From research to story: St Peter's in the Vatican before and after the Holy Door (8th-17th centuries)

Why in the new St. Peter's of Paul V (1612) does the titulus of the Holy Door bear an inscription from the time of Gregory XIII (1575)? If it is true that every monument is a document, there must be a reason that can be investigated with the tools of historical and art-historical research. By retracing the vicissitudes of a place in the Vatican basilica charged with ritual significance, the course aims to recompose the phases and transformations of a space in the ancient basilica that has left memories and traces of itself in the new one; to experiment with different investigative strategies and to question the narration of what we discover, because only the narrative "reveals the meaning of what would otherwise remain an intolerable sequence of events".

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.

A. Ballardini, La Basilica di San Pietro nel Medioevo, in H. Brandenburg, A. Ballardini, Ch. Thoenes, S. Pietro. Storia di un monumento, Milano 2015; pp. 34-75 e le note alle pp. 325-330.

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, Il perduto Oratorio di Giovanni VII nella Basilica di San Pietro in Vaticano. Architettura e scultura, in Santa Maria Antiqua, tra Roma e Bisanzio, Catalogo della mostra a cura di M. Andaloro, G. Bordi, G. Morganti, Milano 2016, pp. 220-233 (e relative schede)

P.Pogliani, Il perduto Oratorio di Giovanni VII nella Basilica di San Pietro in Vaticano. I mosaici, in Santa Maria Antiqua, tra Roma e Bisanzio, Catalogo della mostra a cura di M. Andaloro, G. Bordi, G. Morganti, Milano 2016, pp. 240-259 (e relative schede)

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, 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, 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 (a disposizione anche in italiano).

V. Lucherini, Alfarano, Tiberio / Tiberius Alpharanus, Historiker, ad vocem in Personenlexicon zur Christlichen Archäologie, 2012, I, pp. 62-63 (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)

Short collection of notes on Giacomo Grimaldi (1568-523) ed. by Antonella Ballardini

Consultation of the main manuscripts under study on the BAV website (Digitised Manuscripts Fund) is required
https://opac.vatlib.it/mss/



Arch.Cap.S.Pietro G.5

Arch.Cap.S.Pietro A.64ter

Barb.lat. 2732

Barb.lat. 2733

Arch.Cap.S.Pietro H.3



Consultazione on line:

Tiberii Alpharani De Basilicae Vaticanae antiquissima et nova structura, a cura di M. Cerrati (Studi e testi, XXVI), Roma 1914.

https://archive.org/details/debasilicaevatic00alfa/page/n6/mode/2up

Reading Self-Portrait by Carla Lonzi
The publication of the book Autoritratto marked the high point and conclusion of Carla Lonzi's professional activity as an art critic. Fifty-five years after its first release, and on the occasion of its republication as part of an extensive reissue of the art critic and feminist's writings, this course offers an updated and in-depth reading of a capital text of 20th-century Italian art criticism.
The book is the result of the editing of a series of conversations in which an exceptionally intelligent art critic and some of the leading artists working in Italy in the 1960s are brought together in an imaginary “banquet.” Carla Accardi, Getulio Alviani, Enrico Castellani, Pietro Consagra, Luciano Fabro, Lucio Fontana, Jannis Kounellis, Mario Nigro, Giulio Paolini, Pino Pascali, Mimmo Rotella, Salvatore Scarpitta, Giulio Turcato; completing the group was Cy Twombly, who Lonzi's (written) questions had never been answered.
The conversations had been recorded over the previous years, some intended from the outset for publication in a magazine or exhibition catalog, others remained unpublished, and still others caught in the context of sharing of ideas among friends. The informal nature of the conversations means that everything is talked about in the book, that the artists are questioned more often on a personal level than on a professional one, as it is also evident from the illustrative set, composed largely of photographs from family albums.

_ C. Lonzi, Autoritratto, in any edition: De Donato, Bari 1969; et al. edizioni, Milano 2010; Abscondita, Milano 2017; La Tartaruga, Milano 2024. The book has been translated in French (Autoportrait, JRP | Ringier, Paris 2012), English (Self-portrait, Divided Publishing, Bruxelles 2021) and German (Selbstbildnis, Gachnang & Springer, Bern 2000).

_ L. Conte, “La critica è potere”. Percorsi e momenti della critica negli anni Sessanta, in L. Conte, V. Fiorino (a cura di), La duplice radicalità: Carla Lonzi dalla critica militante al femminismo di Rivolta, ETS, Pisa 2011, pp. 87-109.
_ L. Iamurri, Intorno a Autoritratto: fonti, ipotesi, riflessioni, ivi, pp. 67-86.
_ L. Iamurri, Un margine che sfugge. Carla Lonzi e l’arte in Italia, 1955-1970, Quodlibet, Macerata 2016.
_ T. Kittler, Reimaging the Family Album: Carla Lonzi’s Autoritratto, in F. Ventrella, G. Zapperi (eds), Feminism and Art in Postwar Italy. The Legacy of Carla Lonzi, Bloomsbury, London 2020, pp. 181-208.

Since a written paper is required for the exam, additional specific bibliography may be required. This will be indicated on a case-by-case basis in relation to the topic of the paper.

Course title: The Museum in the contemporary debate: traditions and contradictions

Never as intensely as today, and at any latitude in the World, the museum institution is at the center of a debate that constantly questions its traditional status as a place of conservation, study and protection of collections. This course aims to offer a broad overview of the museum and of the Museum Studies (definition, statute, structure, services, spaces, professions) and to analyze some themes dear to Critical Museology, such as decolonization, delocalization, the development of museums of memory and human rights, the relationship with social and economic sciences, etc. The second part of the course will take place in the form of seminars conducted in the museums by students based on individual research. Numerous inspections are planned in the Roman museums.

To pass the exam, the student must demonstrate that he/she has studied in depth:

a) at least one of the following texts:
A Companion to Museum Studies, a cura di S. Macdonald, Malden, Mass., Blackwell, 2006
L. Cataldo, M. Paraventi, Il Museo oggi, Modelli museologici e museografici nell'era della digital transformation, Milano Hoepli 2023


b) at least one of the following texts:
The Curation and Care of Museum Collection, a cura di B.A. Campbell, Ch. Baars, London ; New York, Routledge, Taylor & Francis Group, 2019
The contemporary Museum: shaping Museums for the Global Now, a cura di S. J. Knell, London, New York, Routledge, Taylor & Francis Group, 2019
M.T. Fiorio, Il museo nella storia. Dallo “studiolo” alla raccolta pubblica, Milano, Mondadori, 2011
F. Haskell, The ephemeral museum. Old master painting and the rise of the art exhibition, New Haven, Yale University Press, 2000 (trad. it. La nascita delle mostre. I dipinti degli antichi maestri e l’origine delle esposizioni d’arte, Milano-Ginevra, Skira, 2008
S. Costa, D. Poulot, M. Volait (a cura di), The period rooms: allestimenti storici tra arte, collezionismo e museologia, Bologna, Bononia University Press, 2016
M. Ferretti e A.Buzzoni, Musei, in Capire l'Italia. Il Patrimonio storico-artistico, TCI, Milano 1979, pp. 112-131.
S. Verde, Le belle arti e i selvaggi, la scoperta dell’altro, la storia dell’arte e l’invenzione del patrimonio culturale, Venezia, Marsilio, 2019
P.C. Marani, R. Pavoni, Musei, Trasformazioni di un'istituzione dall'età moderna al contemporaneo, Venezia, Marsilio, 2006
M.V. Marini Clarelli, Che cos’è un Museo, Carocci, Roma 2005
Musei italiani del dopoguerra (1945-1977). Ricognizioni storiche e prospettive future, a cura di Valter Curzi, Milano, Skira, 2022.
D. Poulot, Musei e museologia, Jaka book, 2008
D. Jallà, Il museo contemporaneo, nuova edizione aggiornata, Torino Utet 2004
A. Mottola Molfino, Il libro dei musei, Torino, Allemandi, 1998
R. Fontanarossa, Collezionisti e musei. Una storia culturale, Torino, Einaudi, 2022

c) the dossier of articles that will be made available during the course and published on the teacher's bulletin board;

d) he or she must also have visited and analyzed spaces and services of the following Roman museums:
- Musei Capitolini
- Musei Vaticani
- Galleria Nazionale d’arte antica di Palazzo Barberini
- Galleria Nazionale d’arte antica di Palazzo Corsini
- Galleria Spada
- Museo Nazionale di Palazzo Venezia
- Museo di Roma
- Museo Napoleonico
- Museo Mario Praz
- Museo della Centrale Montemartini
- Museo Nazionale Romano
- Museo delle Civiltà
- Galleria Nazionale d’Arte Moderna
- MAXXI
- MACRO
- Palazzo Merulana

In addition to what is indicated here, the non-attending student will have to choose and study two further texts from points a) and / or b).

The course aims to address the study of the characteristics of Latin and Greek manuscripts, with particular regard to their value for philological and historical-cultural studies. In this regard, both the external characteristics of manuscripts will be examined (material techniques for the preparation of the book as a physical object, methods and tools for its preparation, with regard to the professional figures involved in the production process), and the cultural panorama of the times and places of origin of manuscript books. Therefore, each aspect will be illustrated by choosing a reference manuscript witness.
This course will include both the examination of reproductions of manuscripts, in paper and electronic format, and the direct examination of manuscripts and writing materials, through visits to archives and libraries.

The final exam will include the knowledge of the material provided during lessons and the discussion of one subject which the student will decide to study in depth. In addition students are required to study the following texts:
• M. Maniaci, Breve storia del libro manoscritto, Roma, Carocci, 2019;
• M. L. Agati, Il libro manoscritto da Oriente a Occidente. Per una codicologia comparata, L’Erma di Bretschneider, Roma 2009 (a selection of chapters);
• M. Cursi, Le forme del libro. Dalla tavoletta cerata all’e-book, Il Mulino, Bologna 2016, cap. III (pp. 97-160);
• Two articles among those presented during the course.

Course title: The Museum in the contemporary debate: traditions and contradictions

Never as intensely as today, and at any latitude in the World, the museum institution is at the center of a debate that constantly questions its traditional status as a place of conservation, study and protection of collections. This course aims to offer a broad overview of the museum and of the Museum Studies (definition, statute, structure, services, spaces, professions) and to analyze some themes dear to Critical Museology, such as decolonization, delocalization, the development of museums of memory and human rights, the relationship with social and economic sciences, etc. The second part of the course will take place in the form of seminars conducted in the museums by students based on individual research. Numerous inspections are planned in the Roman museums.

To pass the exam, the student must demonstrate that he/she has studied in depth:

a) at least one of the following texts:
A Companion to Museum Studies, a cura di S. Macdonald, Malden, Mass., Blackwell, 2006
L. Cataldo, M. Paraventi, Il Museo oggi, Modelli museologici e museografici nell'era della digital transformation, Milano Hoepli 2023


b) at least one of the following texts:
The Curation and Care of Museum Collection, a cura di B.A. Campbell, Ch. Baars, London ; New York, Routledge, Taylor & Francis Group, 2019
The contemporary Museum: shaping Museums for the Global Now, a cura di S. J. Knell, London, New York, Routledge, Taylor & Francis Group, 2019
M.T. Fiorio, Il museo nella storia. Dallo “studiolo” alla raccolta pubblica, Milano, Mondadori, 2011
F. Haskell, The ephemeral museum. Old master painting and the rise of the art exhibition, New Haven, Yale University Press, 2000 (trad. it. La nascita delle mostre. I dipinti degli antichi maestri e l’origine delle esposizioni d’arte, Milano-Ginevra, Skira, 2008
S. Costa, D. Poulot, M. Volait (a cura di), The period rooms: allestimenti storici tra arte, collezionismo e museologia, Bologna, Bononia University Press, 2016
M. Ferretti e A.Buzzoni, Musei, in Capire l'Italia. Il Patrimonio storico-artistico, TCI, Milano 1979, pp. 112-131.
S. Verde, Le belle arti e i selvaggi, la scoperta dell’altro, la storia dell’arte e l’invenzione del patrimonio culturale, Venezia, Marsilio, 2019
P.C. Marani, R. Pavoni, Musei, Trasformazioni di un'istituzione dall'età moderna al contemporaneo, Venezia, Marsilio, 2006
M.V. Marini Clarelli, Che cos’è un Museo, Carocci, Roma 2005
Musei italiani del dopoguerra (1945-1977). Ricognizioni storiche e prospettive future, a cura di Valter Curzi, Milano, Skira, 2022.
D. Poulot, Musei e museologia, Jaka book, 2008
D. Jallà, Il museo contemporaneo, nuova edizione aggiornata, Torino Utet 2004
A. Mottola Molfino, Il libro dei musei, Torino, Allemandi, 1998
R. Fontanarossa, Collezionisti e musei. Una storia culturale, Torino, Einaudi, 2022

c) the dossier of articles that will be made available during the course and published on the teacher's bulletin board;

d) he or she must also have visited and analyzed spaces and services of the following Roman museums:
- Musei Capitolini
- Musei Vaticani
- Galleria Nazionale d’arte antica di Palazzo Barberini
- Galleria Nazionale d’arte antica di Palazzo Corsini
- Galleria Spada
- Museo Nazionale di Palazzo Venezia
- Museo di Roma
- Museo Napoleonico
- Museo Mario Praz
- Museo della Centrale Montemartini
- Museo Nazionale Romano
- Museo delle Civiltà
- Galleria Nazionale d’Arte Moderna
- MAXXI
- MACRO
- Palazzo Merulana

In addition to what is indicated here, the non-attending student will have to choose and study two further texts from points a) and / or b).

From research to story: St Peter's in the Vatican before and after the Holy Door (8th-17th centuries)

Why in the new St. Peter's of Paul V (1612) does the titulus of the Holy Door bear an inscription from the time of Gregory XIII (1575)? If it is true that every monument is a document, there must be a reason that can be investigated with the tools of historical and art-historical research. By retracing the vicissitudes of a place in the Vatican basilica charged with ritual significance, the course aims to recompose the phases and transformations of a space in the ancient basilica that has left memories and traces of itself in the new one; to experiment with different investigative strategies and to question the narration of what we discover, because only the narrative "reveals the meaning of what would otherwise remain an intolerable sequence of events".

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.

A. Ballardini, La Basilica di San Pietro nel Medioevo, in H. Brandenburg, A. Ballardini, Ch. Thoenes, S. Pietro. Storia di un monumento, Milano 2015; pp. 34-75 e le note alle pp. 325-330.

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, Il perduto Oratorio di Giovanni VII nella Basilica di San Pietro in Vaticano. Architettura e scultura, in Santa Maria Antiqua, tra Roma e Bisanzio, Catalogo della mostra a cura di M. Andaloro, G. Bordi, G. Morganti, Milano 2016, pp. 220-233 (e relative schede)

P.Pogliani, Il perduto Oratorio di Giovanni VII nella Basilica di San Pietro in Vaticano. I mosaici, in Santa Maria Antiqua, tra Roma e Bisanzio, Catalogo della mostra a cura di M. Andaloro, G. Bordi, G. Morganti, Milano 2016, pp. 240-259 (e relative schede)

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, 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, 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 (a disposizione anche in italiano).

V. Lucherini, Alfarano, Tiberio / Tiberius Alpharanus, Historiker, ad vocem in Personenlexicon zur Christlichen Archäologie, 2012, I, pp. 62-63 (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)

Short collection of notes on Giacomo Grimaldi (1568-523) ed. by Antonella Ballardini

Consultation of the main manuscripts under study on the BAV website (Digitised Manuscripts Fund) is required
https://opac.vatlib.it/mss/



Arch.Cap.S.Pietro G.5

Arch.Cap.S.Pietro A.64ter

Barb.lat. 2732

Barb.lat. 2733

Arch.Cap.S.Pietro H.3



Consultazione on line:

Tiberii Alpharani De Basilicae Vaticanae antiquissima et nova structura, a cura di M. Cerrati (Studi e testi, XXVI), Roma 1914.

https://archive.org/details/debasilicaevatic00alfa/page/n6/mode/2up

Michael Sweerts (1618-1656) and the Rome of the Bamboccianti

Born in Brussels and died in Goa, India, living in Rome for at least a decade, Michael Sweerts is a very interesting figure in seventeenth-century European figurative culture. The course will examine his artistic production, the context within which he works. It will take place largely in churches, museums, public and private collections in the city of Rome, comparing his work with that of his contemporaries, active during the pontificate of Innocent X Pamphili.

Preparation for the exam requires in-depth, critical and informed study of.

(a) at least one of two texts of your choice: G. Kieft, I Paesi Bassi settentrionali: arte, mestiere e
committenza nel secolo d'oro, in La pittura nei Paesi Bassi, a cura di B.W.Meijer, Milano, Electa,
1997, tomo II, pp. 409-522 (disponibile su Teams) or Mariette Westermann, The Art of the
Dutch Republic. 1585-1718, New York, Harry Abrams, 1996 (available for purchase online for a
very modest amount).

(b) at least one of the following texts of your choice (or all of them):

Svetlana Alpers, Art of Description. Science and Painting in the Dutch Seventeenth Century; Simon Shama, The Embarrassment of Riches; Svetlana Alpers, Rembrandt's Enterprise: The Studio and the Market, 1995; Daniel Arasse, L' Ambition de Vermeer, 1993; Marco Mascolo, Rembrandt. Un artista nell'Europa del Seicento, Rome, Carocci, 2021; Les bas-fonds du baroque: la Rome du vice et de la misere, cataloge dirigée par F. Cappelletti et A. Lemoine, 2014.

(c) texts related to Michael Sweerts that will be made available in the file on Teams(the advice of course is always to read them all); including G. Briganti, Il mito della “finestra aperta,” in G. Briganti, L. Trezzani, L. Laureati, I Bamboccianti. Pittori della vita quotidiana a Roma nel Seicento, Bozzi, Rome 1983, pp. 1-36; G. Capitelli, Bambocciate in L'Arte. Protagonists, Themes, Masterpieces, Paths, edited by G.C.Sciolla, 6 vols., Turin 2003; Eadem, Una testimonianza documentaria per il primo nucleo della raccolta del principe Camillo Pamphilj, in I capolavori della collezione Doria Pamphilj. Da Tiziano a Velázquez, exhibition catalog (Milan, Fondazione Arte e Civiltà, September 28-December 8, 1996), Skira, Milan 1996, pp. 57-80.

(d) Teaching materials, consisting of the ppts of the slides projected in class and available on Teams.

Non-attending students should add to this syllabus (with the exception of items d and e which
are precluded from them) the in-depth study of at least two other texts from those listed in (b).

Reading Self-Portrait by Carla Lonzi
The publication of the book Autoritratto marked the high point and conclusion of Carla Lonzi's professional activity as an art critic. Fifty-five years after its first release, and on the occasion of its republication as part of an extensive reissue of the art critic and feminist's writings, this course offers an updated and in-depth reading of a capital text of 20th-century Italian art criticism.
The book is the result of the editing of a series of conversations in which an exceptionally intelligent art critic and some of the leading artists working in Italy in the 1960s are brought together in an imaginary “banquet.” Carla Accardi, Getulio Alviani, Enrico Castellani, Pietro Consagra, Luciano Fabro, Lucio Fontana, Jannis Kounellis, Mario Nigro, Giulio Paolini, Pino Pascali, Mimmo Rotella, Salvatore Scarpitta, Giulio Turcato; completing the group was Cy Twombly, who Lonzi's (written) questions had never been answered.
The conversations had been recorded over the previous years, some intended from the outset for publication in a magazine or exhibition catalog, others remained unpublished, and still others caught in the context of sharing of ideas among friends. The informal nature of the conversations means that everything is talked about in the book, that the artists are questioned more often on a personal level than on a professional one, as it is also evident from the illustrative set, composed largely of photographs from family albums.

_ C. Lonzi, Autoritratto, in any edition: De Donato, Bari 1969; et al. edizioni, Milano 2010; Abscondita, Milano 2017; La Tartaruga, Milano 2024. The book has been translated in French (Autoportrait, JRP | Ringier, Paris 2012), English (Self-portrait, Divided Publishing, Bruxelles 2021) and German (Selbstbildnis, Gachnang & Springer, Bern 2000).

_ L. Conte, “La critica è potere”. Percorsi e momenti della critica negli anni Sessanta, in L. Conte, V. Fiorino (a cura di), La duplice radicalità: Carla Lonzi dalla critica militante al femminismo di Rivolta, ETS, Pisa 2011, pp. 87-109.
_ L. Iamurri, Intorno a Autoritratto: fonti, ipotesi, riflessioni, ivi, pp. 67-86.
_ L. Iamurri, Un margine che sfugge. Carla Lonzi e l’arte in Italia, 1955-1970, Quodlibet, Macerata 2016.
_ T. Kittler, Reimaging the Family Album: Carla Lonzi’s Autoritratto, in F. Ventrella, G. Zapperi (eds), Feminism and Art in Postwar Italy. The Legacy of Carla Lonzi, Bloomsbury, London 2020, pp. 181-208.

Since a written paper is required for the exam, additional specific bibliography may be required. This will be indicated on a case-by-case basis in relation to the topic of the paper.

G.W.F. Hegel's Aesthetics

G. F. W. Hegel, Lectures on the Philosophy of Art: The Hotho Transcript of the 1823 Berlin Lectures, Robert F. Brown (tr.), Oxford University Press

Course Title:
Saint Sebastian: Between Legend and Devotion

Course Description:
This course aims to reconstruct the early phases of the veneration of the (bi)martyr saint, Saint Sebastian. He is first recorded in the Depositio martyrum of 354, with a commemoration date of January 20, noting his burial on the Via Appia ad catacumbas, where the Memoria Apostolorum was located (later known as the Basilica Apostolorum under Constantine). Subsequently, he is briefly mentioned by Ambrose in his Commentary on Psalm 118 and ultimately becomes the central figure in the Passio Sancti Sebastiani, written between 430 and 450 by Arnobius the Younger, an African monk contemporary with Augustine, residing in the monastery established next to the Basilica Apostolorum. The course will particularly focus on analyzing this text, which enjoyed significant popularity. Students interested in exploring further may participate in a storytelling workshop with professional actors, who, alongside the course instructor, are engaged in a project to enhance the Basilica of Saint Sebastian in celebration of the Jubilee. This workshop aims to immerse students in the performative dimension characteristic of many ancient and medieval hagiographical texts.

Michael Lapidge (ed.), The Roman Martyrs, Oxford 2018.
Further bibliography willl be provided during the course

First semester.
Time: 6 hours/week: Mondays, Wednesdays, Fridays, 12 to 2 p.m. Location: Sala riunioni di Mondo Antico. Beginning: Wednesday, October 2, 2024.

Course title 2024-2025: Roman Traditions and Apostolic Legends: Nereus and Achilleus, Processus and Martinianus and their passiones.

Some of the Roman passiones (5th-7th centuries) dedicated to martyred saints venerated in the Urbs intersect the events narrated in them with legends about Peter and Paul and the final part of their lives. The Passion of Saints Nereus and Achilleus and the Passion of Saints Processus and Martinianus will be explored in the course, according to various perspectives of investigation and with the active involvement of students.
The course is seminar-based in nature and involves the active participation of students.

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.

Historical route:
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 20th century Italian music, with particular attention to the musical context in Rome.

Historical route:
ELVIDIO SURIAN, Manuale di Storia della Musica, Vol. IV (Il Novecento, solo parti selezionate), Milano, Rugginenti, 2002 integrated with Musica e società, 3: dal 1830 al 2000, a cura di Virgilio Bernardoni e Paolo Fabbri, Lucca, LIM, 2016, il solo cap. 12; Gthe 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:
JEAN NOEL VON DER WEID, La musica del XX secolo, Ricordi – LIM [Le sfere], Milano, 2002; pp. 158-166 [Italia], pp. 325-331 [Nono]; pp. 337-340 [Berio] e pp. 432-460 [Musica italiana 1945-1999]
Texts and further handouts will be made available, together with their list, on the Moodle platform.

Contemporary animation as new dominant logic of moving images.

Paying particular attention to the conjunction between theories and practices, the course will focus on styles of the new animation products looking firstly at the dialectic between innovation and tradition, but also between aesthetic and narrative forms coming from different cultural paradigms. Without forgetting the way in which animation software is also used in live action cinema, the course will highlight how the concept of "re-animation" should also be understood as revitalization and problematization, carried out by animation itself, of historical, political and cultural issues involving new moving images.

C. Uva (a cura di), Il cinema d'animazione. Gli scenari contemporanei dal cartoon al videogame, Carocci, Roma 2023.

C. Uva, Il sistema Pixar, Il Mulino, Bologna 2017.

BODIES/MEDIA: FIGURES, ENERGY, MOTIONS
Starting from Eisenstein's assessments about Meyerhold and biomechanics, the course tackles the definitions and techiques of motion and expression in the first half of the 20th century moving across the fields of visual arts, cinema and anthropology.

Any edition of W.Benjamin,The Work of Art in the Age of mechanical reproduction.
S. M. Eisenstein, The Film form, Faber and Faber.
Meyerhold, Eisenstein and Biomechanics: Actor Training in Revolutionary Russia, ed. by AIma Law

The drawing father of the arts / The language of engraving between reproduction and dissemination:
Introduction to the study of drawing and engraving with a diachronic path and knowledge of specific graphic techniques

Already in the Proem of the first edition of the Lives, Giorgio Vasari had emphasised the importance of drawing in the construction of the work of art. But in the more extensive Introduction to the 1568 edition, the artist and historiographer from Arezzo describes its forms, typologies, techniques and functions in detail.
Following Vasari's outline, the course aims to offer an awareness of the arts of drawing as the foundation of all arts, a technical instrument that allows the artist to organise and get to know external reality in its various appearances, and to express his or her inner concepts and ideas in visible forms.
The course consists of two parts:
The first will examine the evolution of drawing from the 15th to the 21st century, highlighting the importance progressively accorded to it, from a mere design or mnemonic tool - in relation to the dynamics of artistic workshops - to a conceptual foundation of artistic practice. The technical aspects and collecting aspects will also be considered fundamental.

In the second part, the specific documentary, multiplicative and diffusive nature of engraving will be examined, with a focus on its different technical modes as they were developed over the same time span, and their characteristic declination according to expressive and communicative purposes.

The materials and techniques
The supports
The tools
Pentimenti, transfer methods, restoration and tampering
Forms, functions and typologies
Functional design
Autonomous drawing

Attendance of lectures and especially workshops/seminars at the Istituto Centrale per la Grafica is to be considered essential.

- Annamaria Petrioli Tofani, I materiali e le tecniche, in Il disegno. Forme, tecniche, significati, edited by A. Petrioli Tofani, S. Prosperi Valenti Rodinò, G.C. Sciolla, Istituto Bancario San Paolo di Torino, Turin 1991, pp. 185-251;
- Simonetta Prosperi Valenti Rodinò, Forme, funzioni, tipologie, in Il disegno. Forme, tecniche, significati, edited by A. Petrioli Tofani, S. Prosperi Valenti Rodinò, G.C. Sciolla, Istituto Bancario San Paolo di Torino, Turin 1991, pp. 91-183.
- Ginevra Mariani (ed.), Le tecniche d'incisione a rilievo. La xilografia, De Luca, Rome 2001
- Ginevra Mariani (ed.), Le tecniche calcografiche d'incisione diretta. Burin, drypoint, black manner, De Luca, Rome 2003
- Ginevra Mariani (ed.), Le tecniche calcografiche d'incisione indiretta. Acquaforte, acquatinta, lavis, ceramolle, De Luca, Roma 2005;
+ Other texts to be defined shortly

Familiarity with the following tools is required and will be presented in class:
- F. Lugt, Les Marques de Collections de Dessins et d'Estampes, Amsterdam 1921. Supplement: La Haye 1956 ON LINE: www.marquesdecollections.fr

Teaching support tools

Projections of PPT images, which will be made available to the student at the end of the course.
Other materials, which will be made available in a manner to be communicated as the course progresses, relating to specific thematic topics.

- C. M. Briquet, Les Filigranes: Dictionnaire Historique de Marques du papier, Geneve 1907, 2nd ed. Leipzig 1932. ON LINE http://www.ksbm.oeaw.ac.at/_scripts/php/BR.php

GOLD AND IVORY: PRECIOUS ARTS IN BYZANTIUM AND THE WEST (4TH-13TH CENTURIES)

The arts referred to, with an obsolete term, as “minor” were an essential component of medieval aesthetics, in Europe as well as in the Byzantine world. This is evidenced not only by the variety of artifacts that still populate our museums, but also by the written sources that record their reception, meanings and modes of fruition.
The module aims to examine the production of precious objects in the Mediterranean area between the 4th and 13th centuries. Particular attention will be paid to enameled ornaments and ivory carvings, two artistic media that enjoyed great popularity both in Byzantium and in the West. They will be studied in their technical, stylistic and typological aspects, as well as in their relationship to monumental art. We will also investigate the channels of dissemination, reuse and recontextualization (often a true resemantization) in both medieval and modern times of objects whose appreciation over time can effectively be defined as “global”.
Lectures will take place mainly in the classroom but visits to collections and museums may be envisaged; as part of seminar-type activities, students will practice presentation skills on the topics covered in the module.

Exam bibliography will be specified at the beginning of the second semester.

Caravaggio 2024 news and issues
The course will focus on the critical update of the master's career, in connection with the monographic exhibition to be held at the Galleria Nazionale di Arte Antica in Rome, Palazzo Barberini from March 2025.

The bibliography will be based on the catalogue of the Palazzo Barberini exhibition and will be provided in detail at the beginning of the course.

Sacred spaces in post-Tridentine Rome (1565-1615). Decoration and family self-representation in the oratories, churches and chapels of the papal city.

The course aims at analysing and interpreting some liturgical spaces in the city of Rome, in particular the articulation and decoration of sacred buildings and places - such as oratories of the confraternities, churches of the newly founded religious orders and noble chapels - after the conclusion of the Council of Trent, understood as places of self-representation and social and political affirmation of the patrons, both secular and religious. We will therefore examine the spaces created or reshaped in the post-Tridentine era, conceived as vehicles of Catholic propaganda, or as places of affirmation of the social status of a family or patron, trying to interpret the dynamics behind the conception, creation and ornamentation of these places, with a focus on their pictorial and sculptural decorations.

Oratori:

M. G. Bernardini, L’oratorio del Gonfalone. Il ciclo cinquecentesco della Passione di Cristo, Cinisello Balsamo 2002, pp. 19-44; 51-115.

J. von Henneberg, L’oratorio dell’Arciconfraternita del Santissimo Crocifisso di San Marcello, Roma 1974, pp. 11-83.

R. Eitel-Porter, The Oratorio del SS. Crocifisso in Rome revisited, in “The Burlington Magazine”, Oct. 2000, pp. 613-623.

Chiese:

D. Ferrara, Artisti e committenze alla Chiesa Nuova in La Regola e la Fama, catalogo della mostra Roma, pp. 108-129.

S. Barchiesi, San Filippo Neri e l’iconografia mariana della Chiesa Nuova, in La Regola e la Fama, catalogo della mostra Roma, pp. 130-149.

H. Hibbard, Ut pictura sermones: le prime decorazioni dipinte al Gesù, in R. Wittkower e I. Jaffe, Architettura e arte dei Gesuiti, Milano 1972, pp. 30-43.

C. Robertson, Il Gran Cardinale. Alessandro Farnese Patron of the Arts, New Haven – Yale 1992, pp. 149-206.

G. A. Bailey, Between Renaissance and Baroque: Jesuit Art in Rome. 1565-1610, Toronto 2009, pp. 187-260.

Cappelle:

C. Franceschini, Ricerche sulle cappelle di famiglia a Roma in età moderna, in “Archivio Italiano per la storia della pietà”, 2002, pp. 345-513.

S. F. Ostrow, L’arte dei papi. La politica delle immagini nella Roma della Controriforma, Roma 2002, pp. 19-228.

P. Tosini, New Documents for the Chronology and Patronage of the Cappella del Rosario in Santa Maria sopra Minerva, in “The Burlington Magazine”, 2010, pp. 517-522.

P. Tosini, The Frangipani Chapel in San Marcello: Farnesian Devotion, Antiquarian Taste, and Municipal Pride, in Chapels of the Cinquecento and Seicento in the Churches of Rome. Form, Function, Meaning, Officina Libraria, Roma 2020, pp. 18-39.

C. Franceschini, A Splendid Shine for an Ugly Image: Visual interactions in the Salviati Chapel at San Gregorio al Celio, in Chapels of the Cinquecento and Seicento in the Churches of Rome. Form, Function, Meaning, Officina Libraria, Roma 2020, pp. 112-145.

E. Parlato, Caetani’s Blood: Magnificence, Lineage, and Martyrdom in the Family Chapel in Santa Pudentiana, in Chapels of the Cinquecento and Seicento in the Churches of Rome. Form, Function, Meaning, Officina Libraria, Roma 2020, pp. 64-87.

The course (first semester) is a reading, discussion and research seminar. The theme of the seminar will be announced at the beginning of the class.

Weekly readings, including essays in Italian and English, will be announced shortly. For both regular and “non attending” students, the readings will be available at the art history library “Luigi Grassi” (Piazza della Repubblica 10) and via Moodle.

Bibliographic research for the final paper is part of the required work and will be evaluated as such.

Which theoretical and cultural paradigms does the restoration of works of art refer to in the society in which we are now living? The course begins by analysing recent cases of conservation restoration, grasping the links with similar thematic areas that connote the outlook of our time (contemporary art, museology, diagnostic tools, digital reproduction of works of art and virtual restoration).
The lectures therefore explore - in the classroom, in museums, in the field, in restoration workshops - the history of conservation restoration between the 19th and 21st centuries, with reference to both the national and international context.
Particular attention is paid to historical sources and material traces of the conservation history of works of art, in order to understand the changes of practices and specific vocabulary.
Seminars and conferences by professionals involved in restoration work will be part of the course.

By narrowing the focus on the Italian historiographical situation of the modern era, the course aims to provide the critical tools necessary to approach the complex topic of the relationship between the figurative arts and the contexts of their production and reception. The lectures are structured according to a seminar criterion: that is, students will be involved in an active role by tackling specific papers agreed upon with the teacher.

PER I FREQUENTANTI:
1. E. Castelnuovo, C. Ginzburg, Centro e periferia, in Storia dell’arte italiana, parte prima: materiali e problemi, I. Questioni e metodi, a cura di G. Previtali, Torino, Einaudi, 1979, pp. 285-352 (oppure nella recente riedizione: Centro e periferia nella storia dell’arte italiana, Milano, Officina Libraria 2019).

2. B. Toscano, Vademecum per una storia dell’arte che non c’è, in Conservato e perduto a Roma. Per una storia delle assenze, a cura di L. Barroero, B. Toscano, nella rivista «Roma moderna e contemporanea», 1998, 1-2, pp. 15-33.

3. B. Toscano, Volti della città assente, in La città assente. La via Alessandrina ai Fori imperiali, a cura di B. Toscano, Roma, Agorà Edizioni 2006, pp. 1-13.

4. A. Carandini, La forza del contesto. Come estrarre dai beni inanimati, immersi nel sonno della storia, il potenziale capace di risvegliarli?, Roma-Bari, Laterza 2017, pp. 10-24, 30-33, 85-87, 97-99.

5. A. Pinelli, Postfazione, in S. Settis, Artisti e committenti tra Quattro e Cinquecento, Torino, Einaudi, 2010, pp. 213-234.

6. F. Haskell, Patrons and Painters, 1963, ed. it. Mecenati e pittori, ed. 2020, a cura di Tomaso Montanari, Torino, Einaudi
(soltanto i capitoli trattati a lezione).

7. D. Freedberg, Il potere delle immagini. Il mondo delle figure: reazioni ed emozioni del pubblico, Torino, Einaudi, pp. 130-291, 421-469.

8. A. De Marchi, Filologia ricostruttiva, la sfida scientifica e divulgativa di Federico Zeri verso il 1960, fra storiografia italiana e anglosassone, in Il mestiere del conoscitore - Federico Zeri, a cura di A. Bacchi, D. Benati, M. Natale, Cinisello Balsamo, Milano, pp. 44-81.

9. Annibale Carracci: gli affreschi della cappella Herrera, catalogo della mostra (Roma, 2022-2023), a cura di Andrés Ubeda de Los Cobos, Milano, Skira, 2022, pp. 13-167.

10.A. Pinelli, La bellezza impura. Arte e politica nell’Italia del Rinascimento, Roma-Bari, Laterza, 2004.

11. M.V. Fontana, A Napoli, al fianco del cardinal Gesualdo, in Itinera tridentina. Giovanni Balducci, Alfonso Gesualdo e la riforma delle arti a Napoli, Roma, Editoriale Artemide, 2019, pp. 147-201.

12. M.V. Fontana, Domenico Fontana e la pittura postridentina nel Viceregno. Il duomo di Napoli, le cripte di Salerno e Amalfi, in “Le invenzioni di tante opere”. Domenico Fontana (1543-1607), a cura di N. Navone, L. Tedeschi, P. Tosini, Roma 2022, pp. 229-247.

13. M.V. Fontana, Una descrizione inedita della quadreria di Montecassino nel XVII secolo: presenze, assenze e prime identificazioni, in «Bollettino d’Arte», 2022 (2023), pp. 1-59.

14. M.V. Fontana, Le Stanze di San Benedetto. La quadreria di Montecassino da Urbano VIII al Novecento, Roma 2023, pp. 39-94, 341-354.

15. E. Gianandrea, E. Scirocco, Sistema liturgico, memoria del passato, sintesi retorica. L’arredo ecclesiastico medievale in Italia dalla Controriforma al post-Vaticano II, in Re-thinking, Re-making, Re-living Christian Origins, a cura di I. Foletti, M. Gianandrea, S. Romano, Elisabetta Scirocco, Roma, Viella, 2018, pp. 407-451.

16. R. Morselli, Professione pittore. Produttività, organizzazione e gestione a Bologna tra Cinque e Seicento, Venezia, Marsilio, 2022.

PER I NON FREQUENTANTI
In aggiunta allo studio di tutti i materiali bibliografici adottati nel corso, gli studenti non frequentanti devono dimostrare un’approfondita conoscenza critica di almeno uno dei testi seguenti:

1. J. Freiberg, The Lateran in 1600: Christian concord in Counter-Reformation Rome, Cambridge 1995.
2. Baronio e le sue fonti, atti del convegno (Sora 2007), a cura di L. Gulia, pp. LI-LVIII, 3-50, 133-150, 301-325, 549-578, 791-932.
3. M. Firpo, Tra politica e religione. Nuovi studi su immagini e storia nel ’500, Pisa 2016;
4. Re-thinking, re-making, re-living Christian origins, a cura di I. Foletti, M. Gianandrea, S. Romano, E. Scirocco, Roma 2018, pp. 9-146, 209-234, 333-346, 407-452;
5. Chapels of the Cinquecento and Seicento in the Churches of Rome, a cura di C. Franceschini, S. Ostrow, P. Tosini, Milano 2020.

1) Paola Carucci - Maria Guercio, Manuale di Archivistica. Nuova edizione, Roma, Carocci 2021 (in particolare i capitoli 1-2, 5-10, 12-13) alternatively Federico Valacchi, Diventare archivisti, Milano, Bibliografica, 2023.

2) Isabella Zanni Rosiello, Gli Archivi nella società contemporanea, Bologna, Il Mulino, 2009.

3) Raffaele Pittella, “Hence that sense of new air”. Archival debate and historiographical developments in Italy between the early and late 20th century, in “JLIS.it”, vol. 15, no. 2 (May 2024), pp.1-15.

4) G. Cencetti, Sull’archivio come «universitas rerum», in «Archivi», vol. IV, fasc. I (1937), pp. 3-13; G. Cencetti, Inventario bibliografico e inventario archivistico, in «L'archiginnasio», n. XXXIV, 1-3 (1939), pp. 106-117.

5) C. Pavone, Intorno agli archivi e alle istituzioni, Roma 2004, pp. 71-75 (Ma è poi tanto pacifico che l'archivio rispecchi l’istituto? [1970]).

Papyrus in the Middle Ages: A Mediterranean History (4th-11th Centuries).

This course aims to address, through seminar-style approaches, the history of papyrus in the Middle Ages. It is a classic topic that, starting from Henri Pirenne's research, has been consistently investigated by scholars of written culture, who have viewed papyrus as a writing material, as well as by historians of economics, who have regarded papyrus as an indicator of trade relations across the Mediterranean.

Taking into account interpretations and debates surrounding this topic or related themes, the lessons aim to discuss studies (books, essays), and especially sources (translated into Italian) based on a specific questionnaire: in which areas of the Mediterranean was papyrus produced, and how? What were the logics, dynamics, and economic actors of its circulation across the Mediterranean after the fall of the Western Roman Empire (476)? Did circulation encounter obstacles after the 7th century due to religious differences between Islam and Christianity? What were its areas of usage? How did these areas of usage vary depending on the cultural, geographical, economic, and political contexts? What impact did the economic logic of papyrus have on European cultural dynamics? When did the history of papyrus end, and why? How does the history of papyrus interact with our understanding of the cultural and economic history of the medieval Mediterranean?

Note well: In addition to participating in the discussions during the lessons, in the final section of the course students will be required to prepare and discuss, individually or in groups, a brief written text.

For attending students, the exam is essentially based on the materials provided by the professor and discussed in class. For reference reading, one can consider D. Internullo, Il papiro, la pergamena e le origini della memoria archivistica dell’Europa occidentale (secoli VI-XI), in Segni, sogni, materie e scrittura dall’Egitto tardoantico all’Europa carolingia, ed. by A. Ghignoli, M. Boccuzzi, A. Monte, N. Sietis, Roma 2023, pp. 119-162 (it will be available in the proper Teams channel)

For non-attending students, the examination is based on the comprehensive study of:
H. Pirenne, Maometto e Carlomagno, any of the many editions available
- C. Picard, Il mare dei califfi. Storia del Mediterraneo musulmano (secoli VII-XII), Roma, Carocci, 2017
- D. Internullo, Il papiro, la pergamena e le origini della memoria archivistica dell’Europa occidentale (secoli VI-XI), in Segni, sogni, materie e scrittura dall’Egitto tardoantico all’Europa carolingia, ed. by A. Ghignoli, M. Boccuzzi, A. Monte, N. Sietis, Roma 2023, pp. 119-162
Note well: in addition to an integral study, non-attending students are also asked to make the three readings interact with each other, trying in particular to understand: a) how our knowledge of Mediterranean history has changed since Pirenne's book publication - thus paying attention to Picard's book in this regard; b) how the data on papyrus circulation (cf. Internullo's essay) interacts with our knowledge of the Mediterranean.

Note well 2: A remedial programme must be agreed with the lecturer for those who have never taken a basic Medieval History examination (M-STO/01).

Never before in recent years has the idea of Europe been at the center of public debate: for some, it is the only lifeline against nationalism and war; for others, it is the ultimate cause of all our problems and woes, especially economic ones. The invasion of Ukraine by Vladimir Putin's Russia in February 2022 has not only revived the classic themes of war and peace in public discourse but also brought back into focus the issue of the eastern expansion of the concept of Europe, a question with extraordinary historical depth.
Only a profound understanding of the long-term history of European civilization and its interactions with other civilizations around the globe can allow us to decode issues that only superficially appear to be purely contemporary. In the first part of the course, we will focus on the evolution of the notion of Europe, the various thoughts about Europe, and the long-term development of European consciousness. In the second part, we will delve into the phenomenon of exodus and internal migrations within the continent for religious reasons: whether voluntary or forced, they are the dramatic outcome of the process of confessionalization and the construction of modern statehood, characterized by the pursuit of purity through the expulsion and marginalization of religious diversity

First section: 'History of Europe: ideas, perspectives, reflections' (6 ECTS)

Reference books:

Lucien Febvre, L’Europa. Storia di una civiltà, Roma, Donzelli.
Federico Chabod, Storia dell’Idea d’Europa, Roma-Bari, Laterza.
Additional book for students who will not attend the lessons: Egidio Ivetic, Studiare la storia del Mediterraneo, Bologna, Il Mulino, 2024


Second section: "The Europe of exoduses and migrations 'religionis causa'".

Reference books:

Nicholas Terpstra, Purezza e fede. Esuli religiosi nell’Europa moderna, Bologna, Il Mulino.
Bruno Pomara Saverino, Rifugiati. I moriscos e l'Italia, Firenze, Firenze University Press, scaricabile gratuitamente dal sito: https://www.fupress.com/catalogo/rifugiati/3516

Those who only need to take 6 ECTS are required to study the first teaching unit.
IT IS POSSIBLE TO USE THIS BIBLIOGRAPHY STARTING FROM JUNE-JULY 2025, EXCLUSIVELY.

The course will first of all analyse the main issues concerning the political, religious, cultural and social structures that originated with the break-up of Christian unity in the first decades of the 16th century. Secondly, the religious experience of the controversial Dominican reformer Battista da Crema, active between the end of the 15th and the beginning of the 16th century, whose doctrine and works were condemned by ecclesiastical institutions, will be explored in depth through seminar lectures.

1) L. Felici, La Riforma protestante nell’Europa del Cinquecento, Roma, Carocci

2) Q. Mazzonis, Riforme di vita cristiana nel Cinquecento italiano, Soveria Mannelli, Rubbettino

3) A. Vanni, “«Contra la leze». Alcune riflessioni sull’Epistola familiare di Battista da Crema”, in Id., Testimonianze e linguaggi di storia religiosa del Cinquecento, Roma, Aracne, 2016, pp. 53-145 [pdf su Teams].

4) A. Vanni, “Tra confraternite, comunità religiose e percorsi di istituzionalizzazione. Modalità e strategie di riforma e proselitismo in Battista da Crema”, in Verso la Riforma. Criticare la Chiesa, riformare la Chiesa, a cura di S. Peyronel, Torino, Claudiana, 2019, pp. 419-440 [pdf su Teams].

The aim of the course is to analyse the history of European systems in the second half of the 20th century from the angle of Italy, highlighting common challenges and national specificities.

For bureaucratic-administrative reasons the course is divided into two modules of 6 CFU each. Despite this, the lectures will follow a thematic pattern common to both modules. The topics of the books in the second module (‘Berlusconism’ and one of the countries of choice) will in fact already be addressed in the lectures on the first module. In short, the distinction is purely bureaucratic and not one of content. Attendance is therefore recommended to all for the entire duration of the course, regardless of the number of Cfu to be recorded.

In any case, since the bureaucratic subdivision is there, then in defining the syllabuses and course books the distinction should be made

TEMA:
L’Europa nella seconda metà del XX secolo e l’emergere dei movimenti populisti
TESTI:
- Leonardo Rapone (a cura di), "L’Europa del novecento", Carocci, 2020, da pag. 149 a pag. 436
- Marco Tarchi, L’Italia populista, Il Mulino, 2015

In più, A SCELTA, UNO dei seguenti temi, con relativi testi

TEMA: "L'Italia nelle trasformazioni internazionali tra la fine del XX secolo e l'inizio del XXI secolo"
TESTO: "L’Italia contemporanea dagli anni Ottanta a oggi", Carocci, Roma, 2015
- Vol. I, "Fine della guerra fredda e globalizzazione" a cura di Silvio Pons, Adriano Roccucci, Federico Romero
Chi sceglie questo volume deve studiare i saggi di:
- Federico Romero, "L'Italia nelle trasformazioni sociali di fine Novecento", pp. 15-34;
- Silvio Pons, "La bipolarità italiana e la fine della Guerra Fredda", pp. 35-53,
- Valerio Castronovo, "L’Italia nel mercato globale", pp. 71-83;
- Antonio Varsori, "Dalla caduta del Muro di Berlino a Tangentopoli: la dimensione internazionale della crisi della Prima Repubblica”, pp. 209-222;
- Daniela Preda, "Il lungo travaglio istituzionale europeo (1992-2012)", pp. 299-315

TEMA: "Mutamento sociale e cambiamento dei costumi nell'Italia tra la fine del XX e l'inizio del XXI secolo.
TESTO: "L’Italia contemporanea dagli anni Ottanta a oggi", Carocci, Roma, 2015
- Vol. II, "Il mutamento sociale", a cura di Enrica Asquer, Emanuele Bernardi, Carlo Fumian.
Chi sceglie questo volume deve studiare i saggi di:
- Chiara Saraceno, "Famiglie, rapporti di genere e generazioni, politiche sociali", pp. 81-97
- Paolo Capuzzo, "I consumi tra economia e cultura nell’Italia del dopo boom (1973-2008)", pp. 179-197,
- Emanuela Scarpellini, "Consumi e attori sociali: le nuove identità dei consumatori italiani", pp. 199-210,
- Stefano Cavazza, "Consumi, società e politica in Italia (1980-2000)", pp. 211-225
- Giovanni Gozzini, "La televisione tra due repubbliche", pp. 227-242

TEMA: Il Sistema politico degli anni Ottanta, la crisi e il crollo, "Tangentopoli", l'avvento di Berlusconi, il nuovo sistema politico bipolare tra fine XX e inizio XXI secolo
TESTO: "L’Italia contemporanea dagli anni Ottanta a oggi", Carocci, Roma, 2015
- Vol. III, "Istituzioni e politica", a cura di Simona Colarizi, Agostino Giovagnoli, Paolo Pombeni.
Chi sceglie questo volume deve studiare i saggi di:
- Simona Colarizi, "Politica e antipolitica dalla Prima alla Seconda repubblica", pp. 333-347;
- Paolo Segatti, "La nascita della Lega: un capitolo di una storia che ci appartiene", pp. 351-360;
- Filippo Sbrana. Nord non chiama Sud. Genesi e sviluppi della questione settentrionale", pp. 361-381
- Gianfranco Baldini, "Forza Italia: un partito unico", pp. 423-435;
- Andrea Possieri, "Un riformismo incompiuto: il primo governo Prodi", pp. 509-528.

I tre volumi da cui sono estratti i saggi, oltre ad essere acquistabili nelle librerie, sono disponibili presso la Biblioteca Nazionale Centrale, la Biblioteca di Storia Moderna e Contemporanea di Via Caetani, nonché le biblioteche dei principali istituti culturali, la cui collocazione è immediatamente rilevabile sul sito del sistema bibliotecario Nazionale, SBN.
In più, ne è stata fatta richiesta di acquisizione presso il Sistema Bibliotecario di Ateneo di Roma Tre.
Nel caso ci fossero difficoltà a reperirli, una copia in Pdf sarà caricata sulla piattaforma Moodle


Per il MODULO DUE, vanno studiati i seguenti temi, coi relativi testi

1) Il “Berlusconismo”, come fenomeno sociale e politico in una prospettiva comparativa internazionale
TESTO: Giovanni Orsina, "Il Berlusconismo nella storia d‘Italia", Marsilio, Venezia, 2013

2) Un approfondimento sulla storia politico sociale di uno dei principali paesi europei.
TESTI: portare UNO A SCELTA fra i seguenti testi:
- Riccardo Brizzi, Michele Marchi, "Storia politica della Francia repubblicana", Le Monnier, 2011, dal cap. 5 alla fine;
- Giulia Guazzaloca, "Storia della Gran Bretagna 1832-2014", Le Monnier, 2015, dal cap. 9 alla fine;
- Gustavo Corni, "Storia della Germania", Il Saggiatore, Milano, 2017, dal cap. 8 alla fine;
- Carmelo Adagio, Alfonso Botti, “Storia della Spagna democratica”, Bruno Mondadori, 2006

Beginning with the debate that has become more heated since the beginning of the 21st century, and in recent years, on the need to rethink the system of conservation and management of cultural heritage, the course starts from considerations that arise from knowledge of the history of restoration (see characterising course History and theories of conservation and restoration). It therefore traces in a diachronic manner cultural passages that, from the 18th century to the present day, have determined the history of the conservation and maintenance of 'cultural heritage', which means the history of a methodological approach centred on distinct actions with respect to the punctual restoration intervention on the individual object.
Through the analysis of historical sources, the first part of the course aims to clarify, from the mid-eighteenth century to the present day, the transitions from the culture of ordinary maintenance - both at the territorial level and in the care of movable works in public or private collections - up to 'planned conservation' and the more recent reflections and discussions on its actualisation.
Moving from the theoretical level to the results of applied research, the second part of the course delves into the problems and perspectives that characterise the experiences of conservation, planned conservation and maintenance in the 20th and 21st centuries, up to considering the prospects and effects of the application of Law 133/2020 (ratification in Italy of the Faro Convention).
Meetings with professionals and experts, together with participation in a study 'site', in which basic research is linked to applied research, complete the training course.

• B. Zanardi, Introduzione. Le attività di tutela dopo il 1963, in Bruno Zanardi, Conservazione, restauro e tutela. 24 dialoghi, Skira, Milano 1999, pp. 9-52.
• S. Cecchini, Trasmettere al futuro. Tutela, manutenzione, conservazione programmata, Gengemi, Roma 2012.
• Le reti museali. Una rilettura storico-critica, in Valter Curzi, a cura di, Museo e territorio (1972-2000), pp. 247-296.
• G. Urbani, Il restauro e la storia dell’arte; Problemi di conservazione; Dal restauro alla manutenzione, in Intorno al restauro, a cura di Bruno Zanardi, Skira, Milano 2000, pp. 15-18, 25-29, 31-35.

GOLD AND IVORY: PRECIOUS ARTS IN BYZANTIUM AND THE WEST (4TH-13TH CENTURIES)

The arts referred to, with an obsolete term, as “minor” were an essential component of medieval aesthetics, in Europe as well as in the Byzantine world. This is evidenced not only by the variety of artifacts that still populate our museums, but also by the written sources that record their reception, meanings and modes of fruition.
The module aims to examine the production of precious objects in the Mediterranean area between the 4th and 13th centuries. Particular attention will be paid to enameled ornaments and ivory carvings, two artistic media that enjoyed great popularity both in Byzantium and in the West. They will be studied in their technical, stylistic and typological aspects, as well as in their relationship to monumental art. We will also investigate the channels of dissemination, reuse and recontextualization (often a true resemantization) in both medieval and modern times of objects whose appreciation over time can effectively be defined as “global”.
Lectures will take place mainly in the classroom but visits to collections and museums may be envisaged; as part of seminar-type activities, students will practice presentation skills on the topics covered in the module.

Exam bibliography will be specified at the beginning of the second semester.

The course aims to provide students with a general background in the visual arts and ornament in the Medieval Mediterranean arena, retracing the main stages of historiography on the subject.
Through selected case studies (Hagia Sophia in Constantinople and the Dome of the Rock in Jerusalem, San Vitale in Ravenna and the Great Mosque of Cordova, the Palatine Chapel in Palermo and San Lorenzo f.l.m. in Rome), an in-depth study of transcultural relationships between East and West in the 6th-13th centuries and among different visual, ornamental and esthetic languages will be provided.

Readings and bibliography

Medieval Mediterranean Art History

Mandatory:
• Caskey, Cohln, Safran, Art of the Middle-Ages, 2022
o chap. 2: St Peter church, pp. 53-58;
o chap. 3: Six to mid-seventh century, Hagia Sophia, San Vitale
o chap. 4: Mid-seventh to late eighth century, Dome of the Rock, Damascus mosque
o chap. 7: Romanesque  1070 – 1170

Byzantine Art

Mandatory:
• Kitzinger, Byzantine art in the making, 1977
o ch. 5: The Justinian Synthesis

Mandatory for non-attending students only:
• Kitzinger, Byzantine art in the making, 1977
o ch. 1: Ancient Art in crisis

Islamic Art

Mandatory:
• Ettinghausen, Grabar, Islamic art and architecture, 2001
o Chapter 2: Dome of the Rock, pp. 15-19; Damascus Mosque, pp. 22-26; Ibn Tulun Mosque and Kairouan mosque, pp. 30-36; Abbasids, pp. 51-59;
o Chapter 3: Omayyad Cordoba, pp. 81-98:
o Chapter 6: The Fatimids, pp. 187-213;
o Chapter 8: Islam out of Islam, pp. 291-302

Mandatory for non-attending students only:

• Grabar, The Formation of Islamic Art, 1973
o Introduction
o 1. The Problem
o 3. The Symbolic Appropriation of the Land
o 4. Islamic Attitudes toward the Arts
o 8. The Formation of Islamic art

Facultative:
• Rosser-Owen Mariam, Islamic Art from Spain – 2010
o Intro
o Age of Empire

Ornament and Theory of art

Mandatory:
• Grabar, The Mediation of Ornament, 1992
o Preface
o Introduction
o Chap. I " A Theory of intermediaries in Art")
o Chap. III Geometry

Mandatory for non-attending students only:
• Gombrich, Art and Illusion, 1960
o Preface
o Introduction. Psychology and the riddle of style

Facultative:
• Grabar Andrè, Les origines esthétique médiévale, 1992 (also available in Italian and Spanish translation)
o Préface
o Plotin
o L’intelligible

• Trilling, Ornament. A modern perspective, 2004
o Preface
o Chap. 1: How ornament works


Norman Sicily

Mandatory:
• Higgs and Booms, Sicily, culture and conquest, 2017
o Chapter 4, pp. 172-228;
o Chapter 5, pp. 229-245;
• Longo, Anzelmo, From Creation to Communication, Reviewing Art in Norman Sicily 2022;
• Kapitaikin, Norman Sicily and the stage of multiculturalism, 2017
• Longo, The Royal Palace 2010 (with Italian version including pics);
• Longo, The first Norman cathedral in Norman Palermo, 2018;

Mandatory for non-attending students only:
• MWNF, Leone, Mauro et al. Siclulo-Norman Art Islamic Culture in Sicily, 2003
o Islamic Art in the Mediterranean: pp 15-34;
o Historical Artistic Intro: pp. 35-65;
o Royal Palace and Palatine Chapel: pp. 123-132;
o Martorana and San Cataldo: pp. 158-163;
o Cefalù: pp. 249-254;
o Cathedrals (Palermo and Monreale): pp 135-149;
o Favara Palace: pp.115-118;
o Norman Palaces: pp: 67-84;
o XIX century studies: pp. 85-86;

• Kitzinger, Byzantine studies, Norman Sicily, collection of essays:
o Cappella Palatina, arrangement of subjects, 1949, pp. 1001-1054
o Roger II mantle, 1950, pp. 1055-1062;
• Ćurčić, Some Palatine aspects of the Cappella Palatina, 1987;
• Bongianino, King’s Chapel, 2017;
• Grabar, Experience of Islamic Art at the Margins, 2005;

• Winkler, et al, Designing Norman Sicily, 2020:
o Introduction: pp. 1-21;
o Reilly, Roger II and Medieval Visual Culture, pp.23-46;
o Tronzo, The interplay of media: pp. 47-59;


Facultative:
• Longo, Forma e Sostanza, with pseudo-Dionysius Areopagite (in Italian) 2023;
• Nef, Companion to Medieval Palermo, essays:
o Di Liberto, Norman Architecture: pp. 139-194;
o Pezzini, Forma urbis: pp. 195-232;
• Higgs and Booms, Sicily, culture and conquest, 2017
o Frederick II and Nobiles Officinae, pp. 246-269;
• Longo, Idealizing medieval medierranean, 2018
• Armando, Role and perception of Islamic Art in Sicily, 2017;
• Bloom, Islamic (Fatimid?) Art in Sicily, 2008;
• Johnson, Episcopal and royal views in Cefalù, 1994;
• Kessler, Peter and Paul in Palermo (in Italian), 2010;
• Johns, Savage-Smith, The Book of Curiousities, Imago Mundi 55, 2003;
• Borsook, Messages in Mosaics, 1990;
• Peters-Custot, How Byzantine was Norman Sicily, 2018;
• Tranchina, Emir’s God, 2019

Caravaggio 2024 news and issues
The course will focus on the critical update of the master's career, in connection with the monographic exhibition to be held at the Galleria Nazionale di Arte Antica in Rome, Palazzo Barberini from March 2025.

The bibliography will be based on the catalogue of the Palazzo Barberini exhibition and will be provided in detail at the beginning of the course.

Sacred spaces in post-Tridentine Rome (1565-1615). Decoration and family self-representation in the oratories, churches and chapels of the papal city.

The course aims at analysing and interpreting some liturgical spaces in the city of Rome, in particular the articulation and decoration of sacred buildings and places - such as oratories of the confraternities, churches of the newly founded religious orders and noble chapels - after the conclusion of the Council of Trent, understood as places of self-representation and social and political affirmation of the patrons, both secular and religious. We will therefore examine the spaces created or reshaped in the post-Tridentine era, conceived as vehicles of Catholic propaganda, or as places of affirmation of the social status of a family or patron, trying to interpret the dynamics behind the conception, creation and ornamentation of these places, with a focus on their pictorial and sculptural decorations.

Oratori:

M. G. Bernardini, L’oratorio del Gonfalone. Il ciclo cinquecentesco della Passione di Cristo, Cinisello Balsamo 2002, pp. 19-44; 51-115.

J. von Henneberg, L’oratorio dell’Arciconfraternita del Santissimo Crocifisso di San Marcello, Roma 1974, pp. 11-83.

R. Eitel-Porter, The Oratorio del SS. Crocifisso in Rome revisited, in “The Burlington Magazine”, Oct. 2000, pp. 613-623.

Chiese:

D. Ferrara, Artisti e committenze alla Chiesa Nuova in La Regola e la Fama, catalogo della mostra Roma, pp. 108-129.

S. Barchiesi, San Filippo Neri e l’iconografia mariana della Chiesa Nuova, in La Regola e la Fama, catalogo della mostra Roma, pp. 130-149.

H. Hibbard, Ut pictura sermones: le prime decorazioni dipinte al Gesù, in R. Wittkower e I. Jaffe, Architettura e arte dei Gesuiti, Milano 1972, pp. 30-43.

C. Robertson, Il Gran Cardinale. Alessandro Farnese Patron of the Arts, New Haven – Yale 1992, pp. 149-206.

G. A. Bailey, Between Renaissance and Baroque: Jesuit Art in Rome. 1565-1610, Toronto 2009, pp. 187-260.

Cappelle:

C. Franceschini, Ricerche sulle cappelle di famiglia a Roma in età moderna, in “Archivio Italiano per la storia della pietà”, 2002, pp. 345-513.

S. F. Ostrow, L’arte dei papi. La politica delle immagini nella Roma della Controriforma, Roma 2002, pp. 19-228.

P. Tosini, New Documents for the Chronology and Patronage of the Cappella del Rosario in Santa Maria sopra Minerva, in “The Burlington Magazine”, 2010, pp. 517-522.

P. Tosini, The Frangipani Chapel in San Marcello: Farnesian Devotion, Antiquarian Taste, and Municipal Pride, in Chapels of the Cinquecento and Seicento in the Churches of Rome. Form, Function, Meaning, Officina Libraria, Roma 2020, pp. 18-39.

C. Franceschini, A Splendid Shine for an Ugly Image: Visual interactions in the Salviati Chapel at San Gregorio al Celio, in Chapels of the Cinquecento and Seicento in the Churches of Rome. Form, Function, Meaning, Officina Libraria, Roma 2020, pp. 112-145.

E. Parlato, Caetani’s Blood: Magnificence, Lineage, and Martyrdom in the Family Chapel in Santa Pudentiana, in Chapels of the Cinquecento and Seicento in the Churches of Rome. Form, Function, Meaning, Officina Libraria, Roma 2020, pp. 64-87.

This course is designed for master’s degree students who have already completed core examinations in art history during their undergraduate studies. It aims to deepen and refine their skills in the stylistic analysis of artworks. Through a combination of lectures, tutorials, seminars, and field activities—including visits to churches and museums—the course offers a structured methodology for interpreting and decoding European painting, sculpture, and decorative arts from the Middle Ages to the present day. Special attention is also given to artistic techniques, the history of art criticism, and the history of restoration.

Federico Zeri, Bernini contro Bernini, in “L’Europeo”, 13 ottobre 1980, poi ripubblicato nella raccolta di saggi intitolata Mai di traverso Milano 1982, pp. 94-97.
Andrea Bacchi, Il conoscitore laconico: Federico Zeri e i due Bernini, in Il mestiere del conoscitore - Federico Zeri, Bologna 2021, pp. 368-393.
Bernard Berenson, Amico di Sandro, con un saggio di Patrizia Zambrano, Milano 2006.
Laura Cavazzini, Un polittico di Giotto ricomposto, in Il mestiere del conoscitore. Roberto Longhi, a cura di Anna Maria Ambrosini Massari, Andrea Bacchi, Daniele Benati, Aldo Galli, Bologna 2017, pp. 59-77.
Gianni Papi, Jusepe de Ribera a Roma e il Maestro, in “Paragone”, 53, 2002, pp. 21-43
Vittoria Romani, Tibaldi “d’intorno” a Perino, Padova 1990.

The course (first semester) is a reading, discussion and research seminar. The theme of the seminar will be announced at the beginning of the class.

Weekly readings, including essays in Italian and English, will be announced shortly. For both regular and “non attending” students, the readings will be available at the art history library “Luigi Grassi” (Piazza della Repubblica 10) and via Moodle.

Bibliographic research for the final paper is part of the required work and will be evaluated as such.

E. Novelli, Le campagne elettorali in Italia, Laterza, Roma 2018.
E. Novelli, I manifesti politici. Storia e immagini dell’Italia repubblicana, Carocci 2021
Paolo Gribaudo, I partiti digitali, Il Mulino 2020.

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

1) Vera L. Zolberg, (2011) Constructing a Sociology of the Arts, Cambridge University Press, New York.
2) Anna Lisa Tota, and Trever Hagen (2016), Routledge International Handbook of Memory Studies, (eds.), Routledge, London chapters n. 1, 2, 6, 19, 30, and 31.

1) Arnaldo D’Addario, Lineamenti di storia dell’archivistica (secc. XVI-XIX), in «Archivio storico italiano», 148/1 (1990), pp. 3-35.

2) Elio Lodolini, Storia dell'archivistica italiana. Dal mondo antico alla metà del secolo XX, Milano, Franco Angeli, 2013 (sono da escludere dallo studio i capitoli che si riferiscono al Mondo Antico).

3) Raffaele Pittella, «A guisa di un civile arsenale». Carte giudiziarie e archivi notarili a Roma nel Settecento, in La documentazione degli organi giudiziari nell’Italia tardo/medievale e moderna, atti del convegno di studi (Siena, 15/17 settembre 208), a cura di A. Giorgi, S. Moscadelli, C. Zarrilli, Roma, Ministero per i Beni e le Attività culturali, 2012, pp. 669-767.

4) Raffaele Pittella, «Le carte di questo tabulario non presentano quel grande interesse che sarebbe ragionevole il supporre». Mito e anti/mito di Roma nella fondazione dell’Archivio storico capitolino (1870/1914), in Erudizione cittadina e fonti documentarie. Archivi e ricerca storica nell’Ottocento italiano (1840/1880), a cura di A. Giorgi, S. Moscadelli, G. M. Varanini, S. Vitali, Firenze, Firenze University Press, 2019, pp. 779-815.

Course title:
Cassiodorus' De anima

Course description:
The module, of a monographic nature, intends first of all to retrace, in broad terms, the developments of a theme - that of the soul - dear to the tradition of Western thought since its beginnings, and capable, as well as incessantly nourishing philosophical and religious reflection, so to speak, of a high level, also having a singular impact on mentalities, on the imagination, on life behaviors, on the self-perception and representation of the human being in Western culture, particularly in the Latin Middle Ages. A work will then be analyzed - Cassiodorus' De anima - which enjoyed widespread success for a long time, and which, due to its eclectic character but not without traits of originality, lends itself well to providing an articulated and problematic status quaestionis on the theme , as it took shape in the early medieval centuries, before the more complete elaborations of Scholasticism. – As part of the module, exercises will also be activated aimed at orienting towards the knowledge and use of the main bibliographic and IT tools for the study and research on Middle Latin authors.

- MAGNI AURELII CASSIODORI De anima, cura et studio J. W. Halporn, Brepols, Turnholti 1973 (Corpus Christianorum, Series Latina 96, 533-575).
- M. DI MARCO, Scelta e utilizzazione delle fonti nel "De anima" di Cassiodoro, in Studi e Materiali di Storia delle religioni, n.s. IX,1 (1985) 93-117;
- M. DI MARCO, Note sulla simbologia dei numeri nel "De anima" di Cassiodoro, in Cassiodoro dalla Corte di Ravenna al Vivarium di Squillace. Atti del Convegno Internazionale, Squillace 25-27 ottobre 1990, a cura di S. Leanza, Rubbettino, Soveria Mannelli-Messina 1993, 199-212.
- M. DI MARCO, Virtus adunationis. Alcuni esempi di innovazione lessicale nel De anima di Cassiodoro, in Varietate delectamur. Multifarious Approaches to Synchronic and Diachronic Variation in Latin. Selected Papers from the 14th International Colloquium on Late and Vulgar Latin (Ghent, 2022), Brepols, Turnhout 2024 (in corso di stampa).
- Anima e corpo nella cultura medievale, a cura di C. Casagrande e S. Vecchio, Ed. SISMEL, Firenze 1999 (Millennio medievale, 15).

1453: The 55 Days that Changed the World (“Ci sono luoghi in cui la storia è inevitabile come un incidente automobilistico — luoghi in cui la geografia provoca la storia. Uno è Istanbul, alias Costantinopoli, alias Bisanzio”. Iosif Brodskij)
Byzantine History and Civilisation LM module, which primarily targets Art History; Archaeology; Religions, Cultures, History; History and Society; Philology, Literatures and History of Antiquity students, examines the fall of Constantinople by the Ottoman Turks on 29 May 1453, following fifty-five days of siege led by the young and ambitious Sultan Mehmet II Fatih.
A topographical survey of the Byzantine capital will be provided in the course: Using maps, a faithful reconstruction of the city on the eve of its fall will be presented, highlighting the defensive structures, including the great Theodosian walls, the sea walls around the Sea of Marmara and the Golden Horn, and the walls surrounding the imperial palace of the Blacherne.; finally, the harbour, which was barred to enemy ships in the event of an attack by stretching a long chain from Constantinople to Pera/Galata in front). After that, the course will clearly reconstruct the various phases of the siege and the final battle, illustrating the findings of the research conducted by the chair of Byzantinistics at Roma Tre and corroborated by articles published and presentations given in national and international scientific contexts. These findings contradict the widely held view that the victory of the Turks was inevitable, due to superior numerical strength and armament, or even due to the "will to fall" (Braudel) of an exhausted Byzantium on a political level.
For the conclusion of the course, students will have the opportunity to attend an educational trip to the Peloponnese, in particular to the archaeological site of Mystras (Unesco heritage site since 1989), organized in collaboration with the Italian Cultural Institute of Athens and the Ephorate of Antiquities of Lakonia. The main purpose of the event will be to present on site to the participants various elements illustrated during the course of the lectures.

MANDATORY TEXTS
- S. Ronchey, Lo Stato bizantino, Torino, Einaudi, 2002
- A. Pertusi (a c. di), La caduta di Costantinopoli, 2 voll., Fondazione Lorenzo Valla / Mondadori, Milano 1976

Renaissance is the season of the long narrative, the epic-chivalric poem (Boiardo, Ariosto, Tasso), in many ways the direct ancestor of the modern novel; but it is also an incredibly prolific season for the short story, which, starting from Boccaccio's model, acquires different forms, in verse and prose (including many antecedents and sources of Shakespeare). The course will follow the evolution and interaction between these two narrative genres and examine related issues, from the question of the open narrative (the novel, which also originated as a serial story) or closed narrative (novella incorniciata) to the success with the general public.

Attendig students:
Handouts supplied by the professor and downloadable from Teams
A book of your chice from among:
- R. Bruscagli, Studi cavallereschi, Firenze, Società Editrice Fiorentina, 2003
- G. Mazzacurati, All’ombra di Dioneo: tipologie e percorsi della novella da Boccaccio a Bandello, a cura di Matteo Palumbo, Scandicci, La Nuova Italia, 1996 (in fotocopie)
- M. Roggero, Le carte piene di sogni. Testi e lettori in età moderna, Bologna, Il Mulino, 2006

Non-attending students:
Supplementary handouts
S. Carapezza, La novella nel Cinquecento, Milano, Unicopli, 2013

Dante's «Purgatory»

The course aims to offer a comprehensive and in-depth reading of Dante's "Purgatorio." Defined by the historian Jacques Le Goff as the "poetic triumph" of the purgatorial realm, the second cantica of the "Commedia" represents the first and most significant artistic elaboration of this afterlife zone, the existence of which had been definitively recognized by the Church only a few years earlier (1274). Special attention will be given to the ways in which the poet constructs an extremely detailed and profoundly coherent space from multiple perspectives (cosmological, theological, penitential). Its various sources will be examined, with special attention to the religious practices and the theological speculation of the time. Furthermore, the course will delve deeply into Dante's reflection on poetry in this cantica: from his encounters with Casella, the troubadour Sordello, and the classical poet Statius; to his investigation of fame and artistic progress in Canto 11, and the pivotal Cantos 24 and 26 where Dante engages with various predecessors, fully defining his own poetics and a tradition of reference.

Texts:
- Dante, "Divina Commedia. Purgatorio", a cura di Anna Maria Chiavacci Leonardi, Milano, Mondadori, 1994 [and further editions]
NB: the "Purgatorio" must be read in its entirety.

Critical bibliography (on Moodle):
- E. Auerbach, "Sacrae scripturae sermo humilis", in Id., "Studi su Dante", Milano, Feltrinelli, 2002, pp. 167-175 [1941];
- G. Contini, "Dante come personaggio poeta", in Id., "Un’idea di Dante. Saggi danteschi", Torino, Einaudi, 20013, pp. 33-62;
- A. Pegoretti, "Dal «lito diserto» al giardino. La costruzione del paesaggio nel «Purgatorio» di Dante", Bologna, Bononia University Press, 2007.

Students not attending lectures will integrate their preparation reading the following essays (on Moodle):
- C. Delcorno, "Exemplum e letteratura tra Medioevo e Rinascimento", Bologna, il Mulino, 1989, Introduzione e pp. 195-227;
- E. Pasquini, "Il dominio metaforico", in Id., "Dante e le figure del vero. La fabbrica della «Commedia»", Milano: Bruno Mondadori, 2001, pp. 179-217
- E. Raimondi, "Rito e storia nel primo canto del «Purgatorio»", in Id., "Metafora e storia. Studi su Dante e Petrarca", Torino: Einaudi, 1977 [1970], pp. 65-94.

• Integrated approach between economics and environment
• Sustainable development
• Environmental degradation and market failures
• The Coase's Theorem
• Environmental taxes and environmental standards
• Tradable permits
• Other policy instruments: environmental subsidies and liability
• Cost-benefit analysis
• Economics of climate change
• Economics of natural resources
• Economics of natural disasters
• Circular economy and the just and sustainable transition

Turner KR, Pearce DW, Bateman I (2003) Economia Ambientale, Il Mulino.

Additional teaching material prepared by the lecturer (e.g. slides, lecture notes, publications on scientific journals) will be available on the Moodle platform.