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ATTIVITA' CARATTERIZZANTI A - (show)
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20710159 -
STORIA DELL'ARTE MEDIEVALE E STORIA DELL'ARTE BIZANTINA - LM
(objectives)
Knowledge of the history of medieval art and the history of Byzantine art (IV-XIV centuries), of themes and specific problems of the discipline; ability to analyze and read works of art and their context; ability to analyze the written and graphic sources; acquisition of methodological skills that enable independent study and research; ability to apply the acquired knowledge in order to develop and expose logical and coherent arguments; ability to communicate information and ideas to specialists and non-specialists.
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20710159-1 -
STORIA DELL'ARTE MEDIEVALE E STORIA DELL'ARTE BIZANTINA 1 - LM
(objectives)
Knowledge of the history of medieval art and the history of Byzantine art (IV-XIV centuries), of themes and specific problems of the discipline; ability to analyze and read works of art and their context; ability to analyze the written and graphic sources; acquisition of methodological skills that enable independent study and research; ability to apply the acquired knowledge in order to develop and expose logical and coherent arguments; ability to communicate information and ideas to specialists and non-specialists.
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FOBELLI MARIA LUIGIA
( syllabus)
Course Title and Description
Figurative Circulation between East and West in the 11th-13th Centuries.
a. The Art of the Gregorian Reformation in Rome
b. St Mark's Basilica in Venice
The course is divided into 2 non-divisible modules, amounting to 12 CFU.
The modules will deal with two paradigmatic artistic episodes:
(a) The paleochrétienne renoveau, the artistic phenomenon originating within the Gregorian Reformation and directed towards the revival of early Christian decorative motifs and iconographic systems. In particular, some churches in Rome and the abbey of Montecassino will be analysed in the light of the dialectical relationship that bound the Urbe to the Benedictine monastery between the 11th and 12th centuries.
b) St Mark's Basilica in Venice. The complex artistic vicissitudes of St. Mark's, and in particular its extraordinary mosaic decoration, will be examined in relation to the close ties -commercial, ideological, cultural and artistic- that united the city of the doges with Constantinople.
Visits to a number of basilicas in Rome and the Abbey of Montecassino are planned.
The active participation of the students is required with lectures in the classroom and during the visits.
( reference books)
Bibliografia
• S. Romano (a cura di), Riforma e Tradizione. La pittura medievale a Roma. Corpus, IV, Jaca Book, Milano-Roma 2006, pp. 68-88 (San Crisogono); 129-150 (San Clemente, bas. inf.); 209-218 (San Clemente, bas. sup.); 250-257 (Santa Maria in Cosmedin); 272-280 (San Nicola in Carcere); 305-311 (Santa Maria in Trastevere); 327-334; 335-345 (Santa Maria Nova).
• E. Mazzocchi, Il cuore antico della Riforma: le pitture della basilica di S. Crisogno a Roma, in Roma e la riforma gregoriana. Tradizioni e innovazioni artistiche (XI-XII secolo), a cura S. Romano e J. Enckell Julliard, Viella, Roma 2007, pp. 247-273.
• A. Iacobini, Gli affreschi della cripta di S. Nicola in Carcere, in Fragmenta picta. Affreschi e mosaici staccati del Medioevo romano, Argos Editore, Roma 1989, pp. 197-204.
• E. Parlato, S. Romano, Roma e Lazio. Il romanico, Palombi Editori e Jaca Book, Milano 2001, pp. 29-43 (S. Clemente); 44-52 (S. Maria in Cosmedin); 53-59 (S. Crisogono); 61-75 (S. Maria in Trastevere).
• A. Iacobini, Il mosaico in Italia dall’XI agli inizi del XIII secolo: spazio, immagini, ideologia, in L’arte medievale nel contesto (300-1300) Funzioni, iconografia, tecniche, Jaca Book, Milano 2006, pp. 463-499, figg. 279-305.
• M. Andaloro, Montecassino: memoria di una fabbrica perduta, in Cantieri medievali, a cura di R. Cassanelli, Jaca Book, Milano 1995, pp. 51-69.
• M. Gianandrea, Montecassino, in La scena del sacro. L’arredo liturgico nel basso Lazio tra XI e XIV secolo, Viella, Roma 2006, pp. 55-75.
• G. Orofino, Desiderio, abate di Montecassino e papa Vittore III: Le miniature, in Roma medievale. Il volto perduto della città, De Luca Editore, Roma 2022, pp. 89-94.
• G. Curzi, L’iconostasi di S. Maria in Valle Porclaneta, in Idem, Arredi lignei medievali. L’Abruzzo e l’Italia centro-meridionale. Secoli XII-XIII, Silvana Editoriale, Cinesello Balsamo 2007, pp. 65-77.
• Si consiglia la consultazione di:
- Leone Marsicano, Cronaca di Montecassino (III 26-33), a cura di F. Aceto e V. Lucherini, Jaca Book, Milano 2001.
Non frequentanti
Allo studio dei testi indicati gli studenti non frequentanti dovranno aggiungere:
• H. Toubert, La riforma gregoriana e l’iconografia; La rinascita paleocristiana a Roma all’inizio del XII secolo, in Un'arte orientata: riforma gregoriana e iconografia, a cura di L. Speciale, Jaca Book, Milano 2001, pp. 11-20 e figg. 1-4; pp. 177-227 e figg. 81-98.
• M. Andaloro, S. Romano (a cura di), Arte iconografia a Roma. Da Costanino a Cola di Rienzo, Jaca Book, Milano 2000 (l’intero volume).
Studenti frequentanti e non frequentanti
A tutti gli studenti è richiesta la conoscenza diretta dei seguenti monumenti:
• Roma, S. Crisogono
• Roma, S. Clemente
• S. Maria in Cosmedin
• Roma, S. Maria in Trastevere
• Roma, S. Maria Nova
• Montecassino, Chiesa abbaziale e Museo
Studenti frequentanti
II Modulo Storia dell’arte bizantina
Bibliografia
• A. Grabar, Plotino e l’origine dell’estetica medievale, in Idem, Le origini dell’estetica medievale, Milano, Jaca Book 2001, pp. 29-83.
• W. Tatarkiewicz, L’estetica di Plotino, in Storia dell’estetica, I, Torino, Einaudi, 1979, pp. 355-366; Idem, L’estetica dello Pseudo-Dionigi; L’estetica bizantina, in Storia dell’estetica, II, Torino, Einaudi, 1979, pp. 34-49.
• A. Iacobini, Il mosaico in Italia dall’XI agli inizi del XIII secolo: spazio, immagini, ideologia, in L’arte medievale nel contesto (300-1300) Funzioni, iconografia, tecniche, Jaca Book, Milano 2006, pp. 463-499, figg. 279-305.
• G. Lorenzoni, Venezia, in Enciclopedia dell’Arte Medievale, Istituto dell’Enciclopedia Italiana Treccani, Roma 2000, XI, pp. 524-533.
• F. Zuliani, La basilica di S. Marco. Il cantiere (1063-1094), in Cantieri medievali, a cura di R. Cassanelli, Jaca Book, Milano 1995, pp. 71-98.
• R. Polacco, La pittura medievale a Venezia, in La pittura in Italia. L’Altomedioevo, Electa, Milano 1994, pp.113-130.
• Storia dell’arte marciana: l’architettura, Atti del Convegno internazionale di studi (Venezia 11-14 ottobre 1994), a cura di R. Polacco, Marsilio, Venezia 1997:
- I. Andreescu-Treadgold, I primi mosaicisti a San Marco, pp. 87-104;
- G. Romanelli, La basilica di S. Marco nell’Ottocento. Trasformazioni, polemiche,
ideologie, ivi, 277-292.
• Il Tesoro di San Marco, catalogo della mostra, Edizioni Olivetti, Milano 1986:
- S. Bettini, Venezia, la Pala d’Oro e Costantinopoli, ivi, pp. 43-72;
- G. Perocco, Sulla storia del Tesoro di S. Marco, ivi, pp. 73-76.
• E. Concina, Le arti di Bisanzio. Secoli VI-XV, Bruno Mondadori, Milano 2002, pp. 155-192; 229-272; 291-304; 330-345.
Studenti non frequentanti
Allo studio dei testi indicati, gli studenti non frequentanti dovranno aggiungere:
• A. Grabar, Le origini dell’estetica medievale, Milano, Jaca Book 2001 (l’intero volume).
• G. Lorenzoni, Il cantiere di San Marco e la cultura figurativa veneziana fino al sec. XIII, in Storia di Venezia. Temi, Istituto dell’Enciclopedia Italiana, Roma 1994, pp. 21-144.
Frequenza
La frequenza delle lezioni è vivamente consigliata. Gli studenti che per giustificati motivi si trovino nell’impossibilità di frequentare, dovranno integrare il programma (v. sopra) concordando un appuntamento con il docente.
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6
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L-ART/01
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36
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Core compulsory activities
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ITA |
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20710159-2 -
STORIA DELL'ARTE MEDIEVALE E STORIA DELL'ARTE BIZANTINA 2 - LM
(objectives)
Knowledge of the history of medieval art and the history of Byzantine art (IV-XIV centuries), of themes and specific problems of the discipline; ability to analyze and read works of art and their context; ability to analyze the written and graphic sources; acquisition of methodological skills that enable independent study and research; ability to apply the acquired knowledge in order to develop and expose logical and coherent arguments; ability to communicate information and ideas to specialists and non-specialists.
-
FOBELLI MARIA LUIGIA
( syllabus)
Course Title and Description
Figurative Circulation between East and West in the 11th-13th Centuries.
a. The Art of the Gregorian Reformation in Rome
b. St Mark's Basilica in Venice
The course is divided into 2 non-divisible modules, amounting to 12 CFU.
The modules will deal with two paradigmatic artistic episodes:
(a) The paleochrétienne renoveau, the artistic phenomenon originating within the Gregorian Reformation and directed towards the revival of early Christian decorative motifs and iconographic systems. In particular, some churches in Rome and the abbey of Montecassino will be analysed in the light of the dialectical relationship that bound the Urbe to the Benedictine monastery between the 11th and 12th centuries.
b) St Mark's Basilica in Venice. The complex artistic vicissitudes of St. Mark's, and in particular its extraordinary mosaic decoration, will be examined in relation to the close ties -commercial, ideological, cultural and artistic- that united the city of the doges with Constantinople.
Visits to a number of basilicas in Rome and the Abbey of Montecassino are planned.
The active participation of the students is required with lectures in the classroom and during the visits.
( reference books)
Bibliografia
• S. Romano (a cura di), Riforma e Tradizione. La pittura medievale a Roma. Corpus, IV, Jaca Book, Milano-Roma 2006, pp. 68-88 (San Crisogono); 129-150 (San Clemente, bas. inf.); 209-218 (San Clemente, bas. sup.); 250-257 (Santa Maria in Cosmedin); 272-280 (San Nicola in Carcere); 305-311 (Santa Maria in Trastevere); 327-334; 335-345 (Santa Maria Nova).
• E. Mazzocchi, Il cuore antico della Riforma: le pitture della basilica di S. Crisogno a Roma, in Roma e la riforma gregoriana. Tradizioni e innovazioni artistiche (XI-XII secolo), a cura S. Romano e J. Enckell Julliard, Viella, Roma 2007, pp. 247-273.
• A. Iacobini, Gli affreschi della cripta di S. Nicola in Carcere, in Fragmenta picta. Affreschi e mosaici staccati del Medioevo romano, Argos Editore, Roma 1989, pp. 197-204.
• E. Parlato, S. Romano, Roma e Lazio. Il romanico, Palombi Editori e Jaca Book, Milano 2001, pp. 29-43 (S. Clemente); 44-52 (S. Maria in Cosmedin); 53-59 (S. Crisogono); 61-75 (S. Maria in Trastevere).
• A. Iacobini, Il mosaico in Italia dall’XI agli inizi del XIII secolo: spazio, immagini, ideologia, in L’arte medievale nel contesto (300-1300) Funzioni, iconografia, tecniche, Jaca Book, Milano 2006, pp. 463-499, figg. 279-305.
• M. Andaloro, Montecassino: memoria di una fabbrica perduta, in Cantieri medievali, a cura di R. Cassanelli, Jaca Book, Milano 1995, pp. 51-69.
• M. Gianandrea, Montecassino, in La scena del sacro. L’arredo liturgico nel basso Lazio tra XI e XIV secolo, Viella, Roma 2006, pp. 55-75.
• G. Orofino, Desiderio, abate di Montecassino e papa Vittore III: Le miniature, in Roma medievale. Il volto perduto della città, De Luca Editore, Roma 2022, pp. 89-94.
• G. Curzi, L’iconostasi di S. Maria in Valle Porclaneta, in Idem, Arredi lignei medievali. L’Abruzzo e l’Italia centro-meridionale. Secoli XII-XIII, Silvana Editoriale, Cinesello Balsamo 2007, pp. 65-77.
• Si consiglia la consultazione di:
- Leone Marsicano, Cronaca di Montecassino (III 26-33), a cura di F. Aceto e V. Lucherini, Jaca Book, Milano 2001.
Non frequentanti
Allo studio dei testi indicati gli studenti non frequentanti dovranno aggiungere:
• H. Toubert, La riforma gregoriana e l’iconografia; La rinascita paleocristiana a Roma all’inizio del XII secolo, in Un'arte orientata: riforma gregoriana e iconografia, a cura di L. Speciale, Jaca Book, Milano 2001, pp. 11-20 e figg. 1-4; pp. 177-227 e figg. 81-98.
• M. Andaloro, S. Romano (a cura di), Arte iconografia a Roma. Da Costanino a Cola di Rienzo, Jaca Book, Milano 2000 (l’intero volume).
Studenti frequentanti e non frequentanti
A tutti gli studenti è richiesta la conoscenza diretta dei seguenti monumenti:
• Roma, S. Crisogono
• Roma, S. Clemente
• S. Maria in Cosmedin
• Roma, S. Maria in Trastevere
• Roma, S. Maria Nova
• Montecassino, Chiesa abbaziale e Museo
Studenti frequentanti
II Modulo Storia dell’arte bizantina
Bibliografia
• A. Grabar, Plotino e l’origine dell’estetica medievale, in Idem, Le origini dell’estetica medievale, Milano, Jaca Book 2001, pp. 29-83.
• W. Tatarkiewicz, L’estetica di Plotino, in Storia dell’estetica, I, Torino, Einaudi, 1979, pp. 355-366; Idem, L’estetica dello Pseudo-Dionigi; L’estetica bizantina, in Storia dell’estetica, II, Torino, Einaudi, 1979, pp. 34-49.
• A. Iacobini, Il mosaico in Italia dall’XI agli inizi del XIII secolo: spazio, immagini, ideologia, in L’arte medievale nel contesto (300-1300) Funzioni, iconografia, tecniche, Jaca Book, Milano 2006, pp. 463-499, figg. 279-305.
• G. Lorenzoni, Venezia, in Enciclopedia dell’Arte Medievale, Istituto dell’Enciclopedia Italiana Treccani, Roma 2000, XI, pp. 524-533.
• F. Zuliani, La basilica di S. Marco. Il cantiere (1063-1094), in Cantieri medievali, a cura di R. Cassanelli, Jaca Book, Milano 1995, pp. 71-98.
• R. Polacco, La pittura medievale a Venezia, in La pittura in Italia. L’Altomedioevo, Electa, Milano 1994, pp.113-130.
• Storia dell’arte marciana: l’architettura, Atti del Convegno internazionale di studi (Venezia 11-14 ottobre 1994), a cura di R. Polacco, Marsilio, Venezia 1997:
- I. Andreescu-Treadgold, I primi mosaicisti a San Marco, pp. 87-104;
- G. Romanelli, La basilica di S. Marco nell’Ottocento. Trasformazioni, polemiche,
ideologie, ivi, 277-292.
• Il Tesoro di San Marco, catalogo della mostra, Edizioni Olivetti, Milano 1986:
- S. Bettini, Venezia, la Pala d’Oro e Costantinopoli, ivi, pp. 43-72;
- G. Perocco, Sulla storia del Tesoro di S. Marco, ivi, pp. 73-76.
• E. Concina, Le arti di Bisanzio. Secoli VI-XV, Bruno Mondadori, Milano 2002, pp. 155-192; 229-272; 291-304; 330-345.
Studenti non frequentanti
Allo studio dei testi indicati, gli studenti non frequentanti dovranno aggiungere:
• A. Grabar, Le origini dell’estetica medievale, Milano, Jaca Book 2001 (l’intero volume).
• G. Lorenzoni, Il cantiere di San Marco e la cultura figurativa veneziana fino al sec. XIII, in Storia di Venezia. Temi, Istituto dell’Enciclopedia Italiana, Roma 1994, pp. 21-144.
Frequenza
La frequenza delle lezioni è vivamente consigliata. Gli studenti che per giustificati motivi si trovino nell’impossibilità di frequentare, dovranno integrare il programma (v. sopra) concordando un appuntamento con il docente.
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6
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L-ART/01
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36
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Core compulsory activities
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ITA |
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20704133 -
HISTORY OF MODERN ART - L.M
(objectives)
knowledge of the history of modern art (14th-18th centuries) and of specific subjects and problems of the discipline; ability to analyze and read the work of art; ability to analyze the sources; acquisition of a methodological competence that allows an independent study; ability to apply the knowledge acquired in order to devise and support arguments; ability to communicate information and ideas to specialist and non-specialist interlocutors
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20704133-1 -
STORIA DELL'ARTE MODERNA
(objectives)
knowledge of the history of modern art (14th-18th centuries) and of specific subjects and problems of the discipline; ability to analyze and read the work of art; ability to analyze the sources; acquisition of a methodological competence that allows an independent study; ability to apply the knowledge acquired in order to devise and support arguments; ability to communicate information and ideas to specialist and non-specialist interlocutors
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GINZBURG SILVIA
( syllabus)
The course, consisting of two 6 CFU units, aims to study the stylistic development of Raffaello Sanzio through the analysis of his work and to consider the contexts in which he lived and worked, his working methods, his patrons, and his fortune.
( reference books)
Study of the following texts is required:
Syllabus - 12 CFU
1• G. Vasari, Vita di Raffaello da Urbino pittore e architetto, in Le vite de’ più eccellenti pittori scultori e architettori, a cura di Paola Barocchi e Rosanna Bettarini, Firenze, S.P.E.S., già Sansoni, 1966-87, in entrambe le edizioni, Giuntina (1568) e Torrentiniana (1550), e riflettendo sulle differenze fra le due. I due testi sono consultabili on line dal sito
https://vasari.sns.it/vol4/155.html (pp. 155-214)
2• K. Oberhuber, Raffaello. L’opera pittorica, Milano Electa, 1999
3• H. Chapman, T. Henry e C. Plazzotta, Raffaello da Urbino a Roma, catalogo della mostra (Londra, 20.10.2004 - 16.01.2005), Londra, National Gallery, Milano, 5 Continents, 2004.
4• P. Violini, Raffaello in Vaticano tra il 1508 e il 1514. Progresso e maturazione della tecnica artistica, in Raffaello a Roma. Restauri e ricerche, a cura di A. Paolucci, B. Agosti, S. Ginzburg, Edizioni Musei Vaticani, Città del Vaticano, 2017, pp. 29-40
5• S. Ginzburg, Vasari e Raffaello, in Giorgio Vasari e il cantiere delle Vite del 1550, atti del convegno (Firenze, Kunsthistorisches Institut, 26-28 aprile 2012), a cura di B. Agosti, S. Ginzburg e A. Nova, Venezia 2013, pp. 29-46
6• Raffaello pittore e architetto a Roma: una guida, a cura di F. Benelli e S. Ginzburg, Milano 2020
Syllabus - 6 CFU
1• G. Vasari, Vita di Raffaello da Urbino pittore e architetto, in Le vite de’ più eccellenti pittori scultori e architettori, a cura di Paola Barocchi e Rosanna Bettarini, Firenze, S.P.E.S., già Sansoni, 1966-87, in entrambe le edizioni, Giuntina (1568) e Torrentiniana (1550), e riflettendo sulle differenze fra le due. I due testi sono consultabili on line dal sito
https://vasari.sns.it/vol4/155.html (pp. 155-214)
2• K. Oberhuber, Raffaello. L’opera pittorica, Milano Electa, 1999 SOLO DA PAG. 9 A PAG. 83
3• H. Chapman, T. Henry e C. Plazzotta, Raffaello da Urbino a Roma, catalogo della mostra (Londra, 20.10.2004 - 16.01.2005), Londra, National Gallery, Milano, 5 Continents, 2004.
4• S. Ginzburg, Vasari e Raffaello, in Giorgio Vasari e il cantiere delle Vite del 1550, atti del convegno (Firenze, Kunsthistorisches Institut, 26-28 aprile 2012), a cura di B. Agosti, S. Ginzburg e A. Nova, Venezia 2013, pp. 29-46
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6
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L-ART/02
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36
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Core compulsory activities
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ITA |
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20704133-2 -
STORIA DELL'ARTE MODERNA
(objectives)
knowledge of the history of modern art (14th-18th centuries) and of specific subjects and problems of the discipline; ability to analyze and read the work of art; ability to analyze the sources; acquisition of a methodological competence that allows an independent study; ability to apply the knowledge acquired in order to devise and support arguments; ability to communicate information and ideas to specialist and non-specialist interlocutors
-
GINZBURG SILVIA
( syllabus)
The course, consisting of two 6 CFU units, aims to study the stylistic development of Raffaello Sanzio through the analysis of his work and to consider the contexts in which he lived and worked, his working methods, his patrons, and his fortune.
( reference books)
Study of the following texts is required:
Syllabus - 12 CFU
1• G. Vasari, Vita di Raffaello da Urbino pittore e architetto, in Le vite de’ più eccellenti pittori scultori e architettori, a cura di Paola Barocchi e Rosanna Bettarini, Firenze, S.P.E.S., già Sansoni, 1966-87, in entrambe le edizioni, Giuntina (1568) e Torrentiniana (1550), e riflettendo sulle differenze fra le due. I due testi sono consultabili on line dal sito
https://vasari.sns.it/vol4/155.html (pp. 155-214)
2• K. Oberhuber, Raffaello. L’opera pittorica, Milano Electa, 1999
3• H. Chapman, T. Henry e C. Plazzotta, Raffaello da Urbino a Roma, catalogo della mostra (Londra, 20.10.2004 - 16.01.2005), Londra, National Gallery, Milano, 5 Continents, 2004.
4• P. Violini, Raffaello in Vaticano tra il 1508 e il 1514. Progresso e maturazione della tecnica artistica, in Raffaello a Roma. Restauri e ricerche, a cura di A. Paolucci, B. Agosti, S. Ginzburg, Edizioni Musei Vaticani, Città del Vaticano, 2017, pp. 29-40
5• S. Ginzburg, Vasari e Raffaello, in Giorgio Vasari e il cantiere delle Vite del 1550, atti del convegno (Firenze, Kunsthistorisches Institut, 26-28 aprile 2012), a cura di B. Agosti, S. Ginzburg e A. Nova, Venezia 2013, pp. 29-46
6• Raffaello pittore e architetto a Roma: una guida, a cura di F. Benelli e S. Ginzburg, Milano 2020
Syllabus - 6 CFU
1• G. Vasari, Vita di Raffaello da Urbino pittore e architetto, in Le vite de’ più eccellenti pittori scultori e architettori, a cura di Paola Barocchi e Rosanna Bettarini, Firenze, S.P.E.S., già Sansoni, 1966-87, in entrambe le edizioni, Giuntina (1568) e Torrentiniana (1550), e riflettendo sulle differenze fra le due. I due testi sono consultabili on line dal sito
https://vasari.sns.it/vol4/155.html (pp. 155-214)
2• K. Oberhuber, Raffaello. L’opera pittorica, Milano Electa, 1999 SOLO DA PAG. 9 A PAG. 83
3• H. Chapman, T. Henry e C. Plazzotta, Raffaello da Urbino a Roma, catalogo della mostra (Londra, 20.10.2004 - 16.01.2005), Londra, National Gallery, Milano, 5 Continents, 2004.
4• S. Ginzburg, Vasari e Raffaello, in Giorgio Vasari e il cantiere delle Vite del 1550, atti del convegno (Firenze, Kunsthistorisches Institut, 26-28 aprile 2012), a cura di B. Agosti, S. Ginzburg e A. Nova, Venezia 2013, pp. 29-46
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6
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L-ART/02
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36
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Core compulsory activities
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ITA |
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20710035 -
FONTI E MATERIALI PER L'ARTE CONTEMPORANEA - LM
(objectives)
knowledge of the different types of sources related to the history of art of the XIX-XX centuries, both visual and documentary, written and oral.
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20710598 -
STORIA E TEORIA DELL'ARTE CONTEMPORANEA - LM
(objectives)
The course aims at acquiring autonomous historical analysis and critical interpretation of the artistic phenomena of the contemporary age, with particular regard to the interactions between artistic production and theoretical and aesthetic reflection.
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20710598-1 -
STORIA E TEORIA DELL'ARTE CONTEMPORANEA - LM
(objectives)
The course aims at acquiring autonomous historical analysis and critical interpretation of the artistic phenomena of the contemporary age, with particular regard to the interactions between artistic production and theoretical and aesthetic reflection.
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CHIODI STEFANO
( syllabus)
MADE IN ITALY. ITALIAN ART AND IDENTITY 1960-2000
Over the last forty years of the 20th century, Italy underwent a rapid and often-conflicting societal and cultural transformation. The country witnessed significant economic growth and globalization, the emergence of a consumer-driven society, and the rise of the digital economy. Art played a role in anticipating, documenting, and challenging these changes, while maintaining a strong connection to its historical roots and engaging in a dynamic dialogue with experimental innovations from around the world. Art experiences in Italy have often adopted a distinctive and marginalized character, deliberately seeking out their own independent sphere of influence.
The course delves into this period by emphasizing the most significant research directions and notable personalities in the arts, engaging in discourse with criticism and theory, as well as with other fields such as literature, cinema, and the political and social climate of the country. Exhibitions, works, and important texts will help to explore an artistic panorama that is often just beginning to be analyzed in historical and critical terms.
The course will involve trips to museums and other sites of cultural significance in Rome and other cities. The schedule for these visits will be established in October.
Course lectures are recorded and accessible via the designated Teams channel on my teaching page. To access this resource, all students must register for the course team on Teams.
( reference books)
Stefano Chiodi, Genius Loci. Anatomia di un mito italiano, Quodlibet
Paul Ginsborg, L’Italia del tempo presente, Einaudi
Edward C. Banfield, Le basi morali di una società arretrata, il Mulino
Gabriele Guercio, Anna Mattirolo (a cura di), Il confine evanescente, Electa (saggi scelti)
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (in particolare 1945-2000, PDF)
Pier Paolo Pasolini, Scritti corsari, Einaudi
Enrico Castelnuovo e Carlo Ginzburg, Centro e Periferia, Officina Libraria
Federico Zeri, La percezione visiva dell'Italia e degli italiani, Einaud
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (in particolare 1945-2000, PDF)
***
Additional readings will be specified throughout the lectures, and some essays will be accessible as PDFs on the appropriate Files section on the course's Teams channel.
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20710598-2 -
STORIA E TEORIA DELL'ARTE CONTEMPORANEA 2 - LM
(objectives)
The course aims at acquiring autonomous historical analysis and critical interpretation of the artistic phenomena of the contemporary age, with particular regard to the interactions between artistic production and theoretical and aesthetic reflection.
-
CHIODI STEFANO
( syllabus)
MADE IN ITALY. ITALIAN ART AND IDENTITY 1960-2000
Over the last forty years of the 20th century, Italy underwent a rapid and often-conflicting societal and cultural transformation. The country witnessed significant economic growth and globalization, the emergence of a consumer-driven society, and the rise of the digital economy. Art played a role in anticipating, documenting, and challenging these changes, while maintaining a strong connection to its historical roots and engaging in a dynamic dialogue with experimental innovations from around the world. Art experiences in Italy have often adopted a distinctive and marginalized character, deliberately seeking out their own independent sphere of influence.
The course delves into this period by emphasizing the most significant research directions and notable personalities in the arts, engaging in discourse with criticism and theory, as well as with other fields such as literature, cinema, and the political and social climate of the country. Exhibitions, works, and important texts will help to explore an artistic panorama that is often just beginning to be analyzed in historical and critical terms.
The course will involve trips to museums and other sites of cultural significance in Rome and other cities. The schedule for these visits will be established in October.
Course lectures are recorded and accessible via the designated Teams channel on my teaching page. To access this resource, all students must register for the course team on Teams.
( reference books)
Stefano Chiodi, Genius Loci. Anatomia di un mito italiano, Quodlibet
Paul Ginsborg, L’Italia del tempo presente, Einaudi
Edward C. Banfield, Le basi morali di una società arretrata, il Mulino
Gabriele Guercio, Anna Mattirolo (a cura di), Il confine evanescente, Electa (saggi scelti)
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (in particolare 1945-2000, PDF)
Pier Paolo Pasolini, Scritti corsari, Einaudi
Enrico Castelnuovo e Carlo Ginzburg, Centro e Periferia, Officina Libraria
Federico Zeri, La percezione visiva dell'Italia e degli italiani, Einaud
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (in particolare 1945-2000, PDF)
***
Additional readings will be specified throughout the lectures, and some essays will be accessible as PDFs on the appropriate Files section on the course's Teams channel.
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Optional group:
ATTIVITA' AFFINI E INTEGRATIVE - (show)
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12
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20710158 -
FONTI E METODI PER LO STUDIO DELLA STORIA DELL'ARTE MEDIEVALE - LM
(objectives)
development of acquired knowledge; specific knowledge of the historical and artistic development of the medieval art (VI-XV century) acquisition of specific skills on artistic and craft production, monumental achievements of medieval age; ability to collect and interpret data; ability to analyze and read the work of art; development of a methodological competence that allows independent study; ability to communicate information and ideas to specialist and non-specialist interlocutors
-
Derived from
20710158 FONTI E METODI PER LO STUDIO DELLA STORIA DELL'ARTE MEDIEVALE - LM in Storia dell'arte LM-89 BALLARDINI ANTONELLA
( syllabus)
From research to storytelling: St. Peter’s in the Vatican before and after the Holy Door (8th-17th centuries)
Why does the Holy Door titulus of the new St. Peter’s dating from the time of Paul V (1612) bear an inscription dating to the time of Gregory XIII (1575)? If every monument is a document, there must be a reason that can be investigated with the tools of historical and historical-artistic research. Tracing the history of a place in the Vatican basilica that is rich with ritual meanings, these lectures are aimed at: recomposing the phases and transformations of a place in the ancient basilica that has left memories and evidences of itself in the new one; experimenting different kinds of investigative strategies; questioning about the narrative of what we discover, because only «the story reveals the meaning of what would otherwise remain an intolerable sequence of events».
( reference books)
Preliminary bibliography
Ch. Thoenes, Persistenze, ricorrenze e innovazioni nella storia della Basilica Vaticana, in Quaderni dell’Istituto di Storia dell’Architettura
N.S. 57/59.2011/12, pp. 85-92.
P. Liverani, San Pietro in Vaticano, in La visita alle ‘Sette chiese’, a cura di L. Pani Ermini, Roma 2000, pp. 21-45.
H. Brandenburg, A. Ballardini, Ch. Thoenes, S. Pietro. Storia di un monumento, Milano 2015; in part. A.Ballardini, La Basilica di San Pietro nel Medioevo, pp. 34-75 e le note alle pp. 325-330.
[i saggi di Brandenburg e di Thoenes non sono obbligatori, ma eventualmente di approfondimento individuale]
A.Ballardini, Un oratorio per la Theotokos: Giovanni VII (705-707) committente a San Pietro, in Medioevo: i committenti, XIII Convegno internazionale di studi, Parma, 21-26 settembre 2010, a cura di A.C. Quintavalle, Milano-Parma 2011, pp. 98-116.
A.Ballardini, Piccola ma aurea: la Porta Santa nell'antico San Pietro, in Quando la Fabbrica costruì San Pietro. Un cantiere di lavoro, di pietà cristiana e di umanità (XVI-XIX secolo), a cura di Assunta Di Sante e Simona Turriziani, Foligno 2016, pp. 19-41.
A.Ballardini, Ugo da Carpi, Veronica mostra il Volto Santo tra gli Apostoli Pietro e Paolo, scheda di catalogo, in I Santi d’Italia. La pittura devota tra Tiziano, Guercino e Carlo Maratta a cura di Daniela Porra e A. D’Amico, (Milano, Palazzo Reale, 24 marzo-4 giugno 2017), Cinisello Balsamo-Milano 2017, pp. 78-80 [nelle pagine seguenti: Considerazioni sulla tecnica di esecuzione dell’opera a cura di G. Capriotti e L. D’Alessandro, facoltativo]
A.Ballardini, Von Iohannes VII. zu den Renaissancepäpsten. Die Öffnung der Heiligen Pforte in Alt-St.Peter, in Die Päpste und Rom zwischen Spätantike und Mittelalter. Formen der Päpstlichen Machtentfaltung (17. - 19. März 2016), Hrg. Norbert Zimmermann, Tanja Michalsky, Alfried Wieczorek, Stefan Weinfurter, Schnell & Steiner 2017, pp. 29-53 (messo a disposizione anche in italiano).
Ch. Thoenes, Biblioteca petriana, in C. FONTANA, Il Tempio Vaticano, 1604, ed. a cura di G. CURCIO, Milano 2003, pp. XXI-XXXIII.
V. Lucherini, Alfarano, Tiberio / Tiberius Alpharanus, Historiker, ad vocem in Personenlexicon zur Christlichen Archäologie, 2012, I, pp. 62-63 (messo a disposizione anche in italiano).
M. Ceresa, Grimaldi, Giacomo, ad vocem in Dizionario Biografico degli italiani (vol. 59, 2002) http://www.treccani.it/enciclopedia/giacomo-grimaldi_(Dizionario-Biografico)
Breve raccolta di appunti su G. Grimaldi a cura di Antonella Ballardini
Traduzione dall’Opusculum di G. Grimaldi della Biblioteca Ambrosiana a cura di Antonella Ballardini.
Erasmus students may use this volume:
Old Saint Peter’s, Rome, edited by Rosamond McKitterich, John Osborne, Carol M. Richardson and Johanna Story, Cambridge University Press 2013.
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20710159 -
STORIA DELL'ARTE MEDIEVALE E STORIA DELL'ARTE BIZANTINA - LM
(objectives)
Knowledge of the history of medieval art and the history of Byzantine art (IV-XIV centuries), of themes and specific problems of the discipline; ability to analyze and read works of art and their context; ability to analyze the written and graphic sources; acquisition of methodological skills that enable independent study and research; ability to apply the acquired knowledge in order to develop and expose logical and coherent arguments; ability to communicate information and ideas to specialists and non-specialists.
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20710159-1 -
STORIA DELL'ARTE MEDIEVALE E STORIA DELL'ARTE BIZANTINA 1 - LM
(objectives)
Knowledge of the history of medieval art and the history of Byzantine art (IV-XIV centuries), of themes and specific problems of the discipline; ability to analyze and read works of art and their context; ability to analyze the written and graphic sources; acquisition of methodological skills that enable independent study and research; ability to apply the acquired knowledge in order to develop and expose logical and coherent arguments; ability to communicate information and ideas to specialists and non-specialists.
-
Derived from
20710159 STORIA DELL'ARTE MEDIEVALE E STORIA DELL'ARTE BIZANTINA - LM in Storia dell'arte LM-89 (docente da definire)
( syllabus)
Course Title and Description
Figurative Circulation between East and West in the 11th-13th Centuries.
a. The Art of the Gregorian Reformation in Rome
b. St Mark's Basilica in Venice
The course is divided into 2 non-divisible modules, amounting to 12 CFU.
The modules will deal with two paradigmatic artistic episodes:
(a) The paleochrétienne renoveau, the artistic phenomenon originating within the Gregorian Reformation and directed towards the revival of early Christian decorative motifs and iconographic systems. In particular, some churches in Rome and the abbey of Montecassino will be analysed in the light of the dialectical relationship that bound the Urbe to the Benedictine monastery between the 11th and 12th centuries.
b) St Mark's Basilica in Venice. The complex artistic vicissitudes of St. Mark's, and in particular its extraordinary mosaic decoration, will be examined in relation to the close ties -commercial, ideological, cultural and artistic- that united the city of the doges with Constantinople.
Visits to a number of basilicas in Rome and the Abbey of Montecassino are planned.
The active participation of the students is required with lectures in the classroom and during the visits.
( reference books)
Bibliografia
• S. Romano (a cura di), Riforma e Tradizione. La pittura medievale a Roma. Corpus, IV, Jaca Book, Milano-Roma 2006, pp. 68-88 (San Crisogono); 129-150 (San Clemente, bas. inf.); 209-218 (San Clemente, bas. sup.); 250-257 (Santa Maria in Cosmedin); 272-280 (San Nicola in Carcere); 305-311 (Santa Maria in Trastevere); 327-334; 335-345 (Santa Maria Nova).
• E. Mazzocchi, Il cuore antico della Riforma: le pitture della basilica di S. Crisogno a Roma, in Roma e la riforma gregoriana. Tradizioni e innovazioni artistiche (XI-XII secolo), a cura S. Romano e J. Enckell Julliard, Viella, Roma 2007, pp. 247-273.
• A. Iacobini, Gli affreschi della cripta di S. Nicola in Carcere, in Fragmenta picta. Affreschi e mosaici staccati del Medioevo romano, Argos Editore, Roma 1989, pp. 197-204.
• E. Parlato, S. Romano, Roma e Lazio. Il romanico, Palombi Editori e Jaca Book, Milano 2001, pp. 29-43 (S. Clemente); 44-52 (S. Maria in Cosmedin); 53-59 (S. Crisogono); 61-75 (S. Maria in Trastevere).
• A. Iacobini, Il mosaico in Italia dall’XI agli inizi del XIII secolo: spazio, immagini, ideologia, in L’arte medievale nel contesto (300-1300) Funzioni, iconografia, tecniche, Jaca Book, Milano 2006, pp. 463-499, figg. 279-305.
• M. Andaloro, Montecassino: memoria di una fabbrica perduta, in Cantieri medievali, a cura di R. Cassanelli, Jaca Book, Milano 1995, pp. 51-69.
• M. Gianandrea, Montecassino, in La scena del sacro. L’arredo liturgico nel basso Lazio tra XI e XIV secolo, Viella, Roma 2006, pp. 55-75.
• G. Orofino, Desiderio, abate di Montecassino e papa Vittore III: Le miniature, in Roma medievale. Il volto perduto della città, De Luca Editore, Roma 2022, pp. 89-94.
• G. Curzi, L’iconostasi di S. Maria in Valle Porclaneta, in Idem, Arredi lignei medievali. L’Abruzzo e l’Italia centro-meridionale. Secoli XII-XIII, Silvana Editoriale, Cinesello Balsamo 2007, pp. 65-77.
• Si consiglia la consultazione di:
- Leone Marsicano, Cronaca di Montecassino (III 26-33), a cura di F. Aceto e V. Lucherini, Jaca Book, Milano 2001.
Non frequentanti
Allo studio dei testi indicati gli studenti non frequentanti dovranno aggiungere:
• H. Toubert, La riforma gregoriana e l’iconografia; La rinascita paleocristiana a Roma all’inizio del XII secolo, in Un'arte orientata: riforma gregoriana e iconografia, a cura di L. Speciale, Jaca Book, Milano 2001, pp. 11-20 e figg. 1-4; pp. 177-227 e figg. 81-98.
• M. Andaloro, S. Romano (a cura di), Arte iconografia a Roma. Da Costanino a Cola di Rienzo, Jaca Book, Milano 2000 (l’intero volume).
Studenti frequentanti e non frequentanti
A tutti gli studenti è richiesta la conoscenza diretta dei seguenti monumenti:
• Roma, S. Crisogono
• Roma, S. Clemente
• S. Maria in Cosmedin
• Roma, S. Maria in Trastevere
• Roma, S. Maria Nova
• Montecassino, Chiesa abbaziale e Museo
Studenti frequentanti
II Modulo Storia dell’arte bizantina
Bibliografia
• A. Grabar, Plotino e l’origine dell’estetica medievale, in Idem, Le origini dell’estetica medievale, Milano, Jaca Book 2001, pp. 29-83.
• W. Tatarkiewicz, L’estetica di Plotino, in Storia dell’estetica, I, Torino, Einaudi, 1979, pp. 355-366; Idem, L’estetica dello Pseudo-Dionigi; L’estetica bizantina, in Storia dell’estetica, II, Torino, Einaudi, 1979, pp. 34-49.
• A. Iacobini, Il mosaico in Italia dall’XI agli inizi del XIII secolo: spazio, immagini, ideologia, in L’arte medievale nel contesto (300-1300) Funzioni, iconografia, tecniche, Jaca Book, Milano 2006, pp. 463-499, figg. 279-305.
• G. Lorenzoni, Venezia, in Enciclopedia dell’Arte Medievale, Istituto dell’Enciclopedia Italiana Treccani, Roma 2000, XI, pp. 524-533.
• F. Zuliani, La basilica di S. Marco. Il cantiere (1063-1094), in Cantieri medievali, a cura di R. Cassanelli, Jaca Book, Milano 1995, pp. 71-98.
• R. Polacco, La pittura medievale a Venezia, in La pittura in Italia. L’Altomedioevo, Electa, Milano 1994, pp.113-130.
• Storia dell’arte marciana: l’architettura, Atti del Convegno internazionale di studi (Venezia 11-14 ottobre 1994), a cura di R. Polacco, Marsilio, Venezia 1997:
- I. Andreescu-Treadgold, I primi mosaicisti a San Marco, pp. 87-104;
- G. Romanelli, La basilica di S. Marco nell’Ottocento. Trasformazioni, polemiche,
ideologie, ivi, 277-292.
• Il Tesoro di San Marco, catalogo della mostra, Edizioni Olivetti, Milano 1986:
- S. Bettini, Venezia, la Pala d’Oro e Costantinopoli, ivi, pp. 43-72;
- G. Perocco, Sulla storia del Tesoro di S. Marco, ivi, pp. 73-76.
• E. Concina, Le arti di Bisanzio. Secoli VI-XV, Bruno Mondadori, Milano 2002, pp. 155-192; 229-272; 291-304; 330-345.
Studenti non frequentanti
Allo studio dei testi indicati, gli studenti non frequentanti dovranno aggiungere:
• A. Grabar, Le origini dell’estetica medievale, Milano, Jaca Book 2001 (l’intero volume).
• G. Lorenzoni, Il cantiere di San Marco e la cultura figurativa veneziana fino al sec. XIII, in Storia di Venezia. Temi, Istituto dell’Enciclopedia Italiana, Roma 1994, pp. 21-144.
Frequenza
La frequenza delle lezioni è vivamente consigliata. Gli studenti che per giustificati motivi si trovino nell’impossibilità di frequentare, dovranno integrare il programma (v. sopra) concordando un appuntamento con il docente.
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6
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L-ART/01
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36
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ITA |
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20710159-2 -
STORIA DELL'ARTE MEDIEVALE E STORIA DELL'ARTE BIZANTINA 2 - LM
(objectives)
Knowledge of the history of medieval art and the history of Byzantine art (IV-XIV centuries), of themes and specific problems of the discipline; ability to analyze and read works of art and their context; ability to analyze the written and graphic sources; acquisition of methodological skills that enable independent study and research; ability to apply the acquired knowledge in order to develop and expose logical and coherent arguments; ability to communicate information and ideas to specialists and non-specialists.
-
Derived from
20710159 STORIA DELL'ARTE MEDIEVALE E STORIA DELL'ARTE BIZANTINA - LM in Storia dell'arte LM-89 (docente da definire)
( syllabus)
Course Title and Description
Figurative Circulation between East and West in the 11th-13th Centuries.
a. The Art of the Gregorian Reformation in Rome
b. St Mark's Basilica in Venice
The course is divided into 2 non-divisible modules, amounting to 12 CFU.
The modules will deal with two paradigmatic artistic episodes:
(a) The paleochrétienne renoveau, the artistic phenomenon originating within the Gregorian Reformation and directed towards the revival of early Christian decorative motifs and iconographic systems. In particular, some churches in Rome and the abbey of Montecassino will be analysed in the light of the dialectical relationship that bound the Urbe to the Benedictine monastery between the 11th and 12th centuries.
b) St Mark's Basilica in Venice. The complex artistic vicissitudes of St. Mark's, and in particular its extraordinary mosaic decoration, will be examined in relation to the close ties -commercial, ideological, cultural and artistic- that united the city of the doges with Constantinople.
Visits to a number of basilicas in Rome and the Abbey of Montecassino are planned.
The active participation of the students is required with lectures in the classroom and during the visits.
( reference books)
Bibliografia
• S. Romano (a cura di), Riforma e Tradizione. La pittura medievale a Roma. Corpus, IV, Jaca Book, Milano-Roma 2006, pp. 68-88 (San Crisogono); 129-150 (San Clemente, bas. inf.); 209-218 (San Clemente, bas. sup.); 250-257 (Santa Maria in Cosmedin); 272-280 (San Nicola in Carcere); 305-311 (Santa Maria in Trastevere); 327-334; 335-345 (Santa Maria Nova).
• E. Mazzocchi, Il cuore antico della Riforma: le pitture della basilica di S. Crisogno a Roma, in Roma e la riforma gregoriana. Tradizioni e innovazioni artistiche (XI-XII secolo), a cura S. Romano e J. Enckell Julliard, Viella, Roma 2007, pp. 247-273.
• A. Iacobini, Gli affreschi della cripta di S. Nicola in Carcere, in Fragmenta picta. Affreschi e mosaici staccati del Medioevo romano, Argos Editore, Roma 1989, pp. 197-204.
• E. Parlato, S. Romano, Roma e Lazio. Il romanico, Palombi Editori e Jaca Book, Milano 2001, pp. 29-43 (S. Clemente); 44-52 (S. Maria in Cosmedin); 53-59 (S. Crisogono); 61-75 (S. Maria in Trastevere).
• A. Iacobini, Il mosaico in Italia dall’XI agli inizi del XIII secolo: spazio, immagini, ideologia, in L’arte medievale nel contesto (300-1300) Funzioni, iconografia, tecniche, Jaca Book, Milano 2006, pp. 463-499, figg. 279-305.
• M. Andaloro, Montecassino: memoria di una fabbrica perduta, in Cantieri medievali, a cura di R. Cassanelli, Jaca Book, Milano 1995, pp. 51-69.
• M. Gianandrea, Montecassino, in La scena del sacro. L’arredo liturgico nel basso Lazio tra XI e XIV secolo, Viella, Roma 2006, pp. 55-75.
• G. Orofino, Desiderio, abate di Montecassino e papa Vittore III: Le miniature, in Roma medievale. Il volto perduto della città, De Luca Editore, Roma 2022, pp. 89-94.
• G. Curzi, L’iconostasi di S. Maria in Valle Porclaneta, in Idem, Arredi lignei medievali. L’Abruzzo e l’Italia centro-meridionale. Secoli XII-XIII, Silvana Editoriale, Cinesello Balsamo 2007, pp. 65-77.
• Si consiglia la consultazione di:
- Leone Marsicano, Cronaca di Montecassino (III 26-33), a cura di F. Aceto e V. Lucherini, Jaca Book, Milano 2001.
Non frequentanti
Allo studio dei testi indicati gli studenti non frequentanti dovranno aggiungere:
• H. Toubert, La riforma gregoriana e l’iconografia; La rinascita paleocristiana a Roma all’inizio del XII secolo, in Un'arte orientata: riforma gregoriana e iconografia, a cura di L. Speciale, Jaca Book, Milano 2001, pp. 11-20 e figg. 1-4; pp. 177-227 e figg. 81-98.
• M. Andaloro, S. Romano (a cura di), Arte iconografia a Roma. Da Costanino a Cola di Rienzo, Jaca Book, Milano 2000 (l’intero volume).
Studenti frequentanti e non frequentanti
A tutti gli studenti è richiesta la conoscenza diretta dei seguenti monumenti:
• Roma, S. Crisogono
• Roma, S. Clemente
• S. Maria in Cosmedin
• Roma, S. Maria in Trastevere
• Roma, S. Maria Nova
• Montecassino, Chiesa abbaziale e Museo
Studenti frequentanti
II Modulo Storia dell’arte bizantina
Bibliografia
• A. Grabar, Plotino e l’origine dell’estetica medievale, in Idem, Le origini dell’estetica medievale, Milano, Jaca Book 2001, pp. 29-83.
• W. Tatarkiewicz, L’estetica di Plotino, in Storia dell’estetica, I, Torino, Einaudi, 1979, pp. 355-366; Idem, L’estetica dello Pseudo-Dionigi; L’estetica bizantina, in Storia dell’estetica, II, Torino, Einaudi, 1979, pp. 34-49.
• A. Iacobini, Il mosaico in Italia dall’XI agli inizi del XIII secolo: spazio, immagini, ideologia, in L’arte medievale nel contesto (300-1300) Funzioni, iconografia, tecniche, Jaca Book, Milano 2006, pp. 463-499, figg. 279-305.
• G. Lorenzoni, Venezia, in Enciclopedia dell’Arte Medievale, Istituto dell’Enciclopedia Italiana Treccani, Roma 2000, XI, pp. 524-533.
• F. Zuliani, La basilica di S. Marco. Il cantiere (1063-1094), in Cantieri medievali, a cura di R. Cassanelli, Jaca Book, Milano 1995, pp. 71-98.
• R. Polacco, La pittura medievale a Venezia, in La pittura in Italia. L’Altomedioevo, Electa, Milano 1994, pp.113-130.
• Storia dell’arte marciana: l’architettura, Atti del Convegno internazionale di studi (Venezia 11-14 ottobre 1994), a cura di R. Polacco, Marsilio, Venezia 1997:
- I. Andreescu-Treadgold, I primi mosaicisti a San Marco, pp. 87-104;
- G. Romanelli, La basilica di S. Marco nell’Ottocento. Trasformazioni, polemiche,
ideologie, ivi, 277-292.
• Il Tesoro di San Marco, catalogo della mostra, Edizioni Olivetti, Milano 1986:
- S. Bettini, Venezia, la Pala d’Oro e Costantinopoli, ivi, pp. 43-72;
- G. Perocco, Sulla storia del Tesoro di S. Marco, ivi, pp. 73-76.
• E. Concina, Le arti di Bisanzio. Secoli VI-XV, Bruno Mondadori, Milano 2002, pp. 155-192; 229-272; 291-304; 330-345.
Studenti non frequentanti
Allo studio dei testi indicati, gli studenti non frequentanti dovranno aggiungere:
• A. Grabar, Le origini dell’estetica medievale, Milano, Jaca Book 2001 (l’intero volume).
• G. Lorenzoni, Il cantiere di San Marco e la cultura figurativa veneziana fino al sec. XIII, in Storia di Venezia. Temi, Istituto dell’Enciclopedia Italiana, Roma 1994, pp. 21-144.
Frequenza
La frequenza delle lezioni è vivamente consigliata. Gli studenti che per giustificati motivi si trovino nell’impossibilità di frequentare, dovranno integrare il programma (v. sopra) concordando un appuntamento con il docente.
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L-ART/01
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36
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ITA |
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20704133 -
HISTORY OF MODERN ART - L.M
(objectives)
knowledge of the history of modern art (14th-18th centuries) and of specific subjects and problems of the discipline; ability to analyze and read the work of art; ability to analyze the sources; acquisition of a methodological competence that allows an independent study; ability to apply the knowledge acquired in order to devise and support arguments; ability to communicate information and ideas to specialist and non-specialist interlocutors
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20704133-1 -
STORIA DELL'ARTE MODERNA
(objectives)
knowledge of the history of modern art (14th-18th centuries) and of specific subjects and problems of the discipline; ability to analyze and read the work of art; ability to analyze the sources; acquisition of a methodological competence that allows an independent study; ability to apply the knowledge acquired in order to devise and support arguments; ability to communicate information and ideas to specialist and non-specialist interlocutors
-
Derived from
20704133 STORIA DELL'ARTE MODERNA - LM in Storia dell'arte LM-89 (docente da definire)
( syllabus)
The course, consisting of two 6 CFU units, aims to study the stylistic development of Raffaello Sanzio through the analysis of his work and to consider the contexts in which he lived and worked, his working methods, his patrons, and his fortune.
( reference books)
Study of the following texts is required:
Syllabus - 12 CFU
1• G. Vasari, Vita di Raffaello da Urbino pittore e architetto, in Le vite de’ più eccellenti pittori scultori e architettori, a cura di Paola Barocchi e Rosanna Bettarini, Firenze, S.P.E.S., già Sansoni, 1966-87, in entrambe le edizioni, Giuntina (1568) e Torrentiniana (1550), e riflettendo sulle differenze fra le due. I due testi sono consultabili on line dal sito
https://vasari.sns.it/vol4/155.html (pp. 155-214)
2• K. Oberhuber, Raffaello. L’opera pittorica, Milano Electa, 1999
3• H. Chapman, T. Henry e C. Plazzotta, Raffaello da Urbino a Roma, catalogo della mostra (Londra, 20.10.2004 - 16.01.2005), Londra, National Gallery, Milano, 5 Continents, 2004.
4• P. Violini, Raffaello in Vaticano tra il 1508 e il 1514. Progresso e maturazione della tecnica artistica, in Raffaello a Roma. Restauri e ricerche, a cura di A. Paolucci, B. Agosti, S. Ginzburg, Edizioni Musei Vaticani, Città del Vaticano, 2017, pp. 29-40
5• S. Ginzburg, Vasari e Raffaello, in Giorgio Vasari e il cantiere delle Vite del 1550, atti del convegno (Firenze, Kunsthistorisches Institut, 26-28 aprile 2012), a cura di B. Agosti, S. Ginzburg e A. Nova, Venezia 2013, pp. 29-46
6• Raffaello pittore e architetto a Roma: una guida, a cura di F. Benelli e S. Ginzburg, Milano 2020
Syllabus - 6 CFU
1• G. Vasari, Vita di Raffaello da Urbino pittore e architetto, in Le vite de’ più eccellenti pittori scultori e architettori, a cura di Paola Barocchi e Rosanna Bettarini, Firenze, S.P.E.S., già Sansoni, 1966-87, in entrambe le edizioni, Giuntina (1568) e Torrentiniana (1550), e riflettendo sulle differenze fra le due. I due testi sono consultabili on line dal sito
https://vasari.sns.it/vol4/155.html (pp. 155-214)
2• K. Oberhuber, Raffaello. L’opera pittorica, Milano Electa, 1999 SOLO DA PAG. 9 A PAG. 83
3• H. Chapman, T. Henry e C. Plazzotta, Raffaello da Urbino a Roma, catalogo della mostra (Londra, 20.10.2004 - 16.01.2005), Londra, National Gallery, Milano, 5 Continents, 2004.
4• S. Ginzburg, Vasari e Raffaello, in Giorgio Vasari e il cantiere delle Vite del 1550, atti del convegno (Firenze, Kunsthistorisches Institut, 26-28 aprile 2012), a cura di B. Agosti, S. Ginzburg e A. Nova, Venezia 2013, pp. 29-46
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20704133-2 -
STORIA DELL'ARTE MODERNA
(objectives)
knowledge of the history of modern art (14th-18th centuries) and of specific subjects and problems of the discipline; ability to analyze and read the work of art; ability to analyze the sources; acquisition of a methodological competence that allows an independent study; ability to apply the knowledge acquired in order to devise and support arguments; ability to communicate information and ideas to specialist and non-specialist interlocutors
-
Derived from
20704133 STORIA DELL'ARTE MODERNA - LM in Storia dell'arte LM-89 (docente da definire)
( syllabus)
The course, consisting of two 6 CFU units, aims to study the stylistic development of Raffaello Sanzio through the analysis of his work and to consider the contexts in which he lived and worked, his working methods, his patrons, and his fortune.
( reference books)
Study of the following texts is required:
Syllabus - 12 CFU
1• G. Vasari, Vita di Raffaello da Urbino pittore e architetto, in Le vite de’ più eccellenti pittori scultori e architettori, a cura di Paola Barocchi e Rosanna Bettarini, Firenze, S.P.E.S., già Sansoni, 1966-87, in entrambe le edizioni, Giuntina (1568) e Torrentiniana (1550), e riflettendo sulle differenze fra le due. I due testi sono consultabili on line dal sito
https://vasari.sns.it/vol4/155.html (pp. 155-214)
2• K. Oberhuber, Raffaello. L’opera pittorica, Milano Electa, 1999
3• H. Chapman, T. Henry e C. Plazzotta, Raffaello da Urbino a Roma, catalogo della mostra (Londra, 20.10.2004 - 16.01.2005), Londra, National Gallery, Milano, 5 Continents, 2004.
4• P. Violini, Raffaello in Vaticano tra il 1508 e il 1514. Progresso e maturazione della tecnica artistica, in Raffaello a Roma. Restauri e ricerche, a cura di A. Paolucci, B. Agosti, S. Ginzburg, Edizioni Musei Vaticani, Città del Vaticano, 2017, pp. 29-40
5• S. Ginzburg, Vasari e Raffaello, in Giorgio Vasari e il cantiere delle Vite del 1550, atti del convegno (Firenze, Kunsthistorisches Institut, 26-28 aprile 2012), a cura di B. Agosti, S. Ginzburg e A. Nova, Venezia 2013, pp. 29-46
6• Raffaello pittore e architetto a Roma: una guida, a cura di F. Benelli e S. Ginzburg, Milano 2020
Syllabus - 6 CFU
1• G. Vasari, Vita di Raffaello da Urbino pittore e architetto, in Le vite de’ più eccellenti pittori scultori e architettori, a cura di Paola Barocchi e Rosanna Bettarini, Firenze, S.P.E.S., già Sansoni, 1966-87, in entrambe le edizioni, Giuntina (1568) e Torrentiniana (1550), e riflettendo sulle differenze fra le due. I due testi sono consultabili on line dal sito
https://vasari.sns.it/vol4/155.html (pp. 155-214)
2• K. Oberhuber, Raffaello. L’opera pittorica, Milano Electa, 1999 SOLO DA PAG. 9 A PAG. 83
3• H. Chapman, T. Henry e C. Plazzotta, Raffaello da Urbino a Roma, catalogo della mostra (Londra, 20.10.2004 - 16.01.2005), Londra, National Gallery, Milano, 5 Continents, 2004.
4• S. Ginzburg, Vasari e Raffaello, in Giorgio Vasari e il cantiere delle Vite del 1550, atti del convegno (Firenze, Kunsthistorisches Institut, 26-28 aprile 2012), a cura di B. Agosti, S. Ginzburg e A. Nova, Venezia 2013, pp. 29-46
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20710035 -
FONTI E MATERIALI PER L'ARTE CONTEMPORANEA - LM
(objectives)
knowledge of the different types of sources related to the history of art of the XIX-XX centuries, both visual and documentary, written and oral.
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20710598 -
STORIA E TEORIA DELL'ARTE CONTEMPORANEA - LM
(objectives)
The course aims at acquiring autonomous historical analysis and critical interpretation of the artistic phenomena of the contemporary age, with particular regard to the interactions between artistic production and theoretical and aesthetic reflection.
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20710598-1 -
STORIA E TEORIA DELL'ARTE CONTEMPORANEA - LM
(objectives)
The course aims at acquiring autonomous historical analysis and critical interpretation of the artistic phenomena of the contemporary age, with particular regard to the interactions between artistic production and theoretical and aesthetic reflection.
-
Derived from
20710598 STORIA E TEORIA DELL'ARTE CONTEMPORANEA - LM in Storia dell'arte LM-89 (docente da definire)
( syllabus)
MADE IN ITALY. ITALIAN ART AND IDENTITY 1960-2000
Over the last forty years of the 20th century, Italy underwent a rapid and often-conflicting societal and cultural transformation. The country witnessed significant economic growth and globalization, the emergence of a consumer-driven society, and the rise of the digital economy. Art played a role in anticipating, documenting, and challenging these changes, while maintaining a strong connection to its historical roots and engaging in a dynamic dialogue with experimental innovations from around the world. Art experiences in Italy have often adopted a distinctive and marginalized character, deliberately seeking out their own independent sphere of influence.
The course delves into this period by emphasizing the most significant research directions and notable personalities in the arts, engaging in discourse with criticism and theory, as well as with other fields such as literature, cinema, and the political and social climate of the country. Exhibitions, works, and important texts will help to explore an artistic panorama that is often just beginning to be analyzed in historical and critical terms.
The course will involve trips to museums and other sites of cultural significance in Rome and other cities. The schedule for these visits will be established in October.
Course lectures are recorded and accessible via the designated Teams channel on my teaching page. To access this resource, all students must register for the course team on Teams.
( reference books)
Stefano Chiodi, Genius Loci. Anatomia di un mito italiano, Quodlibet
Paul Ginsborg, L’Italia del tempo presente, Einaudi
Edward C. Banfield, Le basi morali di una società arretrata, il Mulino
Gabriele Guercio, Anna Mattirolo (a cura di), Il confine evanescente, Electa (saggi scelti)
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (in particolare 1945-2000, PDF)
Pier Paolo Pasolini, Scritti corsari, Einaudi
Enrico Castelnuovo e Carlo Ginzburg, Centro e Periferia, Officina Libraria
Federico Zeri, La percezione visiva dell'Italia e degli italiani, Einaud
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (in particolare 1945-2000, PDF)
***
Additional readings will be specified throughout the lectures, and some essays will be accessible as PDFs on the appropriate Files section on the course's Teams channel.
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20710598-2 -
STORIA E TEORIA DELL'ARTE CONTEMPORANEA 2 - LM
(objectives)
The course aims at acquiring autonomous historical analysis and critical interpretation of the artistic phenomena of the contemporary age, with particular regard to the interactions between artistic production and theoretical and aesthetic reflection.
-
Derived from
20710598 STORIA E TEORIA DELL'ARTE CONTEMPORANEA - LM in Storia dell'arte LM-89 (docente da definire)
( syllabus)
MADE IN ITALY. ITALIAN ART AND IDENTITY 1960-2000
Over the last forty years of the 20th century, Italy underwent a rapid and often-conflicting societal and cultural transformation. The country witnessed significant economic growth and globalization, the emergence of a consumer-driven society, and the rise of the digital economy. Art played a role in anticipating, documenting, and challenging these changes, while maintaining a strong connection to its historical roots and engaging in a dynamic dialogue with experimental innovations from around the world. Art experiences in Italy have often adopted a distinctive and marginalized character, deliberately seeking out their own independent sphere of influence.
The course delves into this period by emphasizing the most significant research directions and notable personalities in the arts, engaging in discourse with criticism and theory, as well as with other fields such as literature, cinema, and the political and social climate of the country. Exhibitions, works, and important texts will help to explore an artistic panorama that is often just beginning to be analyzed in historical and critical terms.
The course will involve trips to museums and other sites of cultural significance in Rome and other cities. The schedule for these visits will be established in October.
Course lectures are recorded and accessible via the designated Teams channel on my teaching page. To access this resource, all students must register for the course team on Teams.
( reference books)
Stefano Chiodi, Genius Loci. Anatomia di un mito italiano, Quodlibet
Paul Ginsborg, L’Italia del tempo presente, Einaudi
Edward C. Banfield, Le basi morali di una società arretrata, il Mulino
Gabriele Guercio, Anna Mattirolo (a cura di), Il confine evanescente, Electa (saggi scelti)
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (in particolare 1945-2000, PDF)
Pier Paolo Pasolini, Scritti corsari, Einaudi
Enrico Castelnuovo e Carlo Ginzburg, Centro e Periferia, Officina Libraria
Federico Zeri, La percezione visiva dell'Italia e degli italiani, Einaud
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (in particolare 1945-2000, PDF)
***
Additional readings will be specified throughout the lectures, and some essays will be accessible as PDFs on the appropriate Files section on the course's Teams channel.
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20709781 -
MODELS AND LANGUAGES OF MODERN PHOTOGRAPHY
(objectives)
Knowledge of the main methodological approaches to the history and theory of photography; ability to investigate photographic objects in their contexts of production and conservation; ability to conduct art-historical research on photographers and photographic archives, collections, institutions, and publications; ability to share research questions and outcomes in different areas of scientific, educational, and informational communication.
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20710597 -
STORIA DELL'ARTE DEL XX SECOLO - LM
(objectives)
Advanced knowledge of the history of post-war art, chiefly in Italy.
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Derived from
20710597 STORIA DELL'ARTE DEL XX SECOLO - LM in Storia dell'arte LM-89 IAMURRI LAURA
( syllabus)
Gender studies and art history: methodological issues and case studies
The publication of Linda Nochlin’s seminal essay Why Have There Been No Great Women Artists? in the January 1971 issue of “ArtNews” is generally considered the inaugural event of gender studies in art history. Released in full consonance with the rise of the feminist movement in the United States, and soon translated into Italian, Nochlin’s article remains a capital text, and an excellent introduction to an art history aware both of gender differences and of their political character. However, it is not entirely accurate to ascribe it to gender studies, if only because the concept of gender was not used in the humanities until the 1980s, first in anthropological and historical studies, then in philosophical reflection.
Starting from this aporia, the course aims to analyze the constitution of the field of gender studies in art history, investigate its main methodological issues and verify its assumptions on a series of case studies selected mainly, but not exclusively, within a chronology coinciding with the spread of feminist movements in Italy and Western countries.
( reference books)
Linda Nochlin's article was recently republished: 'Why have there been no great women artists?', Thames & Hudson, London 2021.
The complete reading list will be provided at the beginning of the course.
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20711269 -
Cultural anthropology and ethnography
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20711269-1 -
form 1
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20711269-2 -
Form 2
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20702710 -
AESTHETICS - L.M
(objectives)
The teaching of Aesthetics falls within the scope of the characterising educational activities of the Cds in Philosophical Sciences. At the end of this course the student will acquire
- a thorough knowledge of various theoretical issues related to aesthetics and to the relationship between philosophy and the arts (literature, visual arts, performing arts, architecture, cinema)
- knowledge of the most important texts in the history of aesthetics and the critical debates associated with them,
-a knowledge of the most recent literature on aesthetics, the theory of perception, and the ontology of art
- the ability to form an autonomous judgement on these issues and themes and to present this in written and oral form
- excellent command of vocabulary and specific modes of argumentation in the field of aesthetics and art criticism, also for teaching purposes
- ability to focus on theoretical issues, analyse information and formulate arguments in the fields of aesthetics, the theory of perception and the main artistic theories, also by referring to specialised bibliographic material, possibly in languages other than Italian
- ability to historico-philosophical contextualisation of debates on aesthetics, theories of the arts, landscape.
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Derived from
20702710 ESTETICA - L.M. in Scienze filosofiche LM-78 N0 D'ANGELO PAOLO
( syllabus)
The developement of Croce's Aesthetics from 1893 to 1913
( reference books)
B. Croce, Estetica come scienza dell'espressione e linguistica generale, Milano, Adelphi o Bari, Laterza (solo la Parte Teorica)
B. Croce, La storia ridotta sotto il concetto generale dell'arte, Milano, Adelphi
B. Croce, Breviario di estetica, Milano, Adelphi
P. D'Angelo Benedetto Croce. La biografia 1866-1918, Bologna, Il Mulino
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20702466 -
HISTORY OF ANCIENT CHRISTIANITY L.M.
(objectives)
Acquisition of in-depth and detailed knowledge of relevant issues in the history of early Christianity through the analysis of sources of different types and comparison with secondary literature. Acquisition of the scientific research tools and methodological principles necessary for reading the sources. Ability to express and communicate autonomous judgements on the issues analysed in a clear form.
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Derived from
20702466 STORIA DEL CRISTIANESIMO ANTICO L.M. in Filologia, letterature e storia dell'antichità LM-15 N0 NOCE CARLA
( syllabus)
Ancient Christian History LM (6 ECTS = 1 module of History of Christianity and Churches LM 12 ECTS (II module = Christianity and Globalization)
Motherhood in the Ancient Christian World
Motherhood is not merely an individual experience for a woman or something confined within the narrow confines of the family circle. In the ancient world, as in any era, it is profoundly influenced by the surrounding society and culture, becoming an institution that reflects ideologies and theological visions. This course, through the presentation of some significant Christian women who lived between ancient and medieval times, aims to explore various aspects of motherhood.
How do women narrate their experiences of motherhood?
What paradigms of motherhood are conveyed by sources that represent maternity?
What theological reflection on motherhood did Christianity develop between antiquity and the Middle Ages? How did the idea of spiritual motherhood emerge even in the absence of biological children? How are the ideals of virginity and motherhood reconciled? What role does the model of Mary play? How can the Church be considered a mother?
Attendance is not mandatory but strongly recommended: the instructor will also provide recorded lectures. During the course, methods of assessing proficiency will include interaction between the instructor and students, as well as the written elaboration (and possible in-class presentation) of a research paper.
II Module, Matteo mennini
LGBT believers and queer theologies in Christian churches from the 1960s to today
The sexual experience and conjugal life have represented the terrain on which the Christian churches have opposed the greatest resistance to the social and cultural transformations from the late modern age to the most recent processes of secularization. The question of the relationship between Christian faith and homosexuality, especially in the contemporary age, has triggered a lot of short circuits between the official positions of the Churches and those experiences that have favored the visibility and acceptance of LGBT believers signed by a new pastoral sensitivity and a theological thought attentive to accepting the requests coming from the social sciences and from the movements that claim full civil rights for homosexual people. In some Christian churches, at an official level, homosexuality was considered unnatural and out of the norm, an obstacle to the natural function of generation and to marriage. But the agency of LGBT Christian groups certifies the possibility of reconciliation with the institution and comes to the attention of the historian as a new religious subjectivity.
The course of study will address the topic by proposing a three-phase path: a) to offer a historical overview of the positions taken by the Christian Churches in the twentieth century on a global level on the question of homosexuality, in particular the Catholic and Protestant Churches; b) to analyze some pastoral experiences of groups and movements formed by LGBT Christians since the 1960s, especially in the United States, France and Italy, with the support of recent sociological studies; c) to follow the evolution of the so-called "queer theology", starting from the studies on the relationship between faith and homosexuality up to the most recent contributions.
( reference books)
BIBLIOGRAPHY
For Attendees:
Compilation of texts and studies provided by the instructor
Written thesis on a topic of your choice
For Non-Attendees:
A book of your choice from the following options:
M. G. Muzzarelli, Madri. Madri mancate. Quasi madri. Sei storie medievali, Laterza, Roma-Bari 2021
C.W. ATKINSON, The Oldest Vocation: Christian Motherhood in the medieval West, Cornell University Press, 1991
Sanctity and Motherhood. Essays on Holy Mothers in the Middle Ages, ed. by A.B. MULDER-BAKKER, New York-London, Routledge, 1995
R. Franchi (ed.), Dalla Grande Madre alla Madre: la maternità nel mondo classico e cristiano: miti e modelli, vol. 3. Dalla Bibbia ai Padri della Chiesa, Torino, Edizioni dell’Orso, 2019
The following contributions (contact carla.noce@uniroma3.it for a PDF copy):
E. Prinzivalli, Maternità e madri nel pensiero e nella prassi sociale del cristianesimo antico in Eastern Theological Journal 2 (2016) 2, 175–202
A. BARTOLOMEI ROMAGNOLI, Madri sante nella letteratura medioevale in La maternità spirituale nel cristianesimo antico, in Santa Monica nell’Urbe dalla Tarda antichità al Rinascimento. Storia, Agiografia, Arte. Atti del Convegno Ostia antica-Roma 29-30 settembre 2010, a cura di M. Chiabò, M. Gargano, R. Ronzani, Centro Culturale Agostiniano-Roma nel Rinascimento, Roma 2011, pp. 53-111
Notices
Non-attending students are invited to agree on the program with the professor.
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20710600 -
LETTERATURA CRISTIANA ANTICA L.M.
(objectives)
The student will acquire: an in-depth and detailed knowledge of the characteristics of Christian literary production of the first five centuries; the ability to apply the methodology of philological and literary research to unfamiliar sources; the ability to collect and interpret the acquired data, as well as to integrate them with an autonomous use of scientific research tools, arriving at complex evaluations; the ability to express and communicate the conclusions of the study and research activity in a clear and scientifically correct manner.
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Derived from
20710600 LETTERATURA CRISTIANA ANTICA L.M.
in Religioni, Culture, Storia LM-64 D'ANNA ALBERTO
( syllabus)
First semester.
Hours: 6 hours/week: Mondays, Wednesdays, Fridays, from 12 to 14 h, Sala riunioni di Mondo Antico.
Beginning of the course: Monday 9 October 2023.
Course title 2023-2024: The "Protogospel of James" and its transformations.
Traditions about the birth and infancy of Jesus are found not only in canonical gospels (Matthew, Luke), but also in apocryphal writings, which are interesting for their content and transmission phenomena, typical of texts that do not have a status of authority. In the course, one of the oldest works will be explored in depth, according to various perspectives of investigation, and with the active involvement of students: the Nativity of Mary, better known as the Protogospel of James, from which descends the Gospel "of the Pseudo-Matthew," fundamental in the West for piety about the Virgin's childhood and the Lord's birth.
The course has a seminar character and involves the active participation of students.
( reference books)
Lecture materials (including critical editions of texts read in class) will be provided by the teacher.
General section.
For students who have never taken an exam in Ancient Christian Literature: M. SIMONETTI - E. PRINZIVALLI, Storia della letteratura cristiana antica, Bologna: EDB, 2022.
For students who have already taken exams in Ancient Christian Literature: H.Y. GAMBLE, Libri e lettori nella chiesa antica, Brescia: Paideia, 2006.
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20709116 -
FORMS AND LANGUAGES OF CONTEMPORARY MUSIC
(objectives)
The course aims at the acquisition of autonomous skills of historical analysis and critical interpretation of artistic phenomena, especially in the field of music, of the contemporary age
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Derived from
20709116 FORME E LINGUAGGI DELLA MUSICA CONTEMPORANEA in DAMS Teatro, musica, danza LM-65 ARFINI MARIA TERESA
( syllabus)
Historical route:
Supported by some framing lessons, the student will study independently the most significant movements and authors of the twentieth century. A short list of compositions to listen to will be provided.
Focus:
The course will deepen some paths in U.S. music in the second half of the 20th century, without neglecting some pioneering figures such as Charles Ives, Henry Cowell or Conlon Nancarrow.
( reference books)
ELVIDIO SURIAN, Manuale di Storia della Musica, Vol. IV (Il Novecento), Milano, Rugginenti, 2002 integrated with Musica e società, 3: dal 1830 al 2000, a cura di Virgilio Bernardoni e Paolo Fabbri, Lucca, LIM, 2016, only cap. 12; the non-musically literate will avoid the study of the more technical sections of these manuals, replacing it with GIACOMO FRONZI, Percorsi musicali del Novecento. Storie, personaggi, poetiche da Schönberg a Sciarrino, Roma, Carocci, 2021.
Focus:
Itinerari della musica americana, a cura di Gianmario Borio e Gabrio Taglietti, Lucca, LIM, 1996 (rist. 2022).
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20706094 -
ROMANCE PHILOLOGY AND LINGUISTICS 1 LM
(objectives)
The teaching of Romance Philology 1 LM falls within the scope of the related and supplementary educational activities of the Master's Degree Course in Modern Languages for International Communication, and specifically among the related activities aimed at deepening skills in the field of linguistics and knowledge in the cultural and textual heritage of the languages of study.
The course aims to provide an in-depth study of the specific knowledge and methodological and analytical skills proper to the specific sector, with consolidation of those already acquired during the three-year study cycle; attainment of a solid preparation in the areas of the history of ancient and medieval languages and literatures in their transition towards modern forms.
Expected learning outcomes: students will have in-depth specific knowledge and methodological skills proper to the sector; they will have a solid preparation in the history of ancient and medieval languages and literatures.
-
Derived from
20706094 FILOLOGIA E LINGUISTICA ROMANZA 1 LM in Lingue moderne per la comunicazione internazionale LM-38 N0 MOCAN MIRA VERONICA
( syllabus)
«Il miglio fabbro del parlar materno». I modi del fare poesia in volgare dai trovatori a Dante
La letteratura colta in lingua volgare romanza è caratterizzata, fin dalle origini, da un'intensa riflessione retorica e metaletteraria sui modi, lo stile e il valore della poesia, in rapporto sia di emulazione che di antagonismo rispetto ai grandi classici latini. Su questo aspetto si concentrano una parte molto significativa dei topoi, dei motivi e del lessico che circolano nelle prime generazioni dei poeti, a partire dai trovatori provenzali, dai rappresentanti della Scuola siciliana fino ai poeti toscani e a Dante.
Il corso ripercorrerà, sulla base della lettura analitica di testi rappresentativi, alcuni momenti salienti di tale percorso, mettendo fra l'altro in evidenza l'inscindibile collegamento fra riflessione metapoetica e riflessione sull'amore nei primi secoli della letteratura romanza. Particolare attenzione sarà dedicata alle opere di Bernart de Ventadorn, Arnaut Daniel, Giacomo da Lentini, Guido Cavalcanti, Dante.
( reference books)
- Arnaut Daniel, Sirventese e canzoni, a cura di F. Bandini, Torino, Einaudi, 2000; oppure Arnaut Daniel, L'aur'amara, a cura di M. Eusebi, Roma, Carocci, 2019;
- Bernart de Ventadorn, Canzoni, a cura di M. Mancini, Roma, Carocci, 2003;
- C. Di Girolamo, I trovatori, Torino, Bollati Boringhieri, 1989;
– S. Asperti, Dante, i trovatori, la poesia, in Le culture di Dante, a c. di M. Picone et al., Firenze, Franco Cesati, 2004, pp. 61-92;
- M. Perugi, L’allodola che «s’innamora»: Bernart de Ventadorn nei prestilnovisti e nel primo Guido, in Da Guido Guinizzelli a Dante. Nuove prospettive sulla lirica del Duecento. Atti del Convegno di studi, Padova-Monselice 10-12 maggio 2002, a cura di F. Brugnolo e G. Peron, il Poligrafo, Padova 2004, pp. 189-206);
- P. Gresti, Dante e i trovatori: qualche riflessione, in Il centro e il cerchio. Convegno dantesco, Brescia, università cattolica, 30-31 ottobre 2009 (= «Tenzone», LXI-LXII), a c. di Cristina Cappelletti, Pisa-Roma, Fabrizio Serra, 2011, pp. 175-190;
- R. Cavazzuti, Il cammino di Dante fra i poeti del Purgatorio. Purgatorio, canti XXIII (vv.70-133); XXIV (vv.1-99); XXVI (vv.130-148); XXVII (vv. 1-142), in «Quaderni Estensi», IV (2012), pp. 175-205;
– R. Rea, Memorie di un lussurioso. Lettura del canto XXVI del Purgatorio, in «L'Alighieri», 45 (2015), pp. 103-127
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L-FIL-LET/09
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20702665 -
FILM STYLES AND FILMMAKERS
(objectives)
The teaching of "Cinema Movements and Authors" is part of the characterising educational activities of the Master's degree course in "Cinema, Television and Multimedia Production". Its aim is to deal with particularly significant periods, themes, styles, works and authors in the history of national and international cinema. The course aims to provide methodological tools and in-depth knowledge in the historical and aesthetic spheres, to stimulate the ability to critically confront documentary sources, and to acquire skills in the analysis of film texts.
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Derived from
20702665 MOVIMENTI E AUTORI DEL CINEMA in Cinema, televisione e produzione multimediale LM-65 PARIGI STEFANIA
( syllabus)
The course is devoted to the cinema of Pier Paolo Pasolini. The main themes and the most recurring figures in his filmography are examined. The relationship between cinema and literature is addressed, the director's working method is highlighted and the various moments of his artistic career are reviewed, from the first film (Accattone) to the last (Salò or the 120 days of Sodom). In-depth stylistic analyzes of his works are carried out. Particular attention is paid to Pasolini's theoretical writings on cinema.
( reference books)
Accattone, 1961; Mamma Roma, 1962; La ricotta,1963; La rabbia, 1963; Comizi d’amore, 1964; Il Vangelo secondo Matteo, 1964; Uccellacci e uccellini, 1966; La terra vista dalla luna, 1967; Che cosa sono le nuvole?, 1968; Edipo re, 1967; Teorema, 1968; La sequenza del fiore di carta, 1969; Appunti per un'Orestiade africana, 1968-1973; Salò o le 120 giornate di Sodoma, 1975.
Films will be shown in full or in part during lessons.
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6
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L-ART/06
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36
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20705085 -
Sources and methodologies in theatre hystory
(objectives)
Fundamentals, methods and tools of theatre history
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Derived from
20705085 FONTI E METODOLOGIE DELLA STORIA DEL TEATRO in DAMS Teatro, musica, danza LM-65 GUARINO RAIMONDO
( syllabus)
This course provides the students with the study of experiences and skills concerning the basic elements of composition in performing arts: Movement, Space, Expression, Rhythm.
The course will treat some definitions and experiences of the expressive movement, of his formal, dynamic and symbolic values, in practices and reflections on the physical action during the first decades of the twentieth century, searching in a field shared by theatre, dance, gymnastics, visual cultures and anthropology.
( reference books)
Foreign students can study Eisenstein, Mauss and Warburg's texts in their native language versions or translations
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6
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L-ART/05
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36
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20710144 -
LETTERATURA ITALIANA DEL RINASCIMENTO L.M.
(objectives)
The aim of the course is the acquisition of specialised knowledge of Italian Renaissance literature, through the in-depth study of an author, a work or a specific theme according to the most up-to-date research perspectives. At the end of the course, students will be equipped with the most appropriate historical, historical-literary and linguistic interpretative tools for analysing Renaissance literary texts and will be able to apply advanced analytical methodologies to them.
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Derived from
20710144 LETTERATURA ITALIANA DEL RINASCIMENTO L.M. in Filologia, letterature e storia dell'antichità LM-15 CAROCCI ANNA
( syllabus)
War and Peace in Renaissance Literature
Renaissance is first and foremost an age of war, in which war enters powerfully into everyday life with a violence hitherto unknown and, by contrast, the past is mythologized as an age of peace and prosperity. The course will follow representations of war and peace in Renaissance literature, focusing primarily on epic-chivalric literature, which makes war its driving force (Pulci, Boiardo, Ariosto, Tasso, and also examples of other forms of octava rima such as war poems), but also examining historical works (Machiavelli and Guicciardini) and theatrical works (Ruzante’s Parlamento).
( reference books)
Syllabus for attending students
Handouts supplied by the professor and downloadable from Teams/Moodle or available from the photocopy shop in front of the Department of Studi Umanistici:
- excerpts from: Luigi Pulci, Morgante; Matteo Maria Boiardo, Inamoramento de Orlando; Ludovico Ariosto, Orlando furioso; Torquato Tasso, Gerusalemme liberata; Niccolò Machiavelli, L’arte della guerra; Francesco Guicciardini, Storia d’Italia; Ruzante, Parlamento di Ruzante che l’era vegnù de campo;
-critical bibliography
Syllabus for not-attendig students
Non-attending students are required to add to the syllabus:
- Nicolò Maldina, Ariosto e la battaglia della Polesella: guerra e poesia nella Ferrara di inizio Cinquecento, Bologna, Il Mulino, 2016
-additional handouts provided by the professor, downloadable from Teams/Moodle or available from the photocopy shop in front of the Department of Studi Umanistici
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6
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L-FIL-LET/10
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19700620 -
ARCHEOLOGIA DELLE PROVINCE ROMANE - LM
(objectives)
in-depth knowledge of urban development strategies and dynamics, of interaction relationships between different cultural components; ability to analyze the sources; ability to interpret data, ability to communicate the acquired knowledge to specialists and others
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Derived from
19700620 ARCHEOLOGIA DELLE PROVINCE ROMANE - LM in ARCHEOLOGIA LM-2 N0 MUSSO LUISA
( syllabus)
The organization and workings of Imperial Rome. The central administration and those of the Provinces. The army’s role.
( reference books)
Bibliography
• P. ROMANELLI, Le Province e la loro amministrazione, in Guida allostudio della civiltà romana antica, edd. V. Ussani, F. Arnaldi, I, 1964, pp. 331-377.
• F. JACQUES, J. SCHEID, Roma e il suo impero. Istituzioni, economia, religione, Roma-Bari, Laterza, 1992.
• E. LO CASCIO, Le tecniche dell'amministrazione, in Storia di Roma, II. L'impero mediterraneo, 2. I principi e il mondo, Torino, Einaudi, 1991, pp. 119-191.
• L. CRACCO RUGGINI, La città imperiale, in Storia di Roma, IV. Caratteri e morfologie, Torino, Einaudi, 1989, pp. 201-266.
• MEYER-ZWIFFELHOFFER, Storia delle Province romane, Universale Paperbacks il Mulino, Bologna, 2011.
• P. GROS, M. TORELLI, Storia dell’urbanistica. Il mondo romano, Roma-Bari, Laterza, 1988, pp. 237-426. (reprint 2010).
• G. BEJOR, M.T. GRASSI, S. MAGGI, F. SLAVAZZI, Arte e Archeologia delle Province romane, Mondadori Università, Milano, 2011.
It is recommended to attend the lectures.
Further bibliographic references and other didactic materials (in particular texts by classical authors, transcriptions of inscriptions, images) will be provided during the lectures.
STUDENTS 509/99 – Bibliographic references and didactic materials should be discussed with the Supervisor.
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L-ANT/07
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20710595 -
ARCHEOLOGIA CRISTIANA 2 - LM
(objectives)
The Course in Christian Archaeology 2 intends to examine in greater detail some of the aspects related to the areas of investigation of the discipline. In particular, by refining the bibliographical elements already discussed and acquired during the three-year module, the student will be called upon to deal with specific monumental realities, mostly with a cultic and funerary vocation, analysing in detail both their relationship with the context and their intrinsic and main characteristics
Translated with www.DeepL.com/Translator (free version)
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Derived from
20710595 ARCHEOLOGIA CRISTIANA 2 - LM in ARCHEOLOGIA LM-2 BRACONI MATTEO
( syllabus)
The Course aimed to provide a geographically wider overview of the catacombs of Italy, analysing in detail those of Umbria and Tuscany.
( reference books)
Text:
M. Braconi, D. Cascianelli, G. Ferri (edd.), Semel pro semper. Trent’anni di ricerche della Pontificia Commissione di Archeologia Sacra nelle catacombe d’Italia. Atti dell’incontro di studio in memoria di Fabrizio Bisconti (Roma, 14 ottobre 2022), Città del Vaticano 2023.
Not attending students should agree a bibliography with the professor.
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6
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L-ANT/08
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20705275 -
MEDIEVAL ARCHAEOLOGY - L.M.
(objectives)
ability to analyze in detail, through the entire system of available sources, the transformations of urban and rural settlements in the Middle Ages; ability to communicate research results, in oral and written form, even at a specialist level
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20705275-1 -
ARCHEOLOGIA MEDIEVALE - LM
(objectives)
ability to analyze in detail, through the entire system of available sources, the transformations of urban and rural settlements in the Middle Ages; ability to communicate research results, in oral and written form, even at a specialist level
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6
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L-ANT/08
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20705275-2 -
ARCHEOLOGIA MEDIEVALE - LM
(objectives)
ability to analyze in detail, through the entire system of available sources, the transformations of urban and rural settlements in the Middle Ages; ability to communicate research results, in oral and written form, even at a specialist level
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L-ANT/08
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20704132 -
HISTORY OF ARCHITECTURE - L.M.
(objectives)
Learning objectives
1. Knowledge and understanding:
§ Know the specialized terminology.
§ Know the main phases of the history of architecture and the sources that refer to them.
§ Know the main monumental junctions and understand their function in the urban fabric of the city.
2. Skills and ability to apply knowledge and understanding:
§ Knowing how to use specialist terminology correctly in all processes of application and communication of acquired knowledge.
§ Knowing how to carry out an in-depth analysis of the city's monumental junctions.
3. Judgment skills:
§ Knowing how to formulate and argue simple hypotheses, also developing a critical approach to the evaluation of architectural issues and its history.
4. Communication skills:
§ Knowing how to communicate the specificities of the sacred and public buildings studied, using an appropriate lexicon and terminology.
§ Knowing how to structure, organize the presentation of one's thoughts regarding the study topics.
§ Learning ability.
§ Know how to critically consult the reference bibliography provided.
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Benincampi Iacopo
( syllabus)
This course provides an introduction to the history of modern and contemporary architecture in Europe and North America, from the 15th century up to now. Lectures will explore the relationships between historical developments in architecture and wider changes in the social, technological and aesthetic realms. In this sense, the study of architecture will serve as a window into broader aspects of art history. Simultaneously, however, the course will examine architecture as a unique medium, with its own visual codes, spatial forms and material structures. Emphasis will be placed on learning to look at buildings and architectural representations in a deeper way. Textbook readings will help to introduce some of the basic issues while primary texts will supplement textbook readings.
Enjoying Rome, the class will focus on the Urbe’s development, through some guided tours around the city center. Specifically, the course will consider the following themes and protagonists: Leon Battista Alberti and Filippo Brunelleschi (XV century); Bramante, Raphael, Antonio da Sangallo the Younger, and Michelangelo (early modern); Counter Reformist architecture (Jacopo Barozzi da Vignola, Giacomo Della Porta, Palladio); Baroque architecture (Gian Lorenzo Bernini, Francesco Borromini and Pietro Cortona) and late baroque architecture in Rome (Carlo Fontana and Carlo Rainaldi) as well as in the rest of Italy (Filippo Juvarra, Bernardo Antonio Vittone, Nicola Salvi, Luigi Vanvitelli and Ferdinando Fuga). Finally, last lectures will discuss contemporary architecture: from the Industrial Revolution to Post Modern, including Art Noveau, the avant-garde, the Viennese Secession, Walter Gropius, Le Corbusier, and Frank Lloyd Wright.
( reference books)
(01) Lotz, Wolfgang. 1995. Architecture in Italy 1500-1600. New Haven: Yale University Press.
(02) Wittkower, Rudolf. 1999. Art and Architecture in Italy 1600-1750, 3 volumes, revised by J. Connors and J. Montagu. New Haven: Yale University Press.
(03) Curtis, William. 1982. Modern architecture since 1900. Oxford: Phaidon.
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Università Roma Tre