, Laterza
2) M. Pellegrini, Le guerre d’Italia, Bologna, Il Mulino

B)Un testo a scelta tra i seguenti :

1) L’uomo del Rinascimento, a cura di E. Garin, Roma-Bari, Laterza,
2) A. Tenenti, L’Italia del Quattrocento. Economia e società, Roma-Bari, Laterza
3)R. von Albertini, Firenze dalla Repubblica al principato. Storia e coscienza politica, Torino, Einaudi
4) F. Chabod, Scritti sul Rinascimento, Torino, Einaudi (pp.1-239)
5) J. Burckhardt, La civiltà del Rinascimento in Italia ,Firenze, Sansoni
6) E. Bonora, Aspettando l’imperatore. Principi italiani tra il papa e Carlo V, Torino, Einaudi
7) M. Pellegrini, Il papato nel Rinascimento, Bologna, Il Mulino
8)Niccolò Machiavelli, Il principe, Torino, Einaudi , (o Milano,Garzanti)
9) Francesco Guicciardini, Storia d’Italia (1490-1534), 3 voll.(un volume a scelta), Torino, Einaudi, (o Milano, Mondadori)
10)Baldassar Castiglione, Il libro del cortegiano, Milano, Rizzoli

I corsi avranno inizio il 2 ottobre 2017

Orario delle lezioni

Lunedì ore 9-11, Martedì ore 9-11, Mercoledì ore 9-11 (aula A)

Orario di ricevimento

Nel primo semestre è fissato nei seguenti giorni: Lunedì e Martedì immediatamente dopo la lezione, Mercoledì ore 11-13. Dipartimento di Studi Umanistici area di Storia e Geografia (stanza 136 ). Per il ricevimento nel secondo semestre seguiranno successive informazioni.

Importante: si ricorda che tutti gli studenti iscritti al Collegio didattico di Scienze Storiche e coloro che, provenienti da altri Collegi didattici, intendono ottenere 12 CFU dell’insegnamento sono tenuti a sostenere l’esame su entrambe le unità inderogabilmente solo nelle date previste delle sessioni (Modulo I-II per 12 CFU complessivi).
Per informazioni particolarmente urgenti l’ indirizzo di posta elettronica del docente è stefano.andretta@uniroma3.it.
Per qualunque problema di carattere organizzativo o amministrativo (problemi di prenotazione, problemi di registrazione, di inserimento dati, di collegamento ai siti di Ateneo, difformità nei piani di studio, collocazione delle bacheche per informazioni ecc.) si prega di rivolgersi alla segreteria del Collegio Didattico di Scienze Storiche il cui indirizzo telefonico e telematico è il seguente:

Tel. +39.06.57338487 / Fax +39.06.57338541 / e-mail: didattica.scienzestoriche@uniroma3.it

Testi d’esame
A) Un manuale universitario di storia moderna, a scelta dello studente tra :

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

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

Title of the course: Outline of history and texts of the Latin literature

Description of the course: The course aims to present an outline of Latin literature and of its historical and sogìcial context from its origin up to the II century a. D., through an anthology of passages of the most significant works.

Bibliography:
- For the general outline: an high school handbook of history of the Latin literaure. Recommended handbook: G.B. Conte, Letteratura latina, Firenze, le Monnier, 2004.
- An Anthology of texts available on the teacher's online page.

Lessons topics: general mapping elements; spatial and non-spatial representations: charts and diagrams; the map: subject, object and instrument; organization and content of national cartography; thematic cartography; presentation of GIS or SIT.

Attending students:
- slides, ppt, lesson notes and supplementary learning material that will be provided during the course.
Non-Attending Students:
-E. LAVAGNA e G. LOCARNO, Geocartografia. Guida alla lettura delle carte geotopografiche, Bologna, Zanichelli, 2007
- five examples of choice from:U. SAURO - M. MENEGHEL e ALTRI, Dalla carta topografica al paesaggio. Atlante ragionato, Vicenza, ZetaBeta, 2005.

The leading protagonists of Art Criticism in the Twentieth-Century will be considered through specific texts. The knowledge of the Artistic Literature and History of the Art, from Renaissance to Nineteenth Century, is required, as the attendance to lessons as well.

Roberto Longhi, Proposte per una critica d’arte, in “Paragone” 1950, 1, pp. 5-19;
Silvia Ginzburg (a cura di), Obituaries. 37 epitaffi di storici dell’arte del Novecento, Milano, Electa, 2008;
Orietta Rossi Pinelli (a cura di), La storia delle storie dell’arte, Torino, Einaudi, 2014, pp. 3-179 (i testi di Orietta Rossi Pinelli, Maria Beatrice Failla, Chiara Piva).

Photography as Contemporary Art

The acceptance of photography as an artistic medium is among the phenomena that most contributed to redefining the landscape of the visual arts between 1960 and 2000. Challenging the traditional conception of painting and sculpture as the "apex" of the expressive hierarchy of the arts, artists began to probe the conceptual qualities of photography while at the same time questioning the alleged ability to capture objective "truth". Photography has thus been used in different ways - from conceptual and process art, from performance to feminist art, from "objective" German photography of the 1980s to the "Pictures Generation" -, all approaches which differed from the aesthetics that had characterized its modernist uses and often close to anonymous and vernacular manifestations (amateur photos, illustration, advertising, etc.). The course examines in parallel artworks and theoretical elaborations, focusing on key figures of the period.

Pop Constellation: Robert Rauschenberg, Andy Warhol, Ed Ruscha, Diane Arbus. Conceptual photography I: Douglas Huebler, Bruce Nauman, John Baldessari. Conceptual photography II: Ugo Mulas, Franco Vaccari. Performance: Vito Acconci, Luigi Ontani, Anna Wilke, Giuseppe Penone. The Düsseldorf School: Bernd e Hilla Becher, Andreas Gursky, Thomas Struth. Pictures Generation: Cindy Sherman, Richard Prince. Self-portrait: Francesca Woodman, Nan Goldin, Robert Mapplethorpe. New topographies: Jeff Wall, Lewis Baltz, Robert Adams. Viaggio in Italia: Luigi Ghirri, Gabriele Basilico.


For further informations please check this link: https://romatrecontemporanea.blogspot.it/

Philippe Dubois, L'atto fotografico, Urbino 2009, pp. 25-108
Claudio Marra, Fotografia e pittura nel Novecento, Milano 2012, pp. 168-248
David Campany, Art an Photography, London 2011: Introduction
Rosalind Krauss, Nota sulla fotografia e il simulacro, in Teoria e storia della fotografia, Milano 2006, pp. 219-32.
Roberta Valtorta (a cura di), Il pensiero dei fotografi, Milano 2008
Stefan Gronert, La scuola di Düsseldorf, Monza 2010

Some of these texts are downloadable at: https://romatrecontemporanea.blogspot.it/, in the relative 2017-18 post.

All images used during the classes are easily available on the internet, including on major museums websites (MoMA, Tate, Centre Pompidou ecc.).

Textbook:
Hal Foster et al., Art since 1900, Thames & Hudson

Pre-requisites and conditions
The students are strongly encouraged to attend and possibly pass the general exam of History of Medieval Art (12 CFU) from the Laurea Triennale.

Course title and contents
History of Byzantine art from the foundation of Constantinople to its fall (1453)
The course is devised to provide the students with basic, general knowledge of Byzantine Art from the 4th to the 14th century, introducing artworks of different techniques and types (painting, sculpture, architecture, as well as miniatures, ivories, silverware), with special attention to the trends in commissioning and to works and building which can be seen as paradigmatic of the Eastern Roman Empire.

Bibliography
Attending students
• s. v. Costantinopoli, in Enciclopedia dell’Arte Antica, II, Roma 1985, pp. 880-919.
• C. Mango, Architettura bizantina, trad. it., Milano, Electa 1978, pp. 5-138.
• V. Lazarev, Storia della pittura bizantina, trad. it., Torino, Einaudi 1967, pp. 124-136.
• E. Kitzinger, Alle origini dell’arte bizantina. Correnti stilistiche nel mondo mediterraneo dal III al VII secolo, trad. it., Milano, Jaca Book 2004, pp. 49-150 e figg. 81-231.
• M. Della Valle, Costantinopoli e il suo impero. Arte, architettura, urbanistica nel millennio bizantino, Milano, Jaca Book 2007, pp. 77-143 e figg. 74-147.
• M. L. Fobelli, Un tempio per Giustiniano. Santa Sofia di Costantinopoli e la Descrizione di Paolo Silenziario, Roma, Viella 2005, pp. 1-31, 181-207, figg. 1-142.
• M. L. Fobelli, Fonti e cronologia dei piatti argentei di Cipro con le storie di Davide, “Rivista dell’Istituto Nazionale di Archeologia e Storia dell’Arte”, s. III, anni VI-VII (1983-1984), pp. 191-219.
• Further references will be provided throughout the course.

Non-attending students
Must add to the above texts:
• E. Kitzinger, Alle origini dell’arte bizantina. Correnti stilistiche nel mondo mediterraneo dal III al VII secolo, trad. it., Milano, Jaca Book 2005 (whole book).
• E. Kitzinger Il culto delle immagini. L’arte bizantina dal cristianesimo delle origini all’Iconoclastia, trad. it., Firenze, La Nuova Italia 1992.
• R. Krautheimer, Santa Sofia e gli edifici annessi, in Architettura paleocristiana e bizantina, Torino, Einaudi 1986, pp. 239-267 and figg. 105-114.


N.B. Apart from whole books, which can be either found at public libraries or bought, and additional readings for non-attending students, any other materials will be available as photocopy or PDF at:
a) Mario Mefistofele e Antonio Rossi, Area Didattica di Beni Culturali, Dipartimento di Studi Umanistici, Via Ostiense 234, Roma;
b) Biblioteca delle Arti in Piazza della Repubblica 10 – Roma.

The aim of course is to deepen student's knowledge on fundamental issues and problems from the diverse perspectives of the Greek mainland and colonies in the period between between the Battle of Chaeronea and the last Hellenistic kingdom to fall to Rome. This course will be divided into lectures and visits to museums and archaeological sites.

E. Lippolis, G. Rocco, Archeologia Greca, Milano 2011, parte terza, pp. 343-426.
L. Burn, Hellenistic art from Alexander the Great to Augustus, London, The British Museum Press, 2004
A. Celani, Scultura dell’ ellenismo: problemi di metodo, in ASAtene, 83,1, 2005 (2006), pp. 299-338.
E. Lippolis, L’architettura di III secolo a.C. tra Oriente e Occidente, problemi e nuove analisi, in corso di stampa (disponibile on-line).
Additional material, provided during the course, will be available at the students
Students not attending should contact the lecturer during the consultation times or by e-mail.

Library and Information Science – LIS (AY 2017‐18)

PRESENTATION
Sound abilities in reading (conceived as a set of literacies: functional, multimedia, information…) are required to any citizen in order to
understand the phenomena of our complex, transitional, “liquid” society, and to be able to self‐orienteering and learning in such a globalised and
interconnected context.
Libraries, archives, documentation and information centers (and museums as well) are vital learning environments that enable their users to acquire,
reinforce, improve Information Literacy and therefore a competent use of information.

OBJECTIVES
Becoming aware of the strategic relevance of information literacy and of the role played in it by libraries, especially the school library, in the learning
process in a complex society.
Knowing the theoretical basic fundamentals and acquiring the techniques of Bibliography, Librarianship and Documentation, in particularly concerning:
o Information and documentation as an instructional, educational and cultural resource
o web 2.0 in media and information literacy education and as a means of communication and outreach of library services addressed to academic students
o planning, organization and management of libraries of different types (academic libraries, public libraries, school libraries, children’s libraries) and libraries as a learning environment

PRE-REQUIREMENTS
A basic knowledge of the following fields is appreciated: History, Computer Science (PC, Internet, e‐mail), English language.

TEACHING PROGRAMME
Description
The course is divided in three modules:
1) Introduction (on Info‐complexity, Media and Information Literacy,
Bibliographic research and Academic Writing)
2) Bibliography
3) Librarianship
o Presents and analyzes the definitions of Information Literacy, and, more recently, MIL – Media and Information Literacy, starting from UNESCO and library associations documents;
o Suggests and analyzes approaches and methods of information seeking, taking into account the information overload and digital divide phenomena;
o Reflects on the role of libraries and librarians in contrasting such exclusion phenomena through customized services such as the Reference Library, users’ education, tank to new web 2.0 tools.
Basic concepts of:
1. Bibliography: definition; history in brief; types, reference citation and styles; compilation; tools; ISO standards.
2. Librarianship: definition; history in brief; types of libraries; standards, IFLA guidelines and manifestos, automation;
3. Documentation: types of documents, the documentation chain etc.
Cataloging, Indexing (Dewey, CDU, subject and thesauri), OPAC.
Collection development and space designing and planning.
User education
Library services assessment and evaluation

Course textbooks:
1) Giovanna GRANATA, Introduzione alla biblioteconomia, Bologna: il Mulino, 2014.
2) Marco SANTORO, Lezioni di bibliografia, Milano: Editrice Bibliografica, 2012.
3) un volume a scelta nella collana “Conoscere la biblioteca”, Milano: Editrice Bibliografica

Further teaching materials will be available on Edmodo online platform (select class "Bibl&Bibl-17-18").

Recommended reading:
JOSÉ M. PRELLEZO – JESUS M. GARCIA, Invito alla ricerca. Metodologia e tecniche del lavoro scientifico, Roma: LAS, 2007.

Title of the course: Ulysses' great narration

Description of the course: The course will be centred on the reading of selected passages from the Odyssey and to the contextualitation of the work in the historical and social background for which it was produced. In particular the course aims to read a Greek text as a literary text and to consider the relevance which the tale of Ulysses has had during the centuries in the ancient and modern world.

Possible propedeutics: Students are invited to attend the course regularly. he knowledge of the Grrek Language is not required, since the texts will be read in Italian translation.

Bibliography:
- an Italian translation of the Odyssey with original text.
- Piero Boitani, Il grande racconto di Ulisse, Il Mulino 2016

Outlines of the Church history in early modern age (XIV-XVIII century)

The course will provide a basic knowledge of the principal events and problems on the Church history in the early modern and modern age, also in connection with another religious confessions. It will pay particular attention to the space-time placement of the discussed subjects, to the exact terminology and to the religious institutions’ significance and role. It will pay particular attention to the discipline’s technical language, the discussed subjects’ contextualization, the principal religious institutions’ significance and role, the interactions with the society and the culture.
In order to introduce the students to the literature and documents’ critical approach, it will confront the historiographical debates and it will spend much time for documents’ reading and comment about the discussed subjects also with use of the maps, graphics and iconographic sources and another audiovisual tools.
In the academic year 2018-2019 the course will be about the Church History in Modern Age.

Texts:
- Dossier of documents provided from the teacher (download from personal website).
- G. MARTINA, Storia della Chiesa da Lutero ai nostri giorni. 1. L'età della Riforma, Brescia, Morcelliana, 1993, pp. 15-28; 55-275.
- G. MARTINA, Storia della Chiesa da Lutero ai nostri giorni. 2. L'età dell'assolutismo, Brescia, Morcelliana, 1994, pp. 13-208; 259-371.
The students that frequent the lessons will have other information during the course.

Title of the course: What is Byzantium and why to study it? An introduction to Byzantine culture

Description of the course: Between the second World War and the beginning of the XXI century, studies have registrered an "explosive growth" of researches on the Byzantine world, as Glenn Bowersock (G. Bowersock, Storms over Byzantium, “New York Review of Books”, 21 November 2013) wrote. In these years Byzantine studies “grew dramatically from academic obscurity into an industry”. The first part of the course of BYZANTINE CULTURE aims to anwer the questions: What is Byzantium? Why to study it? Why is it important? And why should it be for scholars of other disciplines? The two main purposes of the course are thus: (1) show the role of Byzantium in the perpetuation of the forms of literature, art, study and thought of 'our' west European culture; (2) enlighten the sesnse of the thousand-year old Byzantine experimen not only in political and religious history but also in the history of the idea of state and in the geopolitical trends.

- Mandatory texts:
• S. Ronchey, Lo Stato Bizantino, Torino, Einaudi Tascabili, 2002
• S. Ronchey, Bisanzio fino alla quarta crociata, in A. Barbero e S. Carocci (a cura di), Storia d'Europa e del Mediterraneo, vol. VIII, Roma, Salerno, 2006, pp. 215-255

- Optional exam texts:

• G. Ostrogorsky, Storia dell’impero bizantino, Torino, Einaudi Tascabili, 2005
• Pertusi, Bizantina, Civiltà, in “Enciclopedia Italiana”, App. II/1 (1938-48), Roma 1948, pp. 414 sgg
• AA.VV., Il mondo bizantino, I: L’impero romano d’Oriente (330-641), C. a c. di C. Morrisson, edizione italiana a c. di S. Ronchey e T. Braccini, Torino, Einaudi, 2007 [capitoli a scelta da concordare con la docente]
• AA.VV., Il mondo bizantino, II: l’Impero bizantino (641-1204), a c. di J.-C. Cheynet, edizione italiana a c. di S. Ronchey e T. Braccini, Torino, Einaudi, 2008 [capitoli a scelta da concordare con la docente]
• AA.VV., Il mondo bizantino. III: L’Impero greco (1204-1453), a c. di A. Laiou e C. Morrisson, edizione italiana a c. di S. Ronchey e T. Braccini, Torino, Einaudi, 2013 [capitoli a scelta da concordare con la docente]
• AA.VV., Lo spazio letterario del Medioevo, III/2. La cultura bizantina, a c. di G. Cavallo, Roma, Salerno, 2004 [capitoli a scelta da concordare con la docente]
• AA.VV., L’uomo bizantino, a c. di G. Cavallo, Roma-Bari, Laterza, 1992
• Kazhdan, Bisanzio e la sua civiltà, Roma-Bari, Laterza, 1995
• Kazhdan, La produzione intellettuale a Bisanzio. Libri e scrittori in una società colta, Napoli, Liguori, 1983
• A.P. Kazhdan - S. Ronchey, L’aristocrazia bizantina, postfazione di L. Canfora, Palermo, Sellerio, 1999
• G. Dagron, Costantinopoli. Nascita di una capitale, trad. it. Einaudi 1991
• P. Schreiner, Costantinopoli, metropoli dai mille volti, Roma, Salerno, 2009
• S. Ronchey – T. Braccini, Il romanzo di Costantinopoli. Guida letteraria alla Roma d’Oriente, Torino, Einaudi, 2010
• J. Herrin, Bisanzio. Storia straordinaria di un impero millenario, trad. it., Milano, Corbaccio, 2008
• L. Brubaker, L’invenzione dell’iconoclasmo bizantino, trad. it., a c. di M. C. Carile, Roma, Viella, 2016
• S. Ronchey, Bisanzio Continuata. Presupposti ideologici dell’attualizzazione di Bisanzio nell’età moderna, in G. Cavallo (a cura di), Lo spazio letterario del medioevo, III/1. La cultura bizantina, Roma, Salerno, 2005, pp. 691-727
• S. Ronchey, Charles Diehl, o del bizantinismo, in C. Diehl, Figure bizantine, ed. it., Torino, Einaudi 2007, pp. vii-xiv
• G. Ravegnani, I bizantini in Italia, Bologna, Il Mulino, 2004
- Foreign languages texts:
N.B. Those who wish to use exam text in English, French or German are invited to ask the teacher.

The first part of the course will deal with the birth of the aesthetics and the concept of aesthetical experience, the second one will analyze the concepts of beauty and sublime, with reference to some authors.

P. D’Angelo, Estetica, Laterza, Roma-Bari.
Estetica, a cura di P. D’Angelo, E. Franzini, G. Scaramuzza, Raffaello Cortina, Milano.
E. Burke, Inchiesta sul bello e il sublime, Aesthetica, Palermo.
I. Kant, Analitica del bello; Analitica del sublime, in Critica della facoltà di giudizio (a cura di E. Garroni, H. Hohenegger, Einaudi, Torino, o altra edizione).
J.-F. Lyotard, Anima Minima, Pratiche, Parma (fotocopie fornite dalla docente).

The course aims to introduce the main features of the documents in the west juridical tradition, with special regard to thei value for historical studies. Documents will be taken into exam in thier internal and external features, in relation to the cultural program of the times and places of production of the main documentary typologies and to the juridic tradition of the west history. In this way the discipline of Diplomatic is meant as an hitorical science able to provide a critical support to the main historical disciplines, which find in manuscript documents a primary source of their studies. ISpecial reguards will be reserved to Latin medieval documents, which proves to be particularly difficult as an historical source. A deep study of the medieval documentary sistem in the town of rome is also in program.

The course includes both the examination of copies of documents and the direct analysis of manuscripts, carried out through visits in Archives and liberies. The knowledge of Latin is recommended.

The final exam will include the knowledge of the material provided during the course. Students are required to add the study ofthe following texts:
- Alessandro Pratesi, Genesi e forme del documento medievale, III edizione, Roma, Jouvence, 1999 (Guide, 3);
- Two essays among those distributed during the course

The course aims to introduce students to the theories of media communication and their sociological analysis, promoting a critical comprehension of the relationship between mass media and contemporary society.
The course is divided into two parts: a general theoretical and one specific on the Italian society.
The first part is devoted to the analysis of the main theories and the most important models developed within the research on mass communication with special reference to the sociological field.
The second part of the module is devoted to the impact of television on Italian society and culture from from the fifties to the present day. This part will provide knowledge of the history of Italian television and its main programs at different stages and seasons of the hystory of the Nation, as well the analysis of their consequences on the behavior and on the private and collective identity of the Italians. The second part of the course includes the viewing and analysing of some of the major programs of the history of Italian television.

Programma d’esame:
- Luciano Paccagnella, Sociologia della Comunicazione, ed. 2012 Bologna, Il Mulino, chap. 3 – 4 – 5.
- Francesca Anania, Breve storia della radio e della televisione italiana, Roma, Carocci 2015.
- Edoardo Novelli, La democrazia del Talk-show, Carocci, Roma 2016.

Title of the course: An introduction to Greek Epigraphy

Description of the course: The course includes. (a) a general introduction to the field of study (origin and develpment of the alphabetic writing in Greece, features of the local alphabeths, typology of the inscriptions and of their supports, bibliography, informatic tools); (b) practicla exercises meant to acquire the main techniques and conventions for recording and editing epigraphical texts; (c) readind and historical and critical analysis of different kinds of epigraphic texts.

Possible propedeutisc: The course is address to students of classical antiquities: the exam implies a good knowledge of the Greek history and of the Greek language.

Bibliography:

A) M. Guarducci, L'Epigrafia greca dalle origini al tardo impero, Roma, Istituto Poligrafico dello Stato, 1987 (e successive ristampe).
B) M. Guarducci, Epigrafia greca, I, Roma 20052, pp. 391-487.
C) Further material provided during the course.

GEOGRAPHY I - First module (6 cfu)
The module will provide an introduction to the knowledge of those physical environmental characteristics of our planet that constitute the natural component of the landscape
Top topics to be covered during the I Module: Basic Concepts of Astronomical Geography; The planet Earth; The representation of the Earth's surface; The lithosphere: minerals and rocks; Stratigraphy and Tectonics; Volcanic phenomena; Seismic phenomena; The Plaque Tettonica and the Evolution of the Earth; Marine hydrography; Continental hydrography; The terrestrial atmosphere; Elements and factors of the climate; Modeling the Earth's surface

For the II module program cfr GEOGRAFIA II

a) First Module
Attending students:
- a good high school manual, lesson notes and supplementary learning material that will be provided during the course.
Non-Attending Students:
-E. Lupia Palmieri, M. Parotto, Il Globo terrestre e la sua evoluzione, Milano, Zanichelli, testo unico.

b) First and Second modules
Attending students:
- a good high school manual, lesson notes and supplementary learning material that will be provided during the course.
Non-Attending Students:
-E. Lupia Palmieri, M. Parotto, Il Globo terrestre e la sua evoluzione, Milano, Zanichelli, testo unico.
- A.L. Greiner, G. Dematteis, C. Lanza. Geografia umana. Un approccio visuale, UTET, 2016 (seconda edizione).

Description of the course: The course is meant as a support to the study of the handbook, which students are required to manage independently: cfr. "Bibliography", points A-B-C-D. It consists of a cycle of monographic lessons about single periods, aspects or characters of the Greek history, from its origin to the stabilization of the Hellenistic monarchies. The course will offer a series of cronological and geographical panels useful to outline institutional, historical and cultural features of the Greek world. Lessons are meant as selective surveys and as examples of methodology of the historical research. Students will be introduced to the set of problems and to the methods of analysis of the various kinds (literary, epigraphic, archaeological, numismatic) of historical source.

The course is addressed to students of all study courses and, in particular, to those who have not acquired yet credits in the field of Greek history. It is propedeutic to 1) Greek epigraphy I (Bechelor's degree); 2) Historical Geography of the Greek World (Bachelo's degree)

Bibliography:
A) C. BEARZOT, Manuale di storia greca, Bologna, Il Mulino, 2015.
B) M. BETTALLI, Introduzione alla storiografia greca, Roma, Carocci, 2009, pp. 47-61; 67-91 (Erodoto e Tucidide).
C) One of the books of History of Herodotus and one of Thucidides' History of the Peloponnesian War.
D) Historical maps of the Greek world. Students can use photocophies of any historical atlas or digitalized pictures found in the internet.

Students who do not attend the lessons are required to add to the previous (A-B-C-D) volumes the following one:

E) M. Giangiulio, Democrazie greche. Atene, Sicilia, Magna Grecia, Roma 2015.

THE MAIN STEPS OF THE HISTORICAL PROCESS OF THE RESTORATION/CONSERVATION AND PROTECTION, FROM GREEK-ROMAN WORLD UNTIL THE SECOND HALF OF THE TWENTIETH CENTURY. THE THEORIES OF THE RESTORATION OF THE NINETEENTH AND TWENTIETH CENTURY. THE THEORY OF THE RESTORATION OF CESARE BRANDI AND ITS CONSEQUENCES FOR RESTORATION/CONSERVATION OF WORKS OF ART (PAINTING, SCULPTURE AND ARCHITECTURE). CONNECTIONS WITH OTHER DISCIPLINES THAT CHARACTERIZE THE COURSE OF STUDY: ART HISTORY, HISTORY OF CRITICISM OF ART, MUSEOLOGY, HISTORY OF ARTISTIC TECHNIQUES.

L. Vlad, Conservazione e restauro delle antichità. Profilo storico, Roma, 2010. Volume integrale.

C. Brandi, Teoria del Restauro, Milano, Milano (qualsiasi edizione). Volume integrale.

A. Conti, Storia del restauro e della conservazione delle opere d'arte, Milano, 2002, pp. 154-328.

This lecture class offers an introduction to the history of photographic languages, practices, and cultures from the origins to the post-WWII period. Lectures will focus on the "close reading" of different types of photographic texts (including individual images, series, photo-texts, books, and exhibitions) and will discuss case studies associated with the crucial moments in the medium's affirmation as an intellectual and artistic field.

Jean-Claude Lemagny, André Rouillé (eds), History of Photography (Cambridge: Cambridge University Press, 1987) (or. ed. 1986).
Lacking an appropriate survey book (at least in Italian), further readings will be provided in class.
Attendance is not strictly required, but it is strongly suggested.

ITALIAN CINEMA FROM NEO-REALISM TO COMEDY ITALIAN STYLE
Program: The first part is dedicated to the most emblematic theories, films, authors, figures and styles of post-war cinema. The major works of Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Giuseppe De Santis, Pietro Germi are analyzed. Particular emphasis is given to the thought and practices of Cesare Zavattini. In the second part, the comedy is tackled through a multiplicity of points of view concerning the genre status, the narrative models, the types of characters, the divistic icons, the styles, the ways of production and reception. The most significant films of Dino Risi, Mario Monicelli, Luigi Comencini, Pietro Germi and Antonio Pietrangeli are analyzed. We trace the contemporary debate and subsequent reflections in historical-critical and theoretical fields.

TEXTS: Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (in particular pp. 127-303); Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014; Maurizio Grande, La commedia all’italiana, edited by Orio Caldiron, Bulzoni, Roma 2003; texts compiled by the teacher (that can be bought, at the beginning of the course, at the copisteria of 11, via G. Rocco). Students which will not follow the course must read also Mariapia Comand, Commedia all’italiana, Il Castoro, Milano 2010.
FILMOGRAPHY: Ossessione (1943) by L.Visconti; Paisà (1946) by R. Rossellini; Germania anno zero (1948) by R: Rossellini; Ladri di biciclette (1948) by V. De Sica; La terra trema (1948) by L. Visconti; Riso amaro (1949) by G. De Santis; Miracolo a Milano (1950) by V. De Sica; Due soldi di speranza (1951) by R. Castellani; Pane, amore e fantasia (1953) by L. Comencini; La strada (1954) by F. Fellini; Il grido (1957) by M. Antonioni; I soliti ignoti (1958) by M. Monicelli; La grande guerra (1959) by M. Monicelli; Tutti a casa (1960) by L. Comencini; Il sorpasso (1962) by D. Risi; Il professore (ep. Controsesso, 1963) by M. Ferreri; Sedotta e abbandonata (1964) by P. Germi; Io la conoscevo bene (1965) by A. Pietrangeli; C’eravamo tanto amati (1974) by E. Scola. Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The course aims to offer a global vision of the historical development of European Theatre, through a series of close ups on themes and changes of its values and conditions, from Mediaeval culture to contemporary performance. The notion of cultural performance will be assumed as a key concept, in order to enlarge the horizon of the artistic and cultural values of theatre to other fields and practices of representation (Dance, ritual, celebration).
In its first part, the course deals with texts and contexts of books considered as groundbreaking sources for the theory and practice of the Western performer in 20th century (Artaud, Brecht, Grotowski).
In the second period, through the reading of Shakespeare's Hamlet, a focus will concern the dramatic tradition in European modern theatre.
In the final period, taking part in meeting and panels with operators, curators and performers, the students will share ongoing projects and current trends in Italian contemporary theatre

English speaking students can replace the Italian edition of Hamlet with W. Shakespeare, Hamlet, ed. by H. Jenkins, The Arden Shakespeare.
English speaking students are also allowed to study the English translations of the books by Brecht, Artaud and Grotowski.

The meeting between Anton Chekhov and the Moscow Art Theatre, Stanislavsky's lecture, the letters, the relationship with Nemirovic Dancenko, the performances.

1) Angelo Maria Ripellino, Il trucco e l’anima, Einaudi
2) Mirella Schino, L’età dei maestri. Viella
3) V. Nemirovič-Dančenko, La mia vita nel teatro russo, Roma, Audino, 2015
4) Franco Ruffini, Stanislavskij, Laterza
5) Reading of three plays by Chekhov (The Seagull, The Cherry Orchard, Uncle Vanja).
The non-attendants will add:
Stanislavsky, My Life in Art (La casa Usher edition).

Non-attending students:
Ugo Fabietti, Elementi di antropologia culturale, Milano, Mondadori.
Reference Book: Stefano De Matteis, Le false libertà. Verso la postglobalizzazione, Milano, Meltemi.

And a third one according to the curricula among the following ones:
Theatre: Victor Turner, Dal rito al teatro, Bologna, Il mulino;
Cinema: Edgar Morin, Il cinema o l'uomo immaginario, Milano, Cortina;
Languages and Mediation: Ngugi wa Thiongo, Spostare il centro del mondo. La lotta per le libertà culturali, Milano, Meltemi;
Philosophy: Victor Turner, Antropologia dell'esperienza, Bologna, Il mulino;
History: Ernesto de Martino, La terra del rimorso. Contributo a una storia religiosa del Sud, Milano, Il saggiatore.

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lectures notes written by the teacher

Latin epigraphy

Title of the course: "Rome and the Roman world: an epigraphic culture"

No culture has celebrated and exposed the written word as the Greek Roman culture did. The course aims to introduce students to the study of the epigraphic framework in Latin Language in the Roman world, from its origin to the fall of West Roman empire. Original inscription will be shown and analysed according to the criteria of a scientific edition, with special regard for their historical, social and topographic context.

▪ TEXTS for students who attend the course:
A. Buonopane, Manuale di epigrafia latina, Roma (Carocci) 2009;
xerocopies provided during the course.

Students who do not attend the course are invited to contact the lecturer in order to arrange a specific exam schelude.

- bibliographic and archival research (traditional methods, technological resources available and online databases), reliability of the resources available on the net;
- standards in force in the art-historical studies in scientific publications (the form of publications, tools and programs available);
- use of online databases with photos of artworks;
- guidelines and tools for cataloging art and other materials relating to visual arts;
- guidelines and tools to developing images and texts in scientific standards, for exercises in learning activities in art history, seminars and conferences (posters and oral presentation support);
- guidelines and tools to developing dissemination planning tools, guidelines for museum communication;
- web editing guidelines and tools.

Objectives
The course aims at providing students with basic knowledge in the following areas: methods and standards for word processing, tools and programs for images editor and word processing in the art-historical studies for scientific publications and dissemination planning tools, cataloging art and other materials relating to visual arts.

All information will be provided during the course (Tuesday 4pm-7pm and Thursday 4pm-6pm at the Aula Informatica Piccola - Via Ostiense 234 - ground floor – 27 February; 1, 6, 13, 15, 20, 22, 27 March; 5, 10, 12, 17, 19, 24 April 2018).