This course aims to provide students with analytical frameworks and research tools specifically related to the interpretation and contextualisation of Italian Medieval literary texts. Through the reading of a work - or group of works - students will get familiar with an eminently interdisciplinary interpretative framework, based on literary history, philology, linguistics, philosophy, one apt to understand the peculiar and complex features of Medieval literature and textuality.
Curriculum
teacher profile teaching materials
The course will address the connections between literary invention and the visual arts in Italy in the thirteenth and fourteenth century, with a specific focus on Dante. This relationship will be considered from several points of view: on the rhetorical level, with regard to the development of the resources of ecphrasis and evidence, and the use of memory images; on the iconographic level, as regards the mutual influence that literature and the visual arts exert. Initially we will examine the rhetorical exploitation of images for devotional purposes in Iacopone da Todi and in other texts. Then, the rest of the course will be devoted to Dante, to his reflection on the arts and to the visual sources of the Commedia.
Lectures by guest scholars and a school trip are planned.
Students will read (those who regularly attend the course are exempted from reading the texts marked with **):
- LUCIA BATTAGLIA RICCI, «Come […] le tombe terragne portan segnato»: lettura del dodicesimo canto del «Purgatorio», in Ecfrasi. Modelli ed esempi tra Medioevo e Rinascimento, a cura di Gianni Venturi and Monica Farnetti, Roma, Bulzoni, 2004, vol. I, pp. 33–63 (disponibile su Moodle)
- **LUCIA BATTAGLIA RICCI, Decrittare i segni. A proposito di «Paradiso» XVIII 70-117, in Studi di letteratura italiana. Per Vitilio Masiello, a cura di Pasquale Guaragnella e Marco Santagata, Roma-Bari, Laterza, 2006, pp. 95–112
- LINA BOLZONI, La rete delle immagini. Predicazione in volgare dalle origini a Bernardino da Siena, Torino, Einaudi, 2002, introduzione e capp. I-III
- **MARCELLO CICCUTO, «Saxa Loquuntur». Aspetti dell’evidentia nella retorica visiva di Dante, in Dante e la retorica, a cura di Luca Marcozzi, Ravenna, Longo, 2017, pp. 151–66
- MARCELLO CICCUTO, I costruttori dell’«Inferno» e gli artisti del «Purgatorio»: dall’arte morta alla pietra vivente, in «Chroniques Italiennes. Série Web», 39/2 (2020), pp. 44–54
- LAURA PASQUINI, «Pigliare occhi per aver la mente». Dante, la «Commedia» e le arti figurative, Roma, Carocci, 2020
- **PIERMARIO VESCOVO, Ecfrasi con spettatore (Dante, «Purgatorio», X-XVII), in «Lettere Italiane», 45/3 (1993), pp. 335–60 (disponibile su Moodle)
- FRANCES A. YATES, L’arte della memoria, Torino, Einaudi, 1972 (e successive edizioni e ristampe), capp. I-IV
Fruizione: 20710602 LETTERATURA ITALIANA L.M. (PER DIDATTICA DELL'ITALIANO) in Didattica dell’Italiano come Lingua Seconda (DIL2) LM-39 PEGORETTI ANNA
Programme
Word and image at the origins of Italian literatureThe course will address the connections between literary invention and the visual arts in Italy in the thirteenth and fourteenth century, with a specific focus on Dante. This relationship will be considered from several points of view: on the rhetorical level, with regard to the development of the resources of ecphrasis and evidence, and the use of memory images; on the iconographic level, as regards the mutual influence that literature and the visual arts exert. Initially we will examine the rhetorical exploitation of images for devotional purposes in Iacopone da Todi and in other texts. Then, the rest of the course will be devoted to Dante, to his reflection on the arts and to the visual sources of the Commedia.
Lectures by guest scholars and a school trip are planned.
Core Documentation
Students must have copies of both the Commedia and the Decameron (for the latter, the editions by Vittore Branca published by Einaudi or Mondadori, or the one ed. by Giancarlo Alfano – Maurizio Fiorilla – Amedeo Quondam and published by BUR.Students will read (those who regularly attend the course are exempted from reading the texts marked with **):
- LUCIA BATTAGLIA RICCI, «Come […] le tombe terragne portan segnato»: lettura del dodicesimo canto del «Purgatorio», in Ecfrasi. Modelli ed esempi tra Medioevo e Rinascimento, a cura di Gianni Venturi and Monica Farnetti, Roma, Bulzoni, 2004, vol. I, pp. 33–63 (disponibile su Moodle)
- **LUCIA BATTAGLIA RICCI, Decrittare i segni. A proposito di «Paradiso» XVIII 70-117, in Studi di letteratura italiana. Per Vitilio Masiello, a cura di Pasquale Guaragnella e Marco Santagata, Roma-Bari, Laterza, 2006, pp. 95–112
- LINA BOLZONI, La rete delle immagini. Predicazione in volgare dalle origini a Bernardino da Siena, Torino, Einaudi, 2002, introduzione e capp. I-III
- **MARCELLO CICCUTO, «Saxa Loquuntur». Aspetti dell’evidentia nella retorica visiva di Dante, in Dante e la retorica, a cura di Luca Marcozzi, Ravenna, Longo, 2017, pp. 151–66
- MARCELLO CICCUTO, I costruttori dell’«Inferno» e gli artisti del «Purgatorio»: dall’arte morta alla pietra vivente, in «Chroniques Italiennes. Série Web», 39/2 (2020), pp. 44–54
- LAURA PASQUINI, «Pigliare occhi per aver la mente». Dante, la «Commedia» e le arti figurative, Roma, Carocci, 2020
- **PIERMARIO VESCOVO, Ecfrasi con spettatore (Dante, «Purgatorio», X-XVII), in «Lettere Italiane», 45/3 (1993), pp. 335–60 (disponibile su Moodle)
- FRANCES A. YATES, L’arte della memoria, Torino, Einaudi, 1972 (e successive edizioni e ristampe), capp. I-IV
Attendance
Not mandatoryType of evaluation
The exam consists of an oral interview of about 25-30 minutes, which will focus on topics in the programme. The knowledge and level of in-depth study of the topics covered, the ability to read and understand texts, the development of an autonomous critical vision and the ability to appropriately present the subject will be assessed. Students who wish to, can submit a written paper on a theme chosen in agreement with the teacher and in line with the contents of the course. This paper will replace part of the oral exam, but it is in no way mandatory. teacher profile teaching materials
The course will address the connections between literary invention and the visual arts in Italy in the thirteenth and fourteenth century, with a specific focus on Dante. This relationship will be considered from several points of view: on the rhetorical level, with regard to the development of the resources of ecphrasis and evidence, and the use of memory images; on the iconographic level, as regards the mutual influence that literature and the visual arts exert. Initially we will examine the rhetorical exploitation of images for devotional purposes in Iacopone da Todi and in other texts. Then, the rest of the course will be devoted to Dante, to his reflection on the arts and to the visual sources of the Commedia.
Lectures by guest scholars and a school trip are planned.
Students will read (those who regularly attend the course are exempted from reading the texts marked with **):
- LUCIA BATTAGLIA RICCI, «Come […] le tombe terragne portan segnato»: lettura del dodicesimo canto del «Purgatorio», in Ecfrasi. Modelli ed esempi tra Medioevo e Rinascimento, a cura di Gianni Venturi and Monica Farnetti, Roma, Bulzoni, 2004, vol. I, pp. 33–63 (disponibile su Moodle)
- **LUCIA BATTAGLIA RICCI, Decrittare i segni. A proposito di «Paradiso» XVIII 70-117, in Studi di letteratura italiana. Per Vitilio Masiello, a cura di Pasquale Guaragnella e Marco Santagata, Roma-Bari, Laterza, 2006, pp. 95–112
- LINA BOLZONI, La rete delle immagini. Predicazione in volgare dalle origini a Bernardino da Siena, Torino, Einaudi, 2002, introduzione e capp. I-III
- **MARCELLO CICCUTO, «Saxa Loquuntur». Aspetti dell’evidentia nella retorica visiva di Dante, in Dante e la retorica, a cura di Luca Marcozzi, Ravenna, Longo, 2017, pp. 151–66
- MARCELLO CICCUTO, I costruttori dell’«Inferno» e gli artisti del «Purgatorio»: dall’arte morta alla pietra vivente, in «Chroniques Italiennes. Série Web», 39/2 (2020), pp. 44–54
- LAURA PASQUINI, «Pigliare occhi per aver la mente». Dante, la «Commedia» e le arti figurative, Roma, Carocci, 2020
- **PIERMARIO VESCOVO, Ecfrasi con spettatore (Dante, «Purgatorio», X-XVII), in «Lettere Italiane», 45/3 (1993), pp. 335–60 (disponibile su Moodle)
- FRANCES A. YATES, L’arte della memoria, Torino, Einaudi, 1972 (e successive edizioni e ristampe), capp. I-IV
Fruizione: 20710602 LETTERATURA ITALIANA L.M. (PER DIDATTICA DELL'ITALIANO) in Didattica dell’Italiano come Lingua Seconda (DIL2) LM-39 PEGORETTI ANNA
Programme
Word and image at the origins of Italian literatureThe course will address the connections between literary invention and the visual arts in Italy in the thirteenth and fourteenth century, with a specific focus on Dante. This relationship will be considered from several points of view: on the rhetorical level, with regard to the development of the resources of ecphrasis and evidence, and the use of memory images; on the iconographic level, as regards the mutual influence that literature and the visual arts exert. Initially we will examine the rhetorical exploitation of images for devotional purposes in Iacopone da Todi and in other texts. Then, the rest of the course will be devoted to Dante, to his reflection on the arts and to the visual sources of the Commedia.
Lectures by guest scholars and a school trip are planned.
Core Documentation
Students must have copies of both the Commedia and the Decameron (for the latter, the editions by Vittore Branca published by Einaudi or Mondadori, or the one ed. by Giancarlo Alfano – Maurizio Fiorilla – Amedeo Quondam and published by BUR.Students will read (those who regularly attend the course are exempted from reading the texts marked with **):
- LUCIA BATTAGLIA RICCI, «Come […] le tombe terragne portan segnato»: lettura del dodicesimo canto del «Purgatorio», in Ecfrasi. Modelli ed esempi tra Medioevo e Rinascimento, a cura di Gianni Venturi and Monica Farnetti, Roma, Bulzoni, 2004, vol. I, pp. 33–63 (disponibile su Moodle)
- **LUCIA BATTAGLIA RICCI, Decrittare i segni. A proposito di «Paradiso» XVIII 70-117, in Studi di letteratura italiana. Per Vitilio Masiello, a cura di Pasquale Guaragnella e Marco Santagata, Roma-Bari, Laterza, 2006, pp. 95–112
- LINA BOLZONI, La rete delle immagini. Predicazione in volgare dalle origini a Bernardino da Siena, Torino, Einaudi, 2002, introduzione e capp. I-III
- **MARCELLO CICCUTO, «Saxa Loquuntur». Aspetti dell’evidentia nella retorica visiva di Dante, in Dante e la retorica, a cura di Luca Marcozzi, Ravenna, Longo, 2017, pp. 151–66
- MARCELLO CICCUTO, I costruttori dell’«Inferno» e gli artisti del «Purgatorio»: dall’arte morta alla pietra vivente, in «Chroniques Italiennes. Série Web», 39/2 (2020), pp. 44–54
- LAURA PASQUINI, «Pigliare occhi per aver la mente». Dante, la «Commedia» e le arti figurative, Roma, Carocci, 2020
- **PIERMARIO VESCOVO, Ecfrasi con spettatore (Dante, «Purgatorio», X-XVII), in «Lettere Italiane», 45/3 (1993), pp. 335–60 (disponibile su Moodle)
- FRANCES A. YATES, L’arte della memoria, Torino, Einaudi, 1972 (e successive edizioni e ristampe), capp. I-IV
Attendance
Not mandatoryType of evaluation
The exam consists of an oral interview of about 25-30 minutes, which will focus on topics in the programme. The knowledge and level of in-depth study of the topics covered, the ability to read and understand texts, the development of an autonomous critical vision and the ability to appropriately present the subject will be assessed. Students who wish to, can submit a written paper on a theme chosen in agreement with the teacher and in line with the contents of the course. This paper will replace part of the oral exam, but it is in no way mandatory.