Francesco VITALE | LANGUAGES AND THEORIES OF THE IMAGE
Francesco VITALE LANGUAGES AND THEORIES OF THE IMAGE
cod. 0322600180
LANGUAGES AND THEORIES OF THE IMAGE
| 0322600180 | |
| DEPARTMENT OF CULTURAL HERITAGE | |
| EQF7 | |
| PHILOSOPHY | |
| 2024/2025 |
| YEAR OF DIDACTIC SYSTEM 2021 | |
| AUTUMN SEMESTER |
| SSD | CFU | HOURS | ACTIVITY | |
|---|---|---|---|---|
| M-FIL/04 | 6 | 30 | LESSONS |
| Objectives | |
|---|---|
| THE COURSE AIMS TO EXAMINE IN DEPTH THEMES AND CATEGORIES OF AESTHETICS IN RELATION TO THE THEORIES AND PRACTICES OF THE ARTS WITH PARTICULAR ATTENTION TO THE ELABORATION OF THE DIFFERENT LANGUAGES OF THE IMAGE IN THEIR RELATIONSHIP WITH THE DIFFERENT FORMS OF ARTISTIC PRODUCTION AND EXPRESSION. KNOWLEDGE AND UNDERSTANDING THE STUDENT WILL: - WILL KNOW THE DISCIPLINARY FOUNDATIONS OF THE AESTHETIC TREATMENT OF THE LANGUAGES OF THE IMAGE. - THE STUDENT WILL UNDERSTAND THE RELATIONSHIPS BETWEEN AESTHETIC REFLECTION AND THE LANGUAGES OF THE IMAGE IN A HISTORICAL-RECONSTRUCTIVE PERSPECTIVE BUT ABLE TO ACCOUNT FOR THE CONTEMPORARY CULTURE OF IMAGES. ABILITY TO APPLY KNOWLEDGE AND UNDERSTANDING THE STUDENT WILL BE ABLE TO - ACQUIRE A SOLID METHODOLOGY OF APPROACH TO THE PROBLEMS RELATED TO THE MULTIPLICITY OF LANGUAGES AND CULTURAL AND EXPRESSIVE FORMS IN WHICH THE IMAGE PLAYS A SIGNIFICANT ROLE. - TO EXAMINE AND COMPARE THE DIFFERENT FORMS OF EXPRESSION OF THE LANGUAGES OF IMAGES AS THEY MANIFEST THEMSELVES IN DIFFERENT HISTORICAL AND CULTURAL CONTEXTS. AUTONOMY OF JUDGMENT THE STUDENT WILL BE ABLE TO : - CRITICALLY EVALUATE THE ELABORATION OF THE THEORETICAL DISCOURSE AND IN PARTICULAR THE TEXT-IMAGE RELATIONSHIP IN ITS DIFFERENT POSSIBLE CULTURAL MANIFESTATIONS. - COMPARE AND CRITICALLY SELECT THE ARGUMENTS AND CONCEPTUAL STRUCTURES THAT CONSTITUTE THE THEORETICAL DISCOURSE. COMMUNICATIVE SKILLS THE STUDENT WILL BE ABLE TO : - REPRESENT AND COMMUNICATE, BY MEANS OF TEXTS OR VIRTUAL TOOLS, RESULTS OF OWN RESEARCH OR ELABORATIONS. LEARNING SKILLS THE STUDENT WILL BE ABLE TO : - USE TRADITIONAL BIBLIOGRAPHIC TOOLS AND COMPUTER RESOURCES FOR ANALYSIS AND ARCHIVING; - CARRY OUT RESEARCH ACTIVITIES AT AN IN-DEPTH LEVEL, UNDERSTAND AND INTERPRET COMPLEX SCIENTIFIC-HUMANISTIC AND MULTI-MEDIA TEXTS; - CONTINUOUSLY UPDATE THEIR KNOWLEDGE, USING TECHNICAL AND SCIENTIFIC LITERATURE. |
| Prerequisites | |
|---|---|
| BASIC KNOWLEDGE IN THE FIELD OF AESTHETIC STUDIES |
| Contents | |
|---|---|
| THE COURSE WILL FOCUS ON THE RELATIONSHIP BETWEEN PHOTOGRAPHY AND TIME THROUGH THE REFLECTIONS THAT SOME AUTHORITATIVE SCHOLARS HAVE DEDICATED TO THIS THEME: W. BENJAMIN, ROLAND BARTHES, J. DERRIDA. WHAT EXPERIENCE OF TIME MAKES PHOTOGRAPHY POSSIBLE? IN WHAT WAY IS THE EXPERIENCE OF THE PAST CONFIGURED THROUGH THIS DEVICE DEVOTED TO RECORDING THE PRESENT INSTANT? WE WILL TRY TO ANSWER THESE QUESTIONS BY READING, ANALYSING AND COMMENTING ON THE TEXTS THAT THE ABOVE-MENTIONED AUTHORS HAVE DEDICATED TO THESE THEMES IN CONSTANT COMPARISON WITH THE PHOTOGRAPHIC MATERIALS USED AS EXAMPLES BY THESE AUTHORS AND OTHERS THAT WE WILL CONSIDER USEFUL FOR THE PURPOSES OF THE COURSE. THE COURSE WILL BE STRUCTURED AS FOLLOWS: - W. BENJAMIN: THE SURVIVAL OF THE AURA IN THE PHOTOGRAPHIC PORTRAIT OF THE EARLY 20TH CENTURY (PHOTOGRAPHY AND THE DIALECTICAL IMAGE). - R. BARTHES: PHOTOGRAPHY AS ATTESTATION OF A PAST PRESENT (PHOTOGRAPHY AND PHENOMENOLOGY) - J. DERRIDA: PHOTOGRAPHY AS CONSTRUCTION OF THE REFERENT (PHOTOGRAPHY AND DECONSTRUCTION). |
| Teaching Methods | |
|---|---|
| THE COURSE DOES NOT INCLUDE AN OBLIGATION TO ATTEND. IT WILL BE CONDUCTED IN LECTURES THAT WILL ESSENTIALLY CONSIST OF READING, COMMENTING AND DISCUSSION OF TEXTS FROM A PERSPECTIVE CONSISTENT WITH THE FORMATIVE OBJECTIVES.A VIEWING AND ANALYSIS OF THE VISUAL SOURCES OF THE VARIOUS THEORETICAL THEMES ADDRESSED IS ALSO FORESEEN. |
| Verification of learning | |
|---|---|
| THE TEST CONSISTS OF AN ORAL EXAMINATION AIMED AT ASSESSING THE STUDENT'S PREPARATION AND ABILITY TO USE SUBJECT-SPECIFIC KNOWLEDGE IN THE FIELD OF AESTHETICS. DURING THE INTERVIEW, WHICH WILL LAST APPROXIMATELY 15-20 MINUTES, THE ABILITY TO COMMUNICATE CLEARLY AND UNAMBIGUOUSLY THE KNOWLEDGE AND METHODOLOGIES ACQUIRED WILL BE ASSESSED. THE MAXIMUM GRADE IS REACHED WHEN THE STUDENT SHOWS ITS ABILITY TO ILLUSTRATE CORRECTLY AND DISCUSS CRITICALLY THE THEMES SUBJECT OF THE COURSE AND THEREFORE TO BE ABLE TO APPLY AUTONOMOUSLY WHAT HAS BEEN LEARNT ON A THEORETICAL LEVEL TO THE ANALYSIS OF PHOTOGRAPHIC PRODUCTIONS. THE PASS MARK IS ACHIEVED WHEN THE STUDENT DEMONSTRATES THAT HE/SHE CAN CORRECTLY ILLUSTRATE THE TOPICS COVERED IN THE COURSE. |
| Texts | |
|---|---|
| W. BENJAMIN, PICCOLA STORIA DELLA FOTOGRAFIA, IN ID., L'OPERA D'ARTE NELL'EPOCA DELLA SUA RIPRODUCIBILITÀ TECNICA, EINAUDI, TORINO, 2000. R. BARTHES, LA CAMERA CHIARA. NOTA SULLA FOTOGRAFIA, EINAUDI, TORINO, 2000. J. DERRIDA, LE MORTI DI ROLAND BARTHES, IN ID., PSYCHÉ. INVENZIONI DELL'ALTRO, JACA BOOK, MILANO, 2008. |
| More Information | |
|---|---|
| NONE |
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