General Info

courseProgram

Part of the course will be devoted to the description of the characteristics of the medieval textual tradition, to the problems it poses to the critical publisher and to the different methods used for the edition of the texts. Furthermore, basic information will be given on the medieval Romance literary tradition and in particular on the lyric tradition and the historical grammar of the Provençal language, in order to introduce students to the poetic text that will be the subject of the critical edition prepared within the course with their cooperation.

examMode

For the ATTENDING students there will be a written paper and an interview (for the vote the results of each test are considered). In the written essay the competences matured in the field of the discipline are evaluated, also from the point of view of the practical application (object of the exercises), and the ability to express complex concepts through a written discourse; in the interview the elaborate is discussed making reference to the scientific methods and tools used. For NON-ATTENDING students, there is normally only an oral exam, in which the competences acquired within the discipline by reading the recommended bibliography and the ability to express complex concepts through an oral discourse are evaluated.

books

1. Materials, handouts and texts provided by the teacher at the beginning of the course.

Reference bibliography:
1.Aurelio Roncaglia, Principi e applicazioni di critica testuale, Roma, Bulzoni, 1975.
2.Paul Maas, Critica de testo, Firenze, 1952.

NON-ATTENDING STUDENTS WILL HAVE TO ADD TO THE PREVIOUS READINGS AND IN REPLACEMENT OF THE DISPENSES AND TEXTS PROVIDED TO THE LESSON:
3. Alfredo Stussi, La critica del testo, Bologna, Il Mulino, 1985.
4. Roberto Antonelli, Interpretazione e critica del testo, in Letteratura italiana, dir. da Alberto Asor Rosa, vol.IV: L'interpretazione, Torino, Einaudi, 1985, pp. 141-243.

** Students who find it difficult to find the following texts can contact the teacher directly.
IT IS SUGGESTED TO ALL NON-ATTENDING STUDENTS TO SCHEDULE AN APPOINTMENT WITH THE TEACHER BEFORE THE EXAM

mode

The course will include a theoretical part, intended for the acquisition of the fundamental tools necessary for the preparation of a critical edition, and a practical part in which the students will be able to put these acquisitions to the test directly following the various preparation phases of an edition of a poetic composition.

classRoomMode

The lectures will be accompanied by laboratory activities carried out in class under the direct guidance of the teacher.

bibliography

Suggestions for additional readings:
- Alfredo Stussi, La critica del testo, Bologna, Il Mulino, 1985.
- Giorgio Pasquali, Storia della tradizione e critica del testo, Firenze, Le Monnier, 1934.
- Gianfranco Contini, Breviario di ecdotica, Torino, Einaudi, 1990.

courseProgram

1.1

The French Literature course aims to question the influence of the rhetorical tradition on the literature of the Ancien Régime. This year we will focus on the study of 17th-century novel, particularly novels by Madame de Lafayette.


1.2 Readings


History of literature: 17th and 18th centuries (especially the 17th century)
History of Novel (17th and 18th centuries)

examMode

Interview on the program

Incomplete preparation of the planned program, lack of precision in expression and lack of knowledge of the specialized lexicon (stylistics, rhetoric, criticism) will be considered prohibitive for success in the test.

books



I.1 Éditions conseillées/edizioni consigliate
Référence edition: Madame de Lafayette, Oeuvres complètes, éd. C. Esmein-Sarrazin, Paris, Gallimard, Bibliothèque de la Pléiade, 2004
Others editions
Madame de Lafayette, La Princesse de Clèves, éd. Ph. Sellier, Paris, Le LIvre de Poche, 1999
Madame de Lafayette, La Princesse de Clèves, éd. A. Régent, Paris, Larousse, 2019
Madame de Lafayette, La Principessa di Clèves, trad. V. Papa, Milano, Mondadori, 2022
Madame de Lafayette, La Principessa di Clèves, trad. R. Debenedetti, Milano, Garzanti, 2022
Madame de Lafayette, Zayde, éd. C. Esmein-Sarrazin, Paris, GF Flammarion, 2006
Madame de Lafayette, la Princesse de Montpensier, suivi de La Comtesse de Tende, éd. L. Plazenet, Paris, Le Livre de poche, 2003.

mode

Lectures, seminars

classRoomMode

Attendance is optional but recommended. Non-attending students are invited to contact me at the beginning of the semester of lessons, to agree on a suitable alternative and personalized programme. It will not be possible to agree on a personalized or even less "reduced" program a few weeks before the exam.

bibliography

References

II. Reading a textbook on the history of French literature (17th-18th centuries) is essential, for example:



A. Adam, Histoire de la littérature française au XVIIe siècle, 3 vol., Paris, A. Michel, 1997.


P. Brunel, Y. Bellenger, D. Couty, Ph. Sellier, M. Truffet, Historie de la littérature française. Du Moyen Âge au XVIIIe siècle, Paris, Bordas, 2001 [1972].


G. Macchia, La letteratura francese dal Rinascimento al Classicismo, Milano, Rizzoli, 1992.


J.-M. Darmon, M. Delon (dir.), Histoire de la France littéraire. Classicismes, XVIIe-XVIIIe siècle, Paris, PUF, 2006 (vol. 2).


F. Corradi, Introduzione al Seicento francese e al classicismo, Roma, Edizioni Nuova Cultura, 2006.


A. Viala, Une histoire brève de la littérature française. L’Âge classique et les Lumières, Paris, PUF, 2016.


L. Sozzi (dir.), Storia europea della letteratura francese. I. Dalle origini al Seicento, Torino, Einaudi, 2013 ; II. Dal Settecento all’età contemporanea, Torino, Einaudi, 2013.


D. Reguig, Histoire littéraire du XVIIe siècle, Paris, Armand Colin, 2017.


M. Landi (dir.), Letteratura francese. Dalle origini al Settecento (vol. 1), Milano, Mondadori-Le Monnier Università, 2021.







III. Mme de Lafayette
C. Esmein-Sarrazin, La Princesse de Clèves de Madame de Lafayette. Ou la "Joconde" des lettres françaises, Paris, H. Champion, 2025 ISBN: 9782380961287
C. Zonza, La Nouvelle Historique en France à l'âge classique (1657-1703), Paris, H. Champion, 2007
H. Coulet, Le Roman jusqu'à la Révolution, Paris, A. Colin, 1967 (ou éditions ultérieures/o successive)



IV. Stylistic:


C. Fromilhague et A. Sancier, Introduction à l’analyse stylistique, Paris, Bordas, 1991


N. Laurent, Initiation à la stylistique, Paris, Hachette Supérieur, 2001


A. Herschberg-Pierrot, Stylistique de la prose, Paris, Belin, 2003 (ou autre édition)







V. Rhetoric:



·
A. Kibédy Varga, Rhétorique et littérature, Paris, Klincksieck, 2002. 

·
C. Reggiani, Introduction à la rhétorique, Paris, Hachette, 2001.

·
B. Mortara Garavelli, Manuale di retorica, Milano, Bompiani, 2021 [1988].




VI. 



Critical readings (essays, articles, web pages) will be recommended and offered during classes, with the aim of clarifying or better understanding specific aspects of the program.





***Non-attending students


Non-attending students will choose two others comedies in addition to the comedies on the program.

courseProgram

The birth of the art exhibitions in XVII century; features of the first art exhibitions in Italy, France, Great Britain; Terminology problems related to museum history; historical events of museums from the eighteenth century to present; Impressionists’ and avantguard’s exhibitions; Case studies on digital Museology and virtual exhibitions.

examMode

Oral examination on books assigned with critical comparison between bibliographical sources.
Three basic questions will be asked on the main exam texts, requiring knowledge of the topics, their critical understanding and the adoption of an appropriate italian language.

books

1) S. Rinaldi. Le mostre d'arte. Dal Seicento alle esposizioni digitali, Carocci, Roma 2025.
2) S. Rinaldi, F. Ricci, Museologia e storia dell'arte nella Tuscia, ArcheoAres, Viterbo 2014 (pdf on Moodle).

Same books for non-attending students.
www.amazon.it
www.ibs.it
https://www.libreriauniversitaria.it

mode

face-to face Lessons by power point and videos projection.

classRoomMode

Attendance at lessons is optional.

bibliography

M. Barbanera, Il museo impossibile, Roma 2013.
L. Cataldo-M. Paraventi, Il museo oggi. Modelli museologici e museografici nell’era della digital transformation, Milano 2023.
T. W. Gaehtgens-L. Marchesano, Display and Art History: the Duesseldorf Gallery and its Catalogue, Los Angeles 2011.
F. Haskell, The King's Picture: the formation and dispersal of the collections of Charles I and his courtiers, New Haven 2013.
M.V. Marini Clarelli, Il museo nel mondo contemporaneo. La teoria e la prassi, Roma 2011.
M. Marroni, Canino, museo a cielo aperto di Luciano Bonaparte, ed. Silvio Pellico 2014.
M.C. Mazzi, In viaggio con le Muse, Edifir, Firenze 2005.

courseProgram

Course title:
"Anthropology of theatre and performance: from the classical mask to motion capture".

Syllabus:
Within this class, the study of the human bodily dimension in situations of organised dramatisation will be addressed from a semio-anthropological perspective. There shall be illustrated how cultures conceive and formalise performátic behaviour, thus giving rise to the different spectacular forms that inspire the history of theatre.
Above all, the corporeality and gestures of actors/actresses-performers from ancient Greek theatre to the present day shall be investigated: there are grammars that rule the usage of the body, which is generally re-constructed through restored scenic behaviours that reveal a “‘knowing-to-do’” otherwise referred to as ‘technique’.
The aim of the lectures is to rediscover, promote and valorise the mythical-cultural heritage of performátic bodies and the forms of representation in different cultures. Furthermore, students will be introduced to what the great directors and pedagogues of contemporary theatre of the second half of the 20th century – Brook, Barba, Grotowski, to name but a few of the most representative – have conceived their practical-theoretical research on the “techniques of the body”, thus also opening the way to active investigation in the field of theatrical anthropology.
Among the main topics addressed are:
- performativity, performàtic, and theatricality: seeking operational concepts
- the theatrical phenomenon examined through the lens of Cognitive Science
- the history of acting forms from the ancient times to the new contemporary digital scene
- acting techniques, theories and styles, with a special focus on early and late 20th century research
- the rise of professionalism
- the Great Italian Actor and the challenge of the move to cinema
- Female actresses and the female theatre company leadership in the entertainment industry (in particular Adelaide Ristori, Sarah Bernhardt, and Eleonora Duse)
- phenomena of body mediation and remediation with digital technologies: motion and performance capture
- improvisation, ritual, voice, myth, space, mask and disguise
- anthropology and semiotics of the body
- the body as device and interface in theatre and performance communication
According to a sociosemiotic methodology, an attempt will be made to highlight the divergence (and therefore irreducibility) of theatrical phenomena from one another, also considering the traits of transmediality, multidisciplinarity and interculturality of theatrical forms in order to understand the creative and social variety of today's theatre.
At the end of the programme, students will acquire knowledge of the theories and practices of the art of acting in history – with specific regard to the 19th-20th centuries – and in the contemporary world; skills in the study and analysis of acting and performance modes of the past and present; methodological tools for reading sources, also from a gender perspective.

examMode

There is an oral exam. The mark is awarded taking into account the following assessment criteria:
30 cum laude: excellent level of achievement due to consolidating knowledge, richness of speech flow, property of exposition, and interest in critical comments;
30: very good exam, complete and adequate knowledge, well articulated and correctly articulated, as well as interesting critical comments;
29-27: good exam, mostly satisfactory knowledge, correct speech;
26-24: fair exam, knowledge present in basic outlines, but not exhaustive and/or not always articulated correctly;
23-21: sufficient exam, knowledge present in a general but superficial outline; often not appropriate speech and unclear discourse articulation;
20-18: barely sufficient examination, sometimes lacking in discourse articulation and content expression;
<18: insufficient examination, knowledge absent or very deficient, lack of orientation in the discipline, poor and severely deficient speech.

books

Mandatory readings, for both attending and NON-attending:

C. Vicentini, "Storia della recitazione teatrale. Dal mondo antico alla scena digitale", Venezia, Marsilio, 2023

Regarding C. Vicentini’s book "Storia della recitazione teatrale", please kindly note that the following chapters will NOT be required for the final exam and should therefore NOT be further studied:
- Capitolo VI - La nuova scena europea (whole)
- Capitolo VIII - La recitazione nel Settecento in Inghilterra e Germania (up to p. 324; accordingly, the two concluding paragraphs need to be carefully considered)
- Capitolo IX - L'età della crisi (whole)
- Capitolo XI - Il virtuosismo (whole)
The other chapters will be included in the exam, even though they will not be discussed in detail in class.

In ADDITION to the mandatory readings, the following essays (which will be made available by the lecturer on the teacher's Moodle page) are to be studied:

C. Meldolesi, L’attore, le sue fonti e i suoi orizzonti, “Teatro e Storia”, n. 7, 1989;
F. Ruffini, Antropologia teatrale, "Teatro e Storia", n.1, 1984;
L. Mariani, L’Ottocento delle attrici, “Acting Archives Review”, n. 14, 2017;
M.R. Beato, From Mask to Flesh and Back: A Semiotic Analysis of the Actor’s Face Between Theatre and Cinema, "Topoi", vol 41, pp. 755-769, 2022;
M.R. Beato, Il corpo performático come interfaccia organica nel teatro e nel cinema, "Carte Semiotiche", vol. 2 (Annali 11), pp. 110-136, 2024;
F. Deriu, Mimesis and/Is/as Restoration of Behaviour in "CounterText", vol. 8, n.1, pp. 103-122, 2022.
M. Schino, "Naturale" e "Organico", in E. Barba & N. Savarese (a cura di), "L'arte segreta dell'attore. Un dizionario di antropologia teatrale", [2005] 2011, 174-177, Bari, Edizioni di Pagina;
R. Schechner, Restauro del comportamento, in E. Barba & N. Savarese (a cura di), "L'arte segreta dell'attore. Un dizionario di antropologia teatrale", [2005] 2011, 211-216, Bari, Edizioni di Pagina.

Students who actively participate in the 2026/2027 "Chi è di scena?" event organised by ATCL and Teatro dell’Unione in Viterbo, in collaboration with DISTU, will be exempt from studying the essays mentioned above; alternatively, they will be asked to produce a short report on the activity undertaken, of no more than 3 pages, to be submitted to the lecturer before the end of the class.

NON-attending students, in ADDITION to the entire syllabus, must include ONE book of their choice from the following:

L. Allegri, "L’arte e il mestiere",Roma , Carocci, 2005
F. Deriu, "Performático. Teoria delle arti dinamiche", Roma, Bulzoni, 2012.
C. Jandelli, "L’attore in primo piano. Nascita della recitazione cinematografica", Venezia, Marsilio, 2016
F. Pitassio, "Attore/divo", Milano, Il Castoro, 2003
R. Tessari, "Teatro e antropologia. Tra rito e spettacolo", Roma, Carocci, 2004
V. Turner, "Antropologia della performance", Milano, Il Mulino, 1993
V. Turner, "Dal rito al teatro", Milano, Il Mulino, 2014

classRoomMode

Class attendance is strongly recommended.
For NON-attending students, the syllabus will be supplemented with additional readings and insights as indicated in the course bibliography.

bibliography

David Le Breton, Antropologia del corpo, Roma, Meltemi, 2021
Flavia Dalila D’Amico, Lost in translation. Le disabilità in scena, Roma, Bulzoni, 2022
Oliviero Ponte di Pino, Un teatro per il XXI secolo. Lo spettacolo dal vivo ai tempi del digitale, Milano, FrancoAngeli, 2021
Richard Schechner, Introduzione ai Performing Studies, a cura di Dario Tomasello, Bologna, Cuepress, 2018
Gabriele Sofia, Le acrobazie dello spettatore, Roma, Bulzoni, 2013

courseProgram

After providing an introduction to dramatic production from the 5th century up to Rome and explaining the complex theatrical activity in Athens, the teacher will read Euripides Trojan Women to highlight both scenic and poetic issues in this tragedy and its author.

examMode

Oral examination.
Questions will be asked on the topics covered in the lecture and in this way the understanding of the topics will be investigated.

books

Le Troiane. Euripide, a cura di V. Di Benedetto ( BUR 2009)
Storia del teatro greco, a cura di M. Di Marco, Roma, Carocci 2020
G. Paduano, IL TEATRO ANTICO. GUIDA ALLE OPERE, ROMA-BARI LATERZA 2018, pp. 51-86
V. Di Benedetto, Euripide. Teatro e società, Torino, Einaudi, pp. 223-319
Lettura in italiano della Lisistrata di Aristofane (ed.a scelta tra BUR, Garzanti, Carocci) e lettura in italiano del Miles gloriosus (Il soldato fanfarone) di Plauto.

classRoomMode

Attendance not mandatory. Non-attending students can request a meeting with the teacher to establish an integrative program.

bibliography

Storia del teatro greco, a cura di M. Di Marco, Roma, Carocci 2020
G. Paduano, IL TEATRO ANTICO. GUIDA ALLE OPERE, ROMA-BARI LATERZA 2018, pp. 51-86
V. Di Benedetto, Euripide. Teatro e società, Torino, Einaudi, pp. 223-319

courseProgram

Part of the course will be devoted to the description of the characteristics of the medieval textual tradition, to the problems it poses to the critical publisher and to the different methods used for the edition of the texts. Furthermore, basic information will be given on the medieval Romance literary tradition and in particular on the lyric tradition and the historical grammar of the Provençal language, in order to introduce students to the poetic text that will be the subject of the critical edition prepared within the course with their cooperation.

examMode

For the ATTENDING students there will be a written paper and an interview (for the vote the results of each test are considered). In the written essay the competences matured in the field of the discipline are evaluated, also from the point of view of the practical application (object of the exercises), and the ability to express complex concepts through a written discourse; in the interview the elaborate is discussed making reference to the scientific methods and tools used. For NON-ATTENDING students, there is normally only an oral exam, in which the competences acquired within the discipline by reading the recommended bibliography and the ability to express complex concepts through an oral discourse are evaluated.

books

1. Materials, handouts and texts provided by the teacher at the beginning of the course.

Reference bibliography:
1.Aurelio Roncaglia, Principi e applicazioni di critica testuale, Roma, Bulzoni, 1975.
2.Paul Maas, Critica de testo, Firenze, 1952.

NON-ATTENDING STUDENTS WILL HAVE TO ADD TO THE PREVIOUS READINGS AND IN REPLACEMENT OF THE DISPENSES AND TEXTS PROVIDED TO THE LESSON:
3. Alfredo Stussi, La critica del testo, Bologna, Il Mulino, 1985.
4. Roberto Antonelli, Interpretazione e critica del testo, in Letteratura italiana, dir. da Alberto Asor Rosa, vol.IV: L'interpretazione, Torino, Einaudi, 1985, pp. 141-243.

** Students who find it difficult to find the following texts can contact the teacher directly.
IT IS SUGGESTED TO ALL NON-ATTENDING STUDENTS TO SCHEDULE AN APPOINTMENT WITH THE TEACHER BEFORE THE EXAM

mode

The course will include a theoretical part, intended for the acquisition of the fundamental tools necessary for the preparation of a critical edition, and a practical part in which the students will be able to put these acquisitions to the test directly following the various preparation phases of an edition of a poetic composition.

classRoomMode

The lectures will be accompanied by laboratory activities carried out in class under the direct guidance of the teacher.

bibliography

Suggestions for additional readings:
- Alfredo Stussi, La critica del testo, Bologna, Il Mulino, 1985.
- Giorgio Pasquali, Storia della tradizione e critica del testo, Firenze, Le Monnier, 1934.
- Gianfranco Contini, Breviario di ecdotica, Torino, Einaudi, 1990.

courseProgram

MUSICOLOGIA E STORIA DELLA MUSICA: SOUND AND MUSIC IN THE AGE OF ELECTRONICS AND INFORMATION. 2026-27 Semester II
The course provides an introduction to sound and music history in the age of elecronics and information, especially focusing on the transformation of the relationship between creativity, production, and circulation in the media of sound and music. First, the course focuses on the fundamental lexicon and concepts in order to deal with the main subjects on the agenda over time. The articulation of the course involve readings –among them, writings by Mark Fisher– and listening sessions, together with individual and collective researches and text production by means of available technology.

examMode

Individual and collective researches and text production by means of available technology.

books

Selected entries from the encyclopedia Storia della civiltà europea, ed. Umberto Eco (2014) –available online; articles by Mark Fisher, listening exemples and teaching aids will be provided during the course.

classRoomMode

The articulation of the course involve readings –among them, writings by Mark Fisher– and listening sessions, together with individual and collective researches and text production by means of available technology.

bibliography

Artificial Intelligence – Intelligent Art? Ed. Robin Markus Auer et al. 2024.
Mark Fisher. Scegli le tue armi. Scritti sulla musica. 2021 [K-punk. The Collected and Unpublished Writings of Mark Fisher. 2018].
Storia della civiltà europea. Ed. Umberto Eco. 2014. Online. [Selected entries]
Il Novecento. Ed. Jean-Jacques Nattiez. 2001 (Enciclopedia della musica, vol. 1).

courseProgram

The Modern Languages Teaching course delves into language instruction, combining pedagogy with theoretical studies on symbolic codes, emphasizing the verbal dimension. Divided into three segments with a single exam, it covers linguistic and semiotic concepts, linguistic creativity's impact on communication and language contact in various contexts, and implications for teaching and learning.

The second module explores linguistic creativity in education, examining its historical and contemporary role in multilingualism nationally and internationally. It reviews the influence of creativity on language education approaches in Italy and globally since the mid-20th century.

The third module focuses on the presence and influence of the Italian language abroad, considering historical and contemporary dynamics driven by migration and the cultural, economic, and identity values associated with Italian.

examMode

The exam is oral; however, students have the option to prepare a written thesis to be submitted at least 10 days before the exam on a topic agreed upon with the teacher.
On the day of the exam, students will provide concise answers to a series of questions on the course topics, which will then lead to the development of the oral discussion.

books

Coccia B. (a cura di), 2021, Italiano 2020: lingua nel mondo globale, Apes, Roma (in particolare le sezioni 1 di M. Vedovelli, 2 di S. Ferreri, 5 di S. Ferreri e F. De Renzo).
Vedovelli M., Casini S., 2016, Che cosa è la linguistica educativa, Carocci, Roma.
De Mauro T., 1980, Guida all'uso delle parole, Editori Riuniti, Roma.
De Mauro T., 2018, Educazione linguistica democratica, Laterza, Roma-Bari.

mode

Face-to-face lectures or equivalent activities.
Face-to-face lectures, seminars

classRoomMode

Class attendance is recommended but not compulsory.

bibliography

Casini S., 2018, “Italianismi e pseudoitalianismi a Toronto: tra valori simbolici e prospettive di apprendimento”, M. Vedovelli, B. Turchetta (a cura di), Lo spazio linguistico italiano globale: il caso dell’Ontario, Pacini, pp. 149-166.
Casini S., Bancheri S., 2022, What is the Language of Power? Theoretical Reflections on Italian, Italiese and Other Languages, Legas, New York – Ottawa – Toronto.
Casini S., Bancheri S., 2022, “L’italiano nel mondo globale: tra plurilinguismo, insegnamento ed economia”, in S. Piraro (a cura di), Plurilinguismo ed economia. Aracne, Roma: pp. 19-67.
Coccia B. (a cura di), 2021, Italiano 2020: lingua nel mondo globale, Apes, Roma (in particolare le sezioni 1 di M. Vedovelli, 2 di S. Ferreri, 5 di S. Ferreri e F. De Renzo).
De Mauro T., 1982, Minisemantica dei linguaggi verbali e non verbali, Laterza, Roma-Bari.
De Mauro T., 2018, Educazione linguistica democratica, Laterza, Roma-Bari.
Ferreri S., 2010, “Linguistica educativa ed educazione linguistica”, in G. Platania, C. Rosa, M. Russo (a cura di), Hinc illae lacrimae! Studi in memoria di Carmen Maria Radulet, Settecittà, Viterbo, pp. 166-177.
Vedovelli M., 2003, Condizioni semiotiche per un approccio interculturale alla didattica linguistica: il ruolo del linguaggio verbale in STUDI EMIGRAZIONE, Vol. XL, pag. 503 521 (dispensa fornite dal docente).
Casini S., 2020, Language Creativity: A Semiotic Perspective, Lexington Rowman & Littlefield, Lanham Maryland (US).
De Mauro T., 2008, Lezioni di linguistica teorica, Laterza, Roma-Bari.

courseProgram

Title: Ovid’s Metamorphoses

Programme: the course is focused on Ovid’s Metamorphoses, poem which represent an original transfornation of epic form. The work will be analysed in the historical and cultural context of Augustan Age, paying peculiar attention to the tradition of epic genre in Rome and to Vergil’s Aeneid. Object of in-dept analysis will be ideological features, models, structure, language and style of the poem. The course aims to provide a critical knowledge of Ovid’s epic poem. The goal will be pursued through reading and literary-philological analysis of an anthology of the poem’s episodes.

examMode

The examination is oral and consists of two parts: in the first part, the student must demonstrate knowledge of the main features of Latin literary history; in the second part, the student must demonstrate the ability to translate, analyse and comment on the literary texts on the syllabus: the level of content knowledge demonstrated (superficial [18-21], appropriate [22-26], precise and complete [27-29], complete and thorough [30]), the ability to make a critical sense and formulate judgments (sufficient [18-24]], good [25-28], excellent [29-30]), the mastery of expression (deficient exposition [18-21], simple [22-25], clear and correct [26-28], secure and correct [29-30]).

books

A complete edition of Ovid’s Metamorphoses with Latin text (suggested: Ovidio, Le metamorfosi, intr. di G. Rosati, trad. di G. Faranda Villa, note di R. Corti, Milano, Rizzoli BUR, 1994, with many reprints, ISBN: 9788817129763); L. Galasso, Ovidio: Guida alle Metamorfosi, Roma, Carocci Editore, 2023, ISBN: 9788829020683; G. Rosati, Mito e potere nell'epica di Ovidio, «MD» 46 (2001), pp. 39-61.

classRoomMode

Attendance in this course is optional, but highly recommended.

bibliography

More bibliography and didactic materials will be given during the course (for attending students).
Non attending students have to contact the professor for a programme.

courseProgram

1.1

The French Literature course aims to question the influence of the rhetorical tradition on the literature of the Ancien Régime. This year we will focus on the study of 17th-century novel, particularly novels by Madame de Lafayette.


1.2 Readings


History of literature: 17th and 18th centuries (especially the 17th century)
History of Novel (17th and 18th centuries)

examMode

Interview on the program

Incomplete preparation of the planned program, lack of precision in expression and lack of knowledge of the specialized lexicon (stylistics, rhetoric, criticism) will be considered prohibitive for success in the test.

books



I.1 Éditions conseillées/edizioni consigliate
Référence edition: Madame de Lafayette, Oeuvres complètes, éd. C. Esmein-Sarrazin, Paris, Gallimard, Bibliothèque de la Pléiade, 2004
Others editions
Madame de Lafayette, La Princesse de Clèves, éd. Ph. Sellier, Paris, Le LIvre de Poche, 1999
Madame de Lafayette, La Princesse de Clèves, éd. A. Régent, Paris, Larousse, 2019
Madame de Lafayette, La Principessa di Clèves, trad. V. Papa, Milano, Mondadori, 2022
Madame de Lafayette, La Principessa di Clèves, trad. R. Debenedetti, Milano, Garzanti, 2022
Madame de Lafayette, Zayde, éd. C. Esmein-Sarrazin, Paris, GF Flammarion, 2006
Madame de Lafayette, la Princesse de Montpensier, suivi de La Comtesse de Tende, éd. L. Plazenet, Paris, Le Livre de poche, 2003.

mode

Lectures, seminars

classRoomMode

Attendance is optional but recommended. Non-attending students are invited to contact me at the beginning of the semester of lessons, to agree on a suitable alternative and personalized programme. It will not be possible to agree on a personalized or even less "reduced" program a few weeks before the exam.

bibliography

References

II. Reading a textbook on the history of French literature (17th-18th centuries) is essential, for example:



A. Adam, Histoire de la littérature française au XVIIe siècle, 3 vol., Paris, A. Michel, 1997.


P. Brunel, Y. Bellenger, D. Couty, Ph. Sellier, M. Truffet, Historie de la littérature française. Du Moyen Âge au XVIIIe siècle, Paris, Bordas, 2001 [1972].


G. Macchia, La letteratura francese dal Rinascimento al Classicismo, Milano, Rizzoli, 1992.


J.-M. Darmon, M. Delon (dir.), Histoire de la France littéraire. Classicismes, XVIIe-XVIIIe siècle, Paris, PUF, 2006 (vol. 2).


F. Corradi, Introduzione al Seicento francese e al classicismo, Roma, Edizioni Nuova Cultura, 2006.


A. Viala, Une histoire brève de la littérature française. L’Âge classique et les Lumières, Paris, PUF, 2016.


L. Sozzi (dir.), Storia europea della letteratura francese. I. Dalle origini al Seicento, Torino, Einaudi, 2013 ; II. Dal Settecento all’età contemporanea, Torino, Einaudi, 2013.


D. Reguig, Histoire littéraire du XVIIe siècle, Paris, Armand Colin, 2017.


M. Landi (dir.), Letteratura francese. Dalle origini al Settecento (vol. 1), Milano, Mondadori-Le Monnier Università, 2021.







III. Mme de Lafayette
C. Esmein-Sarrazin, La Princesse de Clèves de Madame de Lafayette. Ou la "Joconde" des lettres françaises, Paris, H. Champion, 2025 ISBN: 9782380961287
C. Zonza, La Nouvelle Historique en France à l'âge classique (1657-1703), Paris, H. Champion, 2007
H. Coulet, Le Roman jusqu'à la Révolution, Paris, A. Colin, 1967 (ou éditions ultérieures/o successive)



IV. Stylistic:


C. Fromilhague et A. Sancier, Introduction à l’analyse stylistique, Paris, Bordas, 1991


N. Laurent, Initiation à la stylistique, Paris, Hachette Supérieur, 2001


A. Herschberg-Pierrot, Stylistique de la prose, Paris, Belin, 2003 (ou autre édition)







V. Rhetoric:



·
A. Kibédy Varga, Rhétorique et littérature, Paris, Klincksieck, 2002. 

·
C. Reggiani, Introduction à la rhétorique, Paris, Hachette, 2001.

·
B. Mortara Garavelli, Manuale di retorica, Milano, Bompiani, 2021 [1988].




VI. 



Critical readings (essays, articles, web pages) will be recommended and offered during classes, with the aim of clarifying or better understanding specific aspects of the program.





***Non-attending students


Non-attending students will choose two others comedies in addition to the comedies on the program.

courseProgram

Part of the course will be devoted to the description of the characteristics of the medieval textual tradition, to the problems it poses to the critical publisher and to the different methods used for the edition of the texts. Furthermore, basic information will be given on the medieval Romance literary tradition and in particular on the lyric tradition and the historical grammar of the Provençal language, in order to introduce students to the poetic text that will be the subject of the critical edition prepared within the course with their cooperation.

examMode

For the ATTENDING students there will be a written paper and an interview (for the vote the results of each test are considered). In the written essay the competences matured in the field of the discipline are evaluated, also from the point of view of the practical application (object of the exercises), and the ability to express complex concepts through a written discourse; in the interview the elaborate is discussed making reference to the scientific methods and tools used. For NON-ATTENDING students, there is normally only an oral exam, in which the competences acquired within the discipline by reading the recommended bibliography and the ability to express complex concepts through an oral discourse are evaluated.

books

1. Materials, handouts and texts provided by the teacher at the beginning of the course.

Reference bibliography:
1.Aurelio Roncaglia, Principi e applicazioni di critica testuale, Roma, Bulzoni, 1975.
2.Paul Maas, Critica de testo, Firenze, 1952.

NON-ATTENDING STUDENTS WILL HAVE TO ADD TO THE PREVIOUS READINGS AND IN REPLACEMENT OF THE DISPENSES AND TEXTS PROVIDED TO THE LESSON:
3. Alfredo Stussi, La critica del testo, Bologna, Il Mulino, 1985.
4. Roberto Antonelli, Interpretazione e critica del testo, in Letteratura italiana, dir. da Alberto Asor Rosa, vol.IV: L'interpretazione, Torino, Einaudi, 1985, pp. 141-243.

** Students who find it difficult to find the following texts can contact the teacher directly.
IT IS SUGGESTED TO ALL NON-ATTENDING STUDENTS TO SCHEDULE AN APPOINTMENT WITH THE TEACHER BEFORE THE EXAM

mode

The course will include a theoretical part, intended for the acquisition of the fundamental tools necessary for the preparation of a critical edition, and a practical part in which the students will be able to put these acquisitions to the test directly following the various preparation phases of an edition of a poetic composition.

classRoomMode

The lectures will be accompanied by laboratory activities carried out in class under the direct guidance of the teacher.

bibliography

Suggestions for additional readings:
- Alfredo Stussi, La critica del testo, Bologna, Il Mulino, 1985.
- Giorgio Pasquali, Storia della tradizione e critica del testo, Firenze, Le Monnier, 1934.
- Gianfranco Contini, Breviario di ecdotica, Torino, Einaudi, 1990.

courseProgram

The course is run as a seminar and workshop and consists of two interconnected parts, a general part (5 ECTS) and a monographic part (3 ECTS), introduced by a shared reflection on what it means to read, interpret and comment on a classic today.

General part (5 CFU). The twentieth century read first-hand. A critical framing of literary discourse in the contemporary age and a broadening of basic literary-historical knowledge through the first-hand reading of a wide selection of representative narrative and poetic texts, arranged by period.

Monographic part (3 CFU). From reading to commentary on a classic, on paper and in digital form. Reading, understanding, analysing and interpreting a central text of contemporary Italian literature, choosing between a prose text (G. Verga, I Malavoglia, Milano, Treves, 1881) and a poetic text (C. Pavese, Lavorare stanca, Torino, Einaudi, 1943): complete reading, history of the text and of its reception; commentary, its models and its digital forms. The workshop, held partly during classes, involves group work leading to a commentary on a chapter of I Malavoglia or on a poem from Lavorare stanca.

examMode

The assessment consists of two parts, corresponding to the 3 CFU of the monographic part and the 5 ECTS of the general part.
(a) Monographic part. A written commentary, produced in groups, on a chapter of I Malavoglia or on a poem from Lavorare stanca, presented orally in the last classes of the course and submitted in good time for the exam session the student intends to take. The commentary presupposes the complete reading of the chosen text and the study of the method readings. Commentary and presentation are assessed on that occasion and are not discussed again at the oral exam; if the result is not sufficient, the commentary will be discussed at the beginning of the interview.
(b) General part. An oral interview on the five chosen works.
The group commentary is graded with a letter (from A to E); both the grade for the commentary and the outcome of the interview contribute to the final mark.

For non-attending students the assessment consists of an oral interview on all the texts in the programme (monographic part and six works from the general part).

Assessment criteria: relevance and originality of the approach; accuracy and depth of the analysis; informed use of critical literature, sources and digital resources; quality of argumentation and writing, including citation conventions; clarity and effectiveness of oral presentation. The mark is expressed out of thirty.

books

A. General part (5 ECTS)
1. Five works chosen from the following list: at least two of poetry and at least two of prose, from at least two different periods; the fifth is a free choice (first edition in brackets, followed by a recommended edition, annotated where available). Works marked with an asterisk can be chosen only if they have not been selected for the monographic part.

From Italian Unification to the First World War
Poetry:
G. Pascoli, Myricae (1891) or Canti di Castelvecchio (1903), ed. by G. Lavezzi, Milano, Rizzoli («BUR Classici moderni»), respectively 2015 and 2025 (for Myricae the standard commentary remains that of G. Nava, Roma, Salerno, 1991);
G. Gozzano, I colloqui (Milano, Treves, 1911), in Id., Tutte le poesie, critical text and notes ed. by A. Rocca, introduction by M. Guglielminetti, Milano, Mondadori («Oscar classici»), 2016;
U. Saba, Casa e campagna (in Poesie, Firenze, Casa editrice italiana, 1911) and Trieste e una donna (in Coi miei occhi, Firenze, Libreria della Voce, 1912), sections of the Canzoniere, in Id., Il canzoniere, introduction by N. Palmieri, Torino, Einaudi («ET Poesia»), 2014 (with A. Stara’s notes: Id., Tutte le poesie, introduction by M. Lavagetto, Milano, Mondadori, «I Meridiani», 1988);
C. Sbarbaro, Pianissimo (Firenze, La Voce, 1914), ed. by L. Polato, Venezia, Marsilio, 2001.
Prose:
G. D’Annunzio, Il piacere (Milano, Treves, 1889), introduction by P. Gibellini, preface and notes by I. Caliaro, Milano, Garzanti («I grandi libri»), 1995 (repr. 2014);
G. Verga, I Malavoglia* (Milano, Treves, 1881): see the monographic part for the edition;
L. Pirandello, Il fu Mattia Pascal (Roma, «Nuova Antologia», 1904), ed. by A. Sichera and A. Di Silvestro, Milano, Mondadori («Oscar moderni»), 2023 (text of the National Edition).

Between the wars
Poetry:
E. Montale, Ossi di seppia (Torino, Gobetti, 1925), ed. by P. Cataldi and F. d’Amely, Milano, Mondadori («Lo Specchio»), 2024, or Le occasioni (Torino, Einaudi, 1939), ed. by D. Isella, Torino, Einaudi, 1996;
G. Ungaretti, L’allegria (1931; definitive ed. 1942) or Sentimento del tempo (1933), in Id., Vita d’un uomo. Tutte le poesie, ed. by C. Ossola, Milano, Mondadori («I Meridiani»), new ed. 2026 (for reading only, also: Milano, Mondadori, «Oscar moderni», 2025);
S. Quasimodo, Ed è subito sera (Milano, Mondadori, 1942) or Lirici greci (Milano, Corrente, 1940), in Id., Tutte le poesie, new ed. by C. Mauro, Milano, Mondadori («Baobab»), 2020;
C. Pavese, Lavorare stanca* (Firenze, Solaria, 1936; Torino, Einaudi, 1943): see the monographic part for the edition.
Prose:
I. Svevo, La coscienza di Zeno (Bologna, Cappelli, 1923), ed. by M. Lavagetto, Torino, Einaudi («ET Classici»), 2014;
L. Pirandello, Uno, nessuno e centomila (Firenze, Bemporad, 1926), ed. by G. Mazzacurati, Torino, Einaudi («ET Classici»), 2014;
E. Vittorini, Conversazione in Sicilia (Milano, Bompiani, 1941), Milano, Bompiani («Pantheon»), 2025 (the illustrated 2021 edition, with photographs by L. Crocenzi, can no longer be ordered from several distributors);
C. Pavese, Paesi tuoi (Torino, Einaudi, 1941), ed. by A. Sichera and A. Di Silvestro, Milano, Mondadori («Oscar moderni»), 2021.

From the post-war period to the 1960s
Poetry:
E. Montale, La bufera e altro (Venezia, Neri Pozza, 1956; Milano, Mondadori, 1957), annotated edition ed. by I. Campeggiani and N. Scaffai, Milano, Mondadori («Lo Specchio»), 2019;
E. Sanguineti, Laborintus (Varese, Magenta, 1956), in E. Risso, «Laborintus» di Edoardo Sanguineti. Testo e commento, new ed., San Cesario di Lecce, Manni, 2020 (the text can also be read in E. Sanguineti, Segnalibro. Poesie 1951-1981, preface by E. Risso, Milano, Feltrinelli, «Universale economica», 2021);
P.P. Pasolini, Le ceneri di Gramsci (Milano, Garzanti, 1957), Milano, Garzanti, 2015;
G. Caproni, Il seme del piangere (Milano, Garzanti, 1959), in Id., Tutte le poesie, Milano, Garzanti, 2016;
V. Sereni, Gli strumenti umani (Torino, Einaudi, 1965), ed. by M. Cattaneo, Milano-Parma, Fondazione Pietro Bembo – Guanda, 2023;
G. Giudici, La vita in versi (Milano, Mondadori, 1965), in Id., Tutte le poesie, introduction by M. Cucchi, Milano, Mondadori («Oscar Baobab»), 2021 (for the notes: Id., I versi della vita, ed. by R. Zucco, Milano, Mondadori, «I Meridiani», 2000, out of print: available in libraries);
A. Zanzotto, La Beltà (Milano, Mondadori, 1968), in Id., Le poesie e prose scelte, ed. by S. Dal Bianco and G.M. Villalta, Milano, Mondadori («I Meridiani»), 1999.
Prose:
P. Levi, Se questo è un uomo (Torino, De Silva, 1947; Torino, Einaudi, 1958), ed. by D. Scarpa, with an essay by C. Segre, Torino, Einaudi, 2026 (for the commentary: ed. by A. Cavaglion, Torino, Einaudi, 2012, available in libraries);
I. Calvino, Il sentiero dei nidi di ragno (Torino, Einaudi, 1947) or I nostri antenati (Torino, Einaudi, 1960), Milano, Mondadori («Oscar moderni»), respectively 2022 and 2023;
B. Fenoglio, Una questione privata (Milano, Garzanti, 1963) or Il partigiano Johnny (Torino, Einaudi, 1968), Torino, Einaudi («ET Scrittori»), 2022 (Il partigiano Johnny in the critical text ed. by D. Isella);
C. Pavese, La luna e i falò (Torino, Einaudi, 1950) or Dialoghi con Leucò (Torino, Einaudi, 1947), ed. by A. Sichera and A. Di Silvestro, Milano, Mondadori («Oscar moderni»), 2021;
E. Morante, L’isola di Arturo (Torino, Einaudi, 1957), introduction by C. Garboli, Torino, Einaudi («ET Scrittori»), 2014;
C.E. Gadda, Quer pasticciaccio brutto de via Merulana (Milano, Garzanti, 1957), ed. by G. Pinotti, Milano, Adelphi («Biblioteca Adelphi»), 2018;
L. Sciascia, Il giorno della civetta (Torino, Einaudi, 1961), Milano, Adelphi, 2002;
N. Ginzburg, Lessico famigliare (Torino, Einaudi, 1963), Torino, Einaudi («Super ET»), 2014.

From the 1970s to the present
Poetry:
E. Montale, Satura (Milano, Mondadori, 1971), ed. by R. Castellana, Milano, Mondadori («Lo Specchio»), 2018;
F. Fortini, Questo muro (Milano, Mondadori, 1973), in Id., Tutte le poesie, ed. by L. Lenzini, Milano, Mondadori («Oscar Baobab»), 2021;
M. De Angelis, Somiglianze (Milano, Guanda, 1976), in Id., Tutte le poesie (1969-2015), Milano, Mondadori («Lo Specchio»), 2017;
M. Luzi, Al fuoco della controversia (Milano, Garzanti, 1978), in Id., Le poesie, Milano, Garzanti («I grandi libri»), 2014 (also in Id., Tutte le poesie, Milano, Garzanti, 1998, available in libraries);
V. Magrelli, Ora serrata retinae (Milano, Feltrinelli, 1980), in Id., Le cavie. Poesie 1980-2018, Torino, Einaudi, 2018;
V. Sereni, Stella variabile (Milano, Garzanti, 1981), preface by F. Fortini, afterword by D. Scaramella, Milano, il Saggiatore, 2017;
M. Mari, Cento poesie d’amore a Ladyhawke (Torino, Einaudi, «Collezione di poesia», 2007).
Prose:
I. Calvino, Se una notte d’inverno un viaggiatore (Torino, Einaudi, 1979), Milano, Mondadori («Oscar moderni»), 2022;
U. Eco, Il nome della rosa (Milano, Bompiani, 1980), Milano, La nave di Teseo, 2020;
P.V. Tondelli, Altri libertini (Milano, Feltrinelli, 1980), Milano, Feltrinelli («Universale economica ’900»), 2026;
G. Bufalino, Diceria dell’untore (Palermo, Sellerio, 1981), with writings by F. Caputo and L. Sciascia, Milano, Bompiani («Pantheon»), 2026;
D. Maraini, La lunga vita di Marianna Ucrìa (Milano, Rizzoli, 1990), Milano, Rizzoli («BUR»), 2012;
Gioventù cannibale. La prima antologia italiana dell’orrore estremo, ed. by D. Brolli (Torino, Einaudi, 1996), with an essay by E. Trevi, Torino, Einaudi («Stile libero»), 2006, or E. Brizzi, Jack Frusciante è uscito dal gruppo (Ancona, Transeuropa, 1994), Milano, Mondadori («Oscar bestsellers»), 2024;
M. Mari, Tu, sanguinosa infanzia (Milano, Mondadori, 1997), Torino, Einaudi, 2009;
D. Ferrari, La ricreazione è finita (Palermo, Sellerio, 2023).

B. Monographic part (3 ECTS)
2. One text of the student’s choice, to be read in its entirety:
a) G. Verga, I Malavoglia (Milano, Treves, 1881), critical text and commentary by F. Cecco, Torino, Einaudi («ET Classici»), 2014, including the author’s Preface and the editor’s Introduction and Note on the text;
b) C. Pavese, Lavorare stanca (Firenze, Solaria, 1936; Torino, Einaudi, 1943), in the 1943 text, in Id., L’opera poetica. Testi editi, inediti, traduzioni, ed. by A. Sichera and A. Di Silvestro, Milano, Mondadori («Oscar Baobab»), 2021, pp. 75-190 (including the two authorial appendices, Il mestiere di poeta and A proposito di certe poesie non ancora scritte), with A. Sichera’s Introduction, pp. V-XXXVIII, A. Di Silvestro’s essay Nello scrittoio di Pavese poeta, pp. XXXVIII-LXXVII, and the notes on Lavorare stanca 1936 (pp. 1237-1245) and 1943 (pp. 1258-1267).
3. Method readings, for all students, will be shared by the lecturer on the University’s e-learning platform.
– H.-G. Gadamer, Verità e metodo, ed. by G. Vattimo, Milano, Bompiani («Il pensiero occidentale»), 2001, part II, sect. II, ch. 2, Ricupero del problema ermeneutico fondamentale, § a, Il problema ermeneutico dell’applicazione, pp. 634-643 (with the German text on facing pages);
– A. Sichera, Ermeneutiche. Punti di vista sul confine, Leonforte, Euno edizioni, 2019, ch. III, Benjamin, la critica, la crisi, pp. 39-52;
– L.P. Barbarino, C. D’Agata, G. Palazzolo, A. Sichera, Hyperedition between subtilitas and the infosphere: text, author, and the engaged reader, in Digital Humanities 2026: Book of Abstracts, ADHO, 2026, pp. 703-706 (doi: 10.5281/zenodo.21495909);
– M. Paino, A. Manganaro, A. Sichera, A. Di Silvestro, L.P. Barbarino, Introduzione, in Verismo in rete. Verga, Capuana, De Roberto tra lessicografia, filologia e critica, ed. by A. Di Silvestro and L.P. Barbarino, «Il Veltro», 2025, 1-2 (online extension), pp. 8-12.
4. For the chosen text:
– I Malavoglia: L.P. Barbarino, Scrivere su un margine virtuale. Per un commento digitale ai Malavoglia di Giovanni Verga (capitolo I), «Il Veltro», cit., pp. 14-33.
– Lavorare stanca: L.P. Barbarino, «Incontro»: un modello per il commento delle poesie di Pavese, «Strumenti critici», XLII, 1/2027 [forthcoming].
The workshop, held partly during classes, involves group work leading to a commentary on a chapter of I Malavoglia or on a poem from Lavorare stanca.

Non-attending students. Students who cannot attend, and therefore cannot take part in the workshop, study the monographic part (the chosen text, the method readings and the essays listed for that text) and add a sixth work from the list to the five works of the general part: a prose work if they chose the poetic text for the monographic part, a poetry book if they chose the prose work.

classRoomMode

Given that the course is run as a seminar and workshop, attendance is strongly recommended. The programme also provides guidance for students who cannot attend.

courseProgram

The Modern Languages Teaching course delves into language instruction, combining pedagogy with theoretical studies on symbolic codes, emphasizing the verbal dimension. Divided into three segments with a single exam, it covers linguistic and semiotic concepts, linguistic creativity's impact on communication and language contact in various contexts, and implications for teaching and learning.

The second module explores linguistic creativity in education, examining its historical and contemporary role in multilingualism nationally and internationally. It reviews the influence of creativity on language education approaches in Italy and globally since the mid-20th century.

The third module focuses on the presence and influence of the Italian language abroad, considering historical and contemporary dynamics driven by migration and the cultural, economic, and identity values associated with Italian.

examMode

The exam is oral; however, students have the option to prepare a written thesis to be submitted at least 10 days before the exam on a topic agreed upon with the teacher.
On the day of the exam, students will provide concise answers to a series of questions on the course topics, which will then lead to the development of the oral discussion.

books

Coccia B. (a cura di), 2021, Italiano 2020: lingua nel mondo globale, Apes, Roma (in particolare le sezioni 1 di M. Vedovelli, 2 di S. Ferreri, 5 di S. Ferreri e F. De Renzo).
Vedovelli M., Casini S., 2016, Che cosa è la linguistica educativa, Carocci, Roma.
De Mauro T., 1980, Guida all'uso delle parole, Editori Riuniti, Roma.
De Mauro T., 2018, Educazione linguistica democratica, Laterza, Roma-Bari.

mode

Face-to-face lectures or equivalent activities.
Face-to-face lectures, seminars

classRoomMode

Class attendance is recommended but not compulsory.

bibliography

Casini S., 2018, “Italianismi e pseudoitalianismi a Toronto: tra valori simbolici e prospettive di apprendimento”, M. Vedovelli, B. Turchetta (a cura di), Lo spazio linguistico italiano globale: il caso dell’Ontario, Pacini, pp. 149-166.
Casini S., Bancheri S., 2022, What is the Language of Power? Theoretical Reflections on Italian, Italiese and Other Languages, Legas, New York – Ottawa – Toronto.
Casini S., Bancheri S., 2022, “L’italiano nel mondo globale: tra plurilinguismo, insegnamento ed economia”, in S. Piraro (a cura di), Plurilinguismo ed economia. Aracne, Roma: pp. 19-67.
Coccia B. (a cura di), 2021, Italiano 2020: lingua nel mondo globale, Apes, Roma (in particolare le sezioni 1 di M. Vedovelli, 2 di S. Ferreri, 5 di S. Ferreri e F. De Renzo).
De Mauro T., 1982, Minisemantica dei linguaggi verbali e non verbali, Laterza, Roma-Bari.
De Mauro T., 2018, Educazione linguistica democratica, Laterza, Roma-Bari.
Ferreri S., 2010, “Linguistica educativa ed educazione linguistica”, in G. Platania, C. Rosa, M. Russo (a cura di), Hinc illae lacrimae! Studi in memoria di Carmen Maria Radulet, Settecittà, Viterbo, pp. 166-177.
Vedovelli M., 2003, Condizioni semiotiche per un approccio interculturale alla didattica linguistica: il ruolo del linguaggio verbale in STUDI EMIGRAZIONE, Vol. XL, pag. 503 521 (dispensa fornite dal docente).
Casini S., 2020, Language Creativity: A Semiotic Perspective, Lexington Rowman & Littlefield, Lanham Maryland (US).
De Mauro T., 2008, Lezioni di linguistica teorica, Laterza, Roma-Bari.

courseProgram

Title: Ovid’s Metamorphoses

Programme: the course is focused on Ovid’s Metamorphoses, poem which represent an original transfornation of epic form. The work will be analysed in the historical and cultural context of Augustan Age, paying peculiar attention to the tradition of epic genre in Rome and to Vergil’s Aeneid. Object of in-dept analysis will be ideological features, models, structure, language and style of the poem. The course aims to provide a critical knowledge of Ovid’s epic poem. The goal will be pursued through reading and literary-philological analysis of an anthology of the poem’s episodes.

examMode

The examination is oral and consists of two parts: in the first part, the student must demonstrate knowledge of the main features of Latin literary history; in the second part, the student must demonstrate the ability to translate, analyse and comment on the literary texts on the syllabus: the level of content knowledge demonstrated (superficial [18-21], appropriate [22-26], precise and complete [27-29], complete and thorough [30]), the ability to make a critical sense and formulate judgments (sufficient [18-24]], good [25-28], excellent [29-30]), the mastery of expression (deficient exposition [18-21], simple [22-25], clear and correct [26-28], secure and correct [29-30]).

books

A complete edition of Ovid’s Metamorphoses with Latin text (suggested: Ovidio, Le metamorfosi, intr. di G. Rosati, trad. di G. Faranda Villa, note di R. Corti, Milano, Rizzoli BUR, 1994, with many reprints, ISBN: 9788817129763); L. Galasso, Ovidio: Guida alle Metamorfosi, Roma, Carocci Editore, 2023, ISBN: 9788829020683; G. Rosati, Mito e potere nell'epica di Ovidio, «MD» 46 (2001), pp. 39-61.

classRoomMode

Attendance in this course is optional, but highly recommended.

bibliography

More bibliography and didactic materials will be given during the course (for attending students).
Non attending students have to contact the professor for a programme.

courseProgram

(programme valid for attending and non-attending students)

The first module (24 hours) is devoted to the literary culture of the 19th century, with particular regard to the production of the Romantic age. After examining the main characteristics of Romanticism in Europe and examining the major contributions to the classical-romantic polemic in Italy (de Staël, Giordani, Berchet, Pellico, Borsieri, Leopardi, Manzoni), some of the most representative texts of this literary season will be read, analysed and contextualised.

The second module (24 hours) aims to offer an in-depth course dedicated to the two masterpieces of Giacomo Leopardi, the Canti and the Operette morali. A selection of Leopardi’s poems and prose works will be examined, with the objective of proposing an interpretation of the poet from Recanati within the literary context of nineteenth-century Italy and Europe, while also reflecting on the influence of his model on twentieth-century literary culture.

Examination texts
- Giulio Ferroni, Storia e testi della letteratura italiana. Restaurazione e Risorgimento (1815-1861), Milano, Mondadori Università, 2003 (and subsequent reprints), pp. 3-114; 165-642
- annotated edition, chosen by the student, of Giacomo Leopardi's Canti.

examMode

Exemptions in itinere (optional) and final interview on course topics.
The oral test aims to:
1) verify the skills of historicisation and analysis of the literary text and the assimilation of the relevant technical terminology
2) to verify understanding of the critical methodologies applied to Giacomo Leopardi's work
3) to assess the critical judgement skills acquired by the student

books

(for attending and non-attending students)

- Giulio Ferroni, Storia e testi della letteratura italiana. Restaurazione e Risorgimento (1815-1861), Milano, Mondadori Università, 2003 (and subsequent reprints), pp. 3-114; 165-642

- annotated edition, chosen by the student, of Giacomo Leopardi's Canti.

classRoomMode

Optional class attendance.
Attendance at lectures is not compulsory. However, considering that teaching will be organised to solicit the active role of the student, attendance of lectures is highly recommended.

bibliography

The reference bibliography will be provided during the lessons

courseProgram

The course is run as a seminar and workshop and consists of two interconnected parts, a general part (5 ECTS) and a monographic part (3 ECTS), introduced by a shared reflection on what it means to read, interpret and comment on a classic today.

General part (5 CFU). The twentieth century read first-hand. A critical framing of literary discourse in the contemporary age and a broadening of basic literary-historical knowledge through the first-hand reading of a wide selection of representative narrative and poetic texts, arranged by period.

Monographic part (3 CFU). From reading to commentary on a classic, on paper and in digital form. Reading, understanding, analysing and interpreting a central text of contemporary Italian literature, choosing between a prose text (G. Verga, I Malavoglia, Milano, Treves, 1881) and a poetic text (C. Pavese, Lavorare stanca, Torino, Einaudi, 1943): complete reading, history of the text and of its reception; commentary, its models and its digital forms. The workshop, held partly during classes, involves group work leading to a commentary on a chapter of I Malavoglia or on a poem from Lavorare stanca.

examMode

The assessment consists of two parts, corresponding to the 3 CFU of the monographic part and the 5 ECTS of the general part.
(a) Monographic part. A written commentary, produced in groups, on a chapter of I Malavoglia or on a poem from Lavorare stanca, presented orally in the last classes of the course and submitted in good time for the exam session the student intends to take. The commentary presupposes the complete reading of the chosen text and the study of the method readings. Commentary and presentation are assessed on that occasion and are not discussed again at the oral exam; if the result is not sufficient, the commentary will be discussed at the beginning of the interview.
(b) General part. An oral interview on the five chosen works.
The group commentary is graded with a letter (from A to E); both the grade for the commentary and the outcome of the interview contribute to the final mark.

For non-attending students the assessment consists of an oral interview on all the texts in the programme (monographic part and six works from the general part).

Assessment criteria: relevance and originality of the approach; accuracy and depth of the analysis; informed use of critical literature, sources and digital resources; quality of argumentation and writing, including citation conventions; clarity and effectiveness of oral presentation. The mark is expressed out of thirty.

books

A. General part (5 ECTS)
1. Five works chosen from the following list: at least two of poetry and at least two of prose, from at least two different periods; the fifth is a free choice (first edition in brackets, followed by a recommended edition, annotated where available). Works marked with an asterisk can be chosen only if they have not been selected for the monographic part.

From Italian Unification to the First World War
Poetry:
G. Pascoli, Myricae (1891) or Canti di Castelvecchio (1903), ed. by G. Lavezzi, Milano, Rizzoli («BUR Classici moderni»), respectively 2015 and 2025 (for Myricae the standard commentary remains that of G. Nava, Roma, Salerno, 1991);
G. Gozzano, I colloqui (Milano, Treves, 1911), in Id., Tutte le poesie, critical text and notes ed. by A. Rocca, introduction by M. Guglielminetti, Milano, Mondadori («Oscar classici»), 2016;
U. Saba, Casa e campagna (in Poesie, Firenze, Casa editrice italiana, 1911) and Trieste e una donna (in Coi miei occhi, Firenze, Libreria della Voce, 1912), sections of the Canzoniere, in Id., Il canzoniere, introduction by N. Palmieri, Torino, Einaudi («ET Poesia»), 2014 (with A. Stara’s notes: Id., Tutte le poesie, introduction by M. Lavagetto, Milano, Mondadori, «I Meridiani», 1988);
C. Sbarbaro, Pianissimo (Firenze, La Voce, 1914), ed. by L. Polato, Venezia, Marsilio, 2001.
Prose:
G. D’Annunzio, Il piacere (Milano, Treves, 1889), introduction by P. Gibellini, preface and notes by I. Caliaro, Milano, Garzanti («I grandi libri»), 1995 (repr. 2014);
G. Verga, I Malavoglia* (Milano, Treves, 1881): see the monographic part for the edition;
L. Pirandello, Il fu Mattia Pascal (Roma, «Nuova Antologia», 1904), ed. by A. Sichera and A. Di Silvestro, Milano, Mondadori («Oscar moderni»), 2023 (text of the National Edition).

Between the wars
Poetry:
E. Montale, Ossi di seppia (Torino, Gobetti, 1925), ed. by P. Cataldi and F. d’Amely, Milano, Mondadori («Lo Specchio»), 2024, or Le occasioni (Torino, Einaudi, 1939), ed. by D. Isella, Torino, Einaudi, 1996;
G. Ungaretti, L’allegria (1931; definitive ed. 1942) or Sentimento del tempo (1933), in Id., Vita d’un uomo. Tutte le poesie, ed. by C. Ossola, Milano, Mondadori («I Meridiani»), new ed. 2026 (for reading only, also: Milano, Mondadori, «Oscar moderni», 2025);
S. Quasimodo, Ed è subito sera (Milano, Mondadori, 1942) or Lirici greci (Milano, Corrente, 1940), in Id., Tutte le poesie, new ed. by C. Mauro, Milano, Mondadori («Baobab»), 2020;
C. Pavese, Lavorare stanca* (Firenze, Solaria, 1936; Torino, Einaudi, 1943): see the monographic part for the edition.
Prose:
I. Svevo, La coscienza di Zeno (Bologna, Cappelli, 1923), ed. by M. Lavagetto, Torino, Einaudi («ET Classici»), 2014;
L. Pirandello, Uno, nessuno e centomila (Firenze, Bemporad, 1926), ed. by G. Mazzacurati, Torino, Einaudi («ET Classici»), 2014;
E. Vittorini, Conversazione in Sicilia (Milano, Bompiani, 1941), Milano, Bompiani («Pantheon»), 2025 (the illustrated 2021 edition, with photographs by L. Crocenzi, can no longer be ordered from several distributors);
C. Pavese, Paesi tuoi (Torino, Einaudi, 1941), ed. by A. Sichera and A. Di Silvestro, Milano, Mondadori («Oscar moderni»), 2021.

From the post-war period to the 1960s
Poetry:
E. Montale, La bufera e altro (Venezia, Neri Pozza, 1956; Milano, Mondadori, 1957), annotated edition ed. by I. Campeggiani and N. Scaffai, Milano, Mondadori («Lo Specchio»), 2019;
E. Sanguineti, Laborintus (Varese, Magenta, 1956), in E. Risso, «Laborintus» di Edoardo Sanguineti. Testo e commento, new ed., San Cesario di Lecce, Manni, 2020 (the text can also be read in E. Sanguineti, Segnalibro. Poesie 1951-1981, preface by E. Risso, Milano, Feltrinelli, «Universale economica», 2021);
P.P. Pasolini, Le ceneri di Gramsci (Milano, Garzanti, 1957), Milano, Garzanti, 2015;
G. Caproni, Il seme del piangere (Milano, Garzanti, 1959), in Id., Tutte le poesie, Milano, Garzanti, 2016;
V. Sereni, Gli strumenti umani (Torino, Einaudi, 1965), ed. by M. Cattaneo, Milano-Parma, Fondazione Pietro Bembo – Guanda, 2023;
G. Giudici, La vita in versi (Milano, Mondadori, 1965), in Id., Tutte le poesie, introduction by M. Cucchi, Milano, Mondadori («Oscar Baobab»), 2021 (for the notes: Id., I versi della vita, ed. by R. Zucco, Milano, Mondadori, «I Meridiani», 2000, out of print: available in libraries);
A. Zanzotto, La Beltà (Milano, Mondadori, 1968), in Id., Le poesie e prose scelte, ed. by S. Dal Bianco and G.M. Villalta, Milano, Mondadori («I Meridiani»), 1999.
Prose:
P. Levi, Se questo è un uomo (Torino, De Silva, 1947; Torino, Einaudi, 1958), ed. by D. Scarpa, with an essay by C. Segre, Torino, Einaudi, 2026 (for the commentary: ed. by A. Cavaglion, Torino, Einaudi, 2012, available in libraries);
I. Calvino, Il sentiero dei nidi di ragno (Torino, Einaudi, 1947) or I nostri antenati (Torino, Einaudi, 1960), Milano, Mondadori («Oscar moderni»), respectively 2022 and 2023;
B. Fenoglio, Una questione privata (Milano, Garzanti, 1963) or Il partigiano Johnny (Torino, Einaudi, 1968), Torino, Einaudi («ET Scrittori»), 2022 (Il partigiano Johnny in the critical text ed. by D. Isella);
C. Pavese, La luna e i falò (Torino, Einaudi, 1950) or Dialoghi con Leucò (Torino, Einaudi, 1947), ed. by A. Sichera and A. Di Silvestro, Milano, Mondadori («Oscar moderni»), 2021;
E. Morante, L’isola di Arturo (Torino, Einaudi, 1957), introduction by C. Garboli, Torino, Einaudi («ET Scrittori»), 2014;
C.E. Gadda, Quer pasticciaccio brutto de via Merulana (Milano, Garzanti, 1957), ed. by G. Pinotti, Milano, Adelphi («Biblioteca Adelphi»), 2018;
L. Sciascia, Il giorno della civetta (Torino, Einaudi, 1961), Milano, Adelphi, 2002;
N. Ginzburg, Lessico famigliare (Torino, Einaudi, 1963), Torino, Einaudi («Super ET»), 2014.

From the 1970s to the present
Poetry:
E. Montale, Satura (Milano, Mondadori, 1971), ed. by R. Castellana, Milano, Mondadori («Lo Specchio»), 2018;
F. Fortini, Questo muro (Milano, Mondadori, 1973), in Id., Tutte le poesie, ed. by L. Lenzini, Milano, Mondadori («Oscar Baobab»), 2021;
M. De Angelis, Somiglianze (Milano, Guanda, 1976), in Id., Tutte le poesie (1969-2015), Milano, Mondadori («Lo Specchio»), 2017;
M. Luzi, Al fuoco della controversia (Milano, Garzanti, 1978), in Id., Le poesie, Milano, Garzanti («I grandi libri»), 2014 (also in Id., Tutte le poesie, Milano, Garzanti, 1998, available in libraries);
V. Magrelli, Ora serrata retinae (Milano, Feltrinelli, 1980), in Id., Le cavie. Poesie 1980-2018, Torino, Einaudi, 2018;
V. Sereni, Stella variabile (Milano, Garzanti, 1981), preface by F. Fortini, afterword by D. Scaramella, Milano, il Saggiatore, 2017;
M. Mari, Cento poesie d’amore a Ladyhawke (Torino, Einaudi, «Collezione di poesia», 2007).
Prose:
I. Calvino, Se una notte d’inverno un viaggiatore (Torino, Einaudi, 1979), Milano, Mondadori («Oscar moderni»), 2022;
U. Eco, Il nome della rosa (Milano, Bompiani, 1980), Milano, La nave di Teseo, 2020;
P.V. Tondelli, Altri libertini (Milano, Feltrinelli, 1980), Milano, Feltrinelli («Universale economica ’900»), 2026;
G. Bufalino, Diceria dell’untore (Palermo, Sellerio, 1981), with writings by F. Caputo and L. Sciascia, Milano, Bompiani («Pantheon»), 2026;
D. Maraini, La lunga vita di Marianna Ucrìa (Milano, Rizzoli, 1990), Milano, Rizzoli («BUR»), 2012;
Gioventù cannibale. La prima antologia italiana dell’orrore estremo, ed. by D. Brolli (Torino, Einaudi, 1996), with an essay by E. Trevi, Torino, Einaudi («Stile libero»), 2006, or E. Brizzi, Jack Frusciante è uscito dal gruppo (Ancona, Transeuropa, 1994), Milano, Mondadori («Oscar bestsellers»), 2024;
M. Mari, Tu, sanguinosa infanzia (Milano, Mondadori, 1997), Torino, Einaudi, 2009;
D. Ferrari, La ricreazione è finita (Palermo, Sellerio, 2023).

B. Monographic part (3 ECTS)
2. One text of the student’s choice, to be read in its entirety:
a) G. Verga, I Malavoglia (Milano, Treves, 1881), critical text and commentary by F. Cecco, Torino, Einaudi («ET Classici»), 2014, including the author’s Preface and the editor’s Introduction and Note on the text;
b) C. Pavese, Lavorare stanca (Firenze, Solaria, 1936; Torino, Einaudi, 1943), in the 1943 text, in Id., L’opera poetica. Testi editi, inediti, traduzioni, ed. by A. Sichera and A. Di Silvestro, Milano, Mondadori («Oscar Baobab»), 2021, pp. 75-190 (including the two authorial appendices, Il mestiere di poeta and A proposito di certe poesie non ancora scritte), with A. Sichera’s Introduction, pp. V-XXXVIII, A. Di Silvestro’s essay Nello scrittoio di Pavese poeta, pp. XXXVIII-LXXVII, and the notes on Lavorare stanca 1936 (pp. 1237-1245) and 1943 (pp. 1258-1267).
3. Method readings, for all students, will be shared by the lecturer on the University’s e-learning platform.
– H.-G. Gadamer, Verità e metodo, ed. by G. Vattimo, Milano, Bompiani («Il pensiero occidentale»), 2001, part II, sect. II, ch. 2, Ricupero del problema ermeneutico fondamentale, § a, Il problema ermeneutico dell’applicazione, pp. 634-643 (with the German text on facing pages);
– A. Sichera, Ermeneutiche. Punti di vista sul confine, Leonforte, Euno edizioni, 2019, ch. III, Benjamin, la critica, la crisi, pp. 39-52;
– L.P. Barbarino, C. D’Agata, G. Palazzolo, A. Sichera, Hyperedition between subtilitas and the infosphere: text, author, and the engaged reader, in Digital Humanities 2026: Book of Abstracts, ADHO, 2026, pp. 703-706 (doi: 10.5281/zenodo.21495909);
– M. Paino, A. Manganaro, A. Sichera, A. Di Silvestro, L.P. Barbarino, Introduzione, in Verismo in rete. Verga, Capuana, De Roberto tra lessicografia, filologia e critica, ed. by A. Di Silvestro and L.P. Barbarino, «Il Veltro», 2025, 1-2 (online extension), pp. 8-12.
4. For the chosen text:
– I Malavoglia: L.P. Barbarino, Scrivere su un margine virtuale. Per un commento digitale ai Malavoglia di Giovanni Verga (capitolo I), «Il Veltro», cit., pp. 14-33.
– Lavorare stanca: L.P. Barbarino, «Incontro»: un modello per il commento delle poesie di Pavese, «Strumenti critici», XLII, 1/2027 [forthcoming].
The workshop, held partly during classes, involves group work leading to a commentary on a chapter of I Malavoglia or on a poem from Lavorare stanca.

Non-attending students. Students who cannot attend, and therefore cannot take part in the workshop, study the monographic part (the chosen text, the method readings and the essays listed for that text) and add a sixth work from the list to the five works of the general part: a prose work if they chose the poetic text for the monographic part, a poetry book if they chose the prose work.

classRoomMode

Given that the course is run as a seminar and workshop, attendance is strongly recommended. The programme also provides guidance for students who cannot attend.

courseProgram

The course aims to provide students with some advanced notions of the language of italian literary texts. After an overview of the subject, from its Origin to modern times, through some of the most important moments in the history of italian language (first part), the focus will be on the history of italian language for music from XVII to XX century (second part), with an analysis of a selection of most important texts: for each text, a historical and cultural contextualisation will be proposed, together with a detailed linguistic and stylistic analysis, with special attention to phonomorphological, syntactic, lexical and rhetorical elements, so as to locate every single documents in its linguistic and cultural context.

examMode

The final assessment consists of an oral examination of the program of study, with a comment on some texts.

books

Attending Students
First section
1. F. Bruni, L'italiano letterario nella storia, Bologna, Il Mulino, 2007.
2. Dispense e materiali (disponibili su Moodle)
Second section
1. I. Bonomi – E. Buroni, L’italiano dell’opera lirica, Bologna, Il Mulino, 2017.
2. Dispense e materiali (disponibili su Moodle)

Non attending students
1. L. Serianni, Prima lezione di storia della lingua italiana, Roma-Bari, Laterza, 2015.
2. S. Telve, L’italiano: frasi e testo, Roma, Carocci, 2013.
3. F. Bruni, L'italiano letterario nella storia, Bologna, Il Mulino, 2007.
4. I. Bonomi – E. Buroni, L’italiano dell’opera lirica, Bologna, Il Mulino, 2017.

mode

48h, face to face lectures

classRoomMode

Class attendance is not mandatory but is strongly recommended.

bibliography

No reference bibliography

courseProgram

Key issues in the study of travel literature, with specific reference to Western and Central Asia. The concepts of 'East' and 'West'; 'Orientalism' after Edward Said, and the evolution of the critical debate.General overview of the Iranian and Islamic world, specifically Shia Islam: a methodological introduction aimed at situating the themes within a critical historical framework.The Qajar dynasty in Persia (late 18th – early 20th century) and the state of the country on the threshold of modernization.The 1862 Kingdom of Italy mission to Persia: genesis, objectives, and key figures of the expedition; results achieved, and its resonance within contemporary Italian political debate and the press.Analysis of the primary sources produced: [written sources] Reading and commentary of excerpts from Note di un viaggio in Persia by Filippo de Filippi and Ricordi di un ufficiale by Stanislao Grimaldi; [visual sources] Analysis of Luigi Montabone's photographic album (Ricordo del Viaggio in Persia della Missione Italiana 1862).The image of Persia conveyed by the travel documentation and the testimonial value of the documentary corpus across its various expressive languages.

examMode

The oral test will be aimed at ascertaining the knowledge acquired on the the topics of the course and the subjects discussed during the seminarial activities. Special attention will also be paid on the critical ability to deal with the main topics as well as to the mastery of Italian and clarity of presentation. All these factors contribute to the determination of the final judgement. There will be a discussion of a written paper; the subject of the paper has to be agreed in advance.

books

M.F. Bonetti, A. Prandi (a cura di), La Persia Qajar. Fotografi italiani in Iran 1848-1864, Roma, Peliti Associati, 2010
E. Filippone, “Persia 1862. Il debutto internazionale che l'Italia scelse di scordare”, in S. Pifferi e F. Meschini (a cura di), Dalla Storia alle storie, 2026
V. Fiorani Piacentini, “Le relazioni tra Italia e Persia (1852-1862)”, Rassegna Storica del Risorgimento, 56/4, 1969, pp. 587-640
M. Gusso, La Missione Diplomatica italiana in Persia nel 1862, in Circolo Vittoriese di Ricerche Storiche Vittorio Veneto, Quaderno n. 13, 2017, 203-231
R. Matthee, “From splendour and admiration to ruin and condenscension: Western travellers to Iran from the Safavids to the Qajars”, Iran, 54/1, 2016, pp. 3-22
L. Monzali, “Il Regno di Sardegna, l’Italia liberale e la Persia (1857-1922)”, in R. Milano et al., (a cura di), Italia e Iran 1857-2015. Diplomazia, Politica ed Economia, Napoli, Editoriale Scientifica, 2025, pp. 17-72.
A. Piemontese, “Le relazioni fra Italia e Persia nel XIX secolo: I trattati del 1857 e del 1862”, Oriente Moderno, 48, 9/10, 1968, pp. 537-566
A. Piemontese, “The Photograph Album of the Italian Diplomatic Mission to Persia (Summer 1862): PART I”, East and West, 22, 3/4, 1972, pp. 249-311

F. De Filippi, Note di un viaggio in Persia nel 1862, Milano, Daelli 1865
S. Grimaldi del Poggetto, Ricordi di un ufficiale dell'antico esercito sardo, 3 voll., Torino, Tipografia San Giuseppe, 1891-1893 (vol. III: capp. X-XXXII).

Additional teaching material will be distributed during the course. Non-attending students are asked to contact the teacher.

mode

Frontal classes and seminar activities (at least eight hours of seminar activities).

classRoomMode

Attendance at the course is optional, although strongly recommended. In addition to facilitating the development of a critical vision on the topics studied during the course, it will give students the opportunity to verify in itinere the acquisition of the skills necessary to obtain the exam.
Non-attending students are requested to contact the teacher for in-depth materials.

bibliography

E. Said, Orientalismo (traduzione italiana), Torino, Bollati Boringhieri, 1991 (e successive ristampe).

courseProgram

Enabling Technologies of Current AI. Techniques for Personalized Recommendations, with exercises. Supervised Learning and Reinforcement Learning. Learning on Various Types of Neural Networks, with exercises. Conditional Probabilities and Exercise on Conditional Probabilities in Text Generation. Word Representation in AI: Splitting and Word Vectors, with exercises. Text Generation with Information Retrieval on the Semantic Web, with exercises. Limits of Comprehension, Abstraction, and Reasoning in AI Systems. Exercise on Generating and Editing Text and Images.

examMode

The exam consists of an oral examination on the acquired knowledge and skills. At the student's discretion, the oral examination may focus on one or more cultural products (long texts, images, etc.) constructed directly by the candidate. For these products, the emphasis during the exam will be placed not on the product itself, but on the explanation of how it was achieved (prompts, manipulation of generated results, etc.). "Intermediate Exams" are scheduled, with dates to be agreed upon within the CCS.

books

a) Nick Polson, James Scott, “AIQ: How artificial Intelligence works and how we can harness its power for a better world". Transworld Publishers Ltd, 2019
b) Melanie Mitchell, “Artificial Intelligence: A Guide for Thinking Humans". Penguin Books Ltd, 2020
c) Tommaso Di Noia et al. "Semantic Web". Apogeo 2013. EAN: 978-88-38787027 (€ 18 circa)
d) Exercises on generative AI tools, provided by the instructor, distributed on the course Moodle page

classRoomMode

Depending on the timetable and classroom availability, approximately 2/3 of the course will consist of lectures and 2/3 of practical exercises in the classroom with the teacher.

bibliography

For further information on Artificial Intelligence and the evolution of AI-based computing technologies:
1. Henry Kissinger, Daniel Huttenlocher, Eric Schmidt, "The Age of AI". John Murray Press, 2022
2. Rossi, Francesca, "Intelligenza artificiale - Come funziona e dove ci porta la tecnologia che sta trasformando il mondo". Editori Laterza, Bari-Roma, 2024
3. Stuart J. Russell, Peter Norvig, “Artificial Intelligence: A Modern Approach". Pearson Education Limited, 2021

For further information on natural language processing in relation to Artificial Intelligence:
1. Guido Vetere, “Intelligenze aliene. Linguaggio e vita degli automi”. Luca Sossella Editore, 2026. EAN: 9791259980878
2. Alessandro Lenci, Serena Auriemma, Martina Milani, “Linguistica Computazionale”, HOEPLI 2025. ISBN 978-88-360-1830-7

courseProgram

The course aims to provide students with the main conceptual and methodological tools needed to understand the transformations of visual culture and advertising communication in the age of artificial intelligence through an interdisciplinary approach combining media studies, visual studies and cultural studies.
More specifically, the course adopts a historical and genealogical perspective to examine the evolving relationships between images, media, advertising, branding and consumer culture. From the origins of consumer society to today's generative artificial intelligence systems, it explores how technological innovations have transformed the production, circulation and consumption of images.
Drawing on major theories of images and communication, the course investigates the role of images in shaping social imaginaries and brand communication strategies, with particular attention to advertising as a key cultural practice of contemporary society.
The final part of the course examines the impact of artificial intelligence on visual production and advertising communication, addressing issues such as algorithmic creativity, authorship, image authenticity, and the cultural, social and ethical implications of emerging media ecosystems. The theoretical framework will be complemented by the analysis of contemporary case studies and communication practices.

examMode

Oral exam and evaluation of the work done by the students.
For attending students it is possible to propose a paper (written or multimedia) on a case study agreed with the teacher: in fact the oral exam can be possibly integrated by individual or group application activities that will be evaluated by the teacher. during the cycle of didactic activities.

The exam will focus on verifying the knowledge acquired with respect to: the interactions between the processes of evolution of forms of consumption, cultural practices and communication processes; the historical and theoretical evolution of consumer research and in particular of the sociology of consumption; the image, the brand, advertising, historical evolution and contemporary society.

books

1. G. Boccia Artieri, G. Fiorentino, Storia e teoria della serialità. Vol III – Le forme della narrazione contemporanea tra arte, consumi, e ambienti artificiali, Meltemi, Milano, 2024.

2. A book of your choice:
F. D’Isa, La rivoluzione algoritmica delle immagini. Arte e intelligenza artificiale, Sossella, Roma, 2024.
L. Manovich, E. Arielli, Estetica artificiale. IA generativa, arte e media, Sossella, Roma, 2026.
A. Somaini, eds., The World Through AI. Exploring Latent Spaces, Jeu de Paume – JBE Books, Paris 2025.

3. A book of your choice:
G. Fiorentino, A. Pinotti, a cura di, Postfotografico: genealogie, dispositivi, pratiche, n.15 di “Rsf. Rivista di studi di fotografia”, Forum, 2026.
J. Fontcuberta, Oltre lo specchio. La fotografia dall’alchimia all’algoritmo, Einaudi, Torino 2024.
F. Ritchin, L’occhio sintetico. La trasformazione della fotografia nell’era dell’intelligenza artificiale, Einaudi, Torino 2025.
M. Zanchi, Blink postfotografico. Teorie, pratiche e derive delle immagini ibride, Postmedia, Milano, 2025.

classRoomMode

Optional attendance.

bibliography

IMMAGINE
G. Fiorentino, B. Terracciano, La mascherina è il messaggio, Franco Angeli, Milano 2022 (ISBN 9788835135579), tutto il volume.
G. Fiorentino, Il sogno dell'immagine. Per un'archeologia fotografica dello sguardo. Benjamin, Rauschenberg e Instagram, Meltemi, Milano 2019 (ISBN 8855190571), tutto il volume.
A.Gunthert, L’immagine condivisa. La fotografia digitale, Contrasto, Roma 2016 (ISBN 978-88-6965-6910), tutto il volume per un totale di 174 pagine.
W.J.T. Mitchell, Scienza delle immagini. Iconologia, cultura visuale ed estetica dei media, Joahn & Levi, Cremona 2018 (ISBN 978-88-6010-199-0), tutto il volume per un totale di 229 pagine.
A. Pinotti, Il primo libro di teoria dell'immagine, Einaudi, Torino 2024 (ISBN 9788806254889), tutto il volume per un totale di 318 pagine.
A. Pinotti, Alla soglia dell'immagine. Da Narciso alla realtà virtuale, Einaudi, Torino 2022 (ISBN 9788806244422), tutto il volume per un totale di 210 pagine.

BRAND
M. Danesi, Brands. Il mondo delle marche, Carocci, Roma 2009 (ISBN 978-88-430-5040-6), tutto il volume per un totale di 187 pagine.
G. Marrone, Il discorso di marca. Modelli semiotici per il branding, Laterza, Roma-Bari 2008 (ISBN 978-88- 420-8462-4) da pag. 3 a pag. 151 e da pag. 255 a pag. 333, per un totale di 225 pagine.
V. Gabrielli, Brand communication, il Mulino, Bologna 2014 (ISBN 978-88-15-25242-5), tutto il volume per un totale di 239 pagine.

CONSUMI
V. Codeluppi, Manuale di sociologia dei consumi, Carocci, Roma 2006 (ISBN 88-430-3552-5): da pag. 9 a pag.189, per un totale di 180 pagine.
M. Franchi, Il senso del consumo, Bruno Mondadori, 2007 (ISBN 88-615-9067-5), tutto il volume per un totale di 216 pagine.
L. Leonini, R. Sassatelli, Il consumo critico, Laterza, Roma-Bari 2008 (ISBN 978-88-420-8597-3) tutto il volume per un totale di 200 pagine.
I. Pezzini, P. Cervelli, Scene del consumo: dallo shopping al museo, Meltemi, Roma 2006 (ISBN 88-8353-485-9) da pagina 7 a pagina 202 e da pagina 381 a pagina 414, per un totale di 230 pagine.

PUBBLICITA’
M. Vecchia, Hapù. Manuale di tecnica della comunicazione pubblicitaria, Lupetti, Bologna 2003 (ISBN 978-88-8391-097-5): da pag. 9 a pag. 21; da pag.49 a pag.146; da pag.168 a pag.192; da pag. 235 a pag.305; per un totale di 210 pagine.
F. Fasce, Le anime del commercio. Pubblicità e consumi nel secolo americano, Carocci, Roma 2012 (ISBN: 9788843065776), tutto il volume per un totale di 214 pagine.
P. Colaiacomo, a cura di, Fatto in Italia. La cultura del made in Italy, Meltemi, Roma 2007 (ISBN 88-8353-495-6), tutto il volume per un totale di 160 pagine.
S. De Iulio, Studiare la pubblicità. Teorie, analisi e interpretazioni, Franco Angeli, Milano 2018 (ISBN 9788891770677), tutto il volume per un totale di 105 pagine.

SERIALITA’ CROSSMEDIALE
G. Boccia Artieri, G. Fiorentino, a cura di, Storia e teoria della serialità. Vol. III – Le forme della narrazione contemporanea tra arte, consumi e ambienti artificiali, Meltemi, Milano 2024 (9791256150267), tutto il volume.
S. Brancato, S. Cristante, E. Ilardi, a cura di, Storia e teoria della serialità. Vol. II – Il Novecento: dalle narrazioni di massa alla svolta digitale, Meltemi, Milano 2024 (9788855199551), tutto il volume.
G. Ragone, F. Tarzia, a cura di, Storia e teoria della serialità. Vol. I – Dal canto omerico al cinema degli anni Trenta, Meltemi 2023 (ISBN 9788855198172), tutto il volume.

STAR
J. Seguela, Hollywood lava più bianco, Lupetti, Bologna, 1986 (ISBN 9788886302876), tutto il volume per un totale di 230 pagine.
O. Ricci, Celebrità 2.0. Sociologia delle star nell’epoca dei new media, Mimesis, Milano 2013 (ISBN 9788857518329), tutto il volume per un totale di 103 pagine.
V. Codeluppi, Tutti divi. Vivere in vetrina, Laterza, Roma-Bari, 2009 (ISBN 978 88 58 113554) tutto il volume per un totale di 125 pagine.
V. Codeluppi, Il divismo. Cinema, televisione, web, Carocci, 2017 (ISBN:9788843089437), tutto il volume per un totale di 121 pagine.
Testi adottati in inglese
1. N. Barile, Brand new world. Il consumo delle marche come forma di rappresentazione del mondo, Lupetti, Bologna 2009 (ISBN 978-88-8391-264-1), tutto il volume per un totale di 190 pagine.

courseProgram

(programme valid for attending and non-attending students)

The first module (24 hours) is devoted to the literary culture of the 19th century, with particular regard to the production of the Romantic age. After examining the main characteristics of Romanticism in Europe and examining the major contributions to the classical-romantic polemic in Italy (de Staël, Giordani, Berchet, Pellico, Borsieri, Leopardi, Manzoni), some of the most representative texts of this literary season will be read, analysed and contextualised.

The second module (24 hours) aims to offer an in-depth course dedicated to the two masterpieces of Giacomo Leopardi, the Canti and the Operette morali. A selection of Leopardi’s poems and prose works will be examined, with the objective of proposing an interpretation of the poet from Recanati within the literary context of nineteenth-century Italy and Europe, while also reflecting on the influence of his model on twentieth-century literary culture.

Examination texts
- Giulio Ferroni, Storia e testi della letteratura italiana. Restaurazione e Risorgimento (1815-1861), Milano, Mondadori Università, 2003 (and subsequent reprints), pp. 3-114; 165-642
- annotated edition, chosen by the student, of Giacomo Leopardi's Canti.

examMode

Exemptions in itinere (optional) and final interview on course topics.
The oral test aims to:
1) verify the skills of historicisation and analysis of the literary text and the assimilation of the relevant technical terminology
2) to verify understanding of the critical methodologies applied to Giacomo Leopardi's work
3) to assess the critical judgement skills acquired by the student

books

(for attending and non-attending students)

- Giulio Ferroni, Storia e testi della letteratura italiana. Restaurazione e Risorgimento (1815-1861), Milano, Mondadori Università, 2003 (and subsequent reprints), pp. 3-114; 165-642

- annotated edition, chosen by the student, of Giacomo Leopardi's Canti.

classRoomMode

Optional class attendance.
Attendance at lectures is not compulsory. However, considering that teaching will be organised to solicit the active role of the student, attendance of lectures is highly recommended.

bibliography

The reference bibliography will be provided during the lessons