Antonella TROTTA | ART HISTORY METHODOLOGY
Antonella TROTTA ART HISTORY METHODOLOGY
cod. 0322400016
ART HISTORY METHODOLOGY
| 0322400016 | |
| DEPARTMENT OF CULTURAL HERITAGE | |
| EQF7 | |
| ART HISTORY AND CRITICISM | |
| 2021/2022 |
| OBBLIGATORIO | |
| YEAR OF COURSE 1 | |
| YEAR OF DIDACTIC SYSTEM 2016 | |
| AUTUMN SEMESTER |
| SSD | CFU | HOURS | ACTIVITY | |
|---|---|---|---|---|
| L-ART/04 | 9 | 45 | LESSONS |
| Objectives | |
|---|---|
| THE COURSE AIMS TO PROVIDE STUDENTS WITH THE SPECIFIC KNOWLEDGE TO UNDERSTAND THE MODELS OF HISTORY OF ART HISTORY , FROM XIX CENTURY TO TODAY AS A "PRACTICE OF PERSUASION" WHICH AIMS TO ORGANIZE CRITICAL CONTENTS AND INFORMATIONS AROUND THE WORKS OF ART. KNOWLEDGE AND UNDERSTANDING: STARTING FROM AN ANALYSIS OF THE INTERPRETATIVE MODELS UNDERPINNING HISTORY OF ART FROM XIX CENTURY 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 CONTENTS AND INFORMATION CONCERNING THE WORKS OF ART, SHOWING MATURE JUDGMENT, AWARENESS AND APPROPRIATE LANGUAGE. MAKING JUDGMENTS: THE COURSE AIMS TO STIMULATE AUTONOMY OF JUDGMENT AND TO PROMOTE ABILITY IN SPECIALISTIC COMMUNICATION |
| Prerequisites | |
|---|---|
| THE KNWOLEDGE OF HISTORY OF ART, FROM THE RENAISSANCE TO MODERN ART, IS RECOMMENDED |
| Contents | |
|---|---|
| WHY IS THE RENAISSANCE SO CENTRAL TO THE HISTORY OF WESTERN ART HISTORY? AND WHY, DESPITE THE CONSTANT REVISION TO WHICH THE MOST RECENT HISTORIOGRAPHIC DEBATE HAS SUBJECTED THE RENAISSANCE MYTH AS A "CULTURAL MIRACLE", STILL TODAY "WHEN HE HEARS THE WORD RENAISSANCE, DOES THE DREAMER OF ANCIENT BEAUTY SEE PURPLE AND GOLD?" STARTING FROM AN INCREDIBLY UP TO DATE ESSAY BY THE DUTCH HISTORIAN JOHAN HUIZINGA (1920), THE COURSE AIMS TO RECONSTRUCT THE EVOLUTION OF OUR UNDERSTANDING OF THE RENAISSANCE, FROM "BAPTISM" IN THE NINETEENTH CENTURY, TO THE RE-EVALUATION OF ITS CHARACTERS AND ITS CHRONOLOGICAL AND GEOGRAPHICAL BOUNDARIES IN THE TWENTIETH CENTURY, THE AFFIRMATION OF ITS VALUE AS AN ORGANIZING CONCEPT OF MODERNITY AND ITS REFUSAL, ACTIVATED BY THE PERSPECTIVES OF THE CURRENT DEBATE ON THE "CRISIS IN THE ART HISTORY" AND THE EPISTEMOLOGICAL OCCASIONS OF THE NEW "GLOBAL ARTISTIC GEOGRAPHY". TO EXPLORE, THROUGH THE CULTURAL MEANING OF THE NOTION FOR MANY GENERATIONS, "THE EVER-CHANGING POINTS" WHERE, HUIZINGA WROTE, "THE DIVIDING LINES BETWEEN OLD AND NEW" PASS. |
| Teaching Methods | |
|---|---|
| LESSONS, WORKSHOPS, LECTURES |
| Verification of learning | |
|---|---|
| ORAL EXAMINATION. THE EXAMINATION AIMS AT CHECKING THE STUDENTS' KNOWLEDGE AND DEGREE OF UNDERSTANDING OF COURSE CONTENT AND THEIR ABILITY TO MAKE JUDGMENTS AND EXPRESS APPROPRIATELY |
| Texts | |
|---|---|
| O. ROSSI PINELLI, A CURA DI, LA STORIA DELLE STORIE DELL'ARTE, TORINO 2014, 198-490; E. CASTELNUOVO E C. GINZBURG, CENTRO E PERIFERIA NELLA STORIA DELL'ARTE ITALIANA (1979), ROMA 2019; TH. DACOSTA KAUFMANN, TOWARD A GEOGRAPHY OF ART, CHICAGO 2004, PART I, HISTORIOGRAPHY FURTHER TEXT WILL BE PROVIDED DURING CLASSES. |
| More Information | |
|---|---|
| STUDENTS NOT ATTENDING CLASSES, ARE REQUESTED TO CONTACT PROFESSOR |
BETA VERSION Data source ESSE3 [Ultima Sincronizzazione: 2022-11-21]
