METHODOLOGY OF ART HISTORY

Antonella TROTTA METHODOLOGY OF ART HISTORY

4322200079
DEPARTMENT OF CULTURAL HERITAGE
EQF7
THEATRE AND MEDIA STUDIES
2018/2019

YEAR OF COURSE 1
YEAR OF DIDACTIC SYSTEM 2016
PRIMO SEMESTRE
CFUHOURSACTIVITY
630LESSONS
Objectives
THE COURSE AIMS TO PROVIDE STUDENTS WITH THE SPECIFIC KNOWLEDGE TO UNDERSTAND THE MODELS OF HISTORY OF ART HISTORY , FROM VASARI TO TODAY AS A "PRACTICE OF PERSUASION" WHICH AIMS TO ORGANIZE CRITICAL (AND IDEOLOGICAL) CONTENTS AND INFORMATIONS AROUND THE WORKS OF ART.
KNOWLEDGE AND UNDERSTANDING:
STARTING FROM AN ANALYSIS OF THE INTERPRETATIVE MODELS UNDERPINNING HISTORY OF ART FROM RENAISSANCE UP TO TODAY, STUDENTS WILL ACQUIRE THE SPECIFIC KNOWLEDGE AND TOOLS OF UNDERSTANDING THE FUNDAMENTAL STAGES OF THE HISTORY OF ART.
APPLYING KNOWLEDGE AND UNDERSTANDING:
WITH THE KNOWLEDGE AND SPECIFIC ANALYTICAL TOOLS ACQUIRED, STUDENTS WILL BE ABLE TO ORGANIZE CONTENT AND INFORMATION CONCERNING THE WORKS OF ART, SHOWING MATURE JUDGMENT, AWARENESS AND APPROPRIATE LANGUAGE.
Prerequisites
A KNWOLEDGE OF HISTORY OF ART, FROM THE RENAISSANCE TO MODERN ART, IS RECOMMENDED
Contents
HOWEVER THE DISCIPLINE OF THE HISTORY OF ART MAY HAVE CHANGED IN LAST DECADES, IT IS ALWAYS CONCERNED WITH 'THE POINT OF ORIGIN' SETTING OBJECTS IN SPATIAL AND TEMPORAL ORDER. WHAT IMPLICATIONS ARE TO BE DRAWN FROM THIS FACT ?
THE COURSE PRESENTS THE ARGUMENTS THAT SOME OF THE MOST BRILLIANT ITALIAN SCHOLARS OF 20TH CENTURY EXPOSED ON THE "STORIA DELL'ARTE ITALIANA" SERIES, PUBLISHED BY EINAUDI IN THE SEVENTIES. IN ORDER TO DEMONSTRATE THAT THE STUDY OF WHAT WE CALL ART CONTRIBUTE TO BROADER HISTORICAL AND CULTURAL UNDERSTANDING OF THE WORLD AND OF OURSELVES.
Teaching Methods
LESSONS, WORKSHOPS, LECTURES
Verification of learning
IN THE COURSE OF AN ORAL EXAM STUDENTS WILL BE EVALUATED ON THEIR KNOWLEDGE AND DEGREE OF UNDERSTANDING OF COURSE CONTENT AND ON THEIR ABILITY TO APPLY AND EXPRESS THEIR ACQUIRED KNOWLEDGE WITH INDEPENDENCE OF JUDGMENT AND APPROPRIATE EXPRESSION
Texts
O. ROSSI PINELLI, A CURA DI, LA STORIA DELLE STORIE DELL'ARTE, TORINO 2014, PP. 452-490; E. CASTELNUOVO, C. GINZBURG, CENTRO E PERIFERIA, IN STORIA DELL'ARTE ITALIANA. MATERIALI E PROBLEMI. QUESTIONI E METODI, TORINO, 1979, I, PP. 285-352; G. PREVITALI, LA PERIODIZZAZIONE DELLA STORIA DELL’ARTE ITALIANA, IN STORIA DELL’ARTE ITALIANA, MATERIALI E PROBLEMI. QUESTIONI E METODI, TORINO 1979, I, PP. 5-95;
•G. PREVITALI, NOTA, IN G. KUBLER, LA FORMA DEL TEMPO, TORINO 2002, PP. 157-182;
•A.GALANSINO, GIOVANNI PREVITALI STORICO DELL’ARTE MILITANTE, IN «PROSPETTIVA», 149-152, 2013, PP. 141-156 E 244-245;
•F. BOLOGNA, LA COSCIENZA STORICA DELL’ARTE D’ITALIA, TORINO 1982, PP. 8-11 E 193-197;
•T. DACOSTA KAUFMANN, MALAISE DANS LA PÉRIODISATION, ÉDITORIAL, «PERSPECTIVE», 2008- 4, DOSSIER PÉRIODISATION ET HISTOIRE DE L’ART, PP. 597-601;
•O. ROSSI PINELLI, L’ART ITALIEN ET SA PÉRIODISATION SELON GIOVANNI PREVITALI ET FERDINANDO BOLOGNA, IN «PERSPECTIVE», 2008-4, DOSSIER PÉRIODISATION ET HISTOIRE DE L’ART, PP. 671-682;
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STUDENTS NOT ATTENDING CLASSES, ARE REQUESTED TO CONTACT PROFESSOR
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