Educational goals of the course
The course is intended as an introduction to anthropology as cultural critique, specifically aimed at forming a figure of anthropologist regarded as “intellectual” capable of analysing, interpreting and comparing different cultural cases and systems.
The objectives of the course are:
– to develop in the student an awareness of “otherness”;
– to critically examines ideas about cultural differences and images of “otherness”;
to develop in the student a capacity to recognize preconceptions and assumptions of their own social and cultural environments.
This kind of knowledge is today particularly important, even necessary in order to understand the changes we’re all experiencing, and educate the future generations to live together the Others and recognize that they are an essential resource, but also to offer the means useful to the practice of everyday life and to every kind of job, especially for the teachers of any level of the educational system.
Knowledge and skills in the field of anthropology and cultural anthropology are extremely useful for the practice of teaching at any level of the education system, because they enhance the awareness of students’ personal stories and identities, of their peculiarities, and family backgrounds; at the same time, they help the teacher to abstain form any kind of social and cultural labelling.
The course is intended as an introduction to anthropology as cultural critique, specifically aimed at forming a figure of anthropologist regarded as “intellectual” capable of analysing, interpreting and comparing different cultural cases and systems.
The objectives of the course are:
– to develop in the student an awareness of “otherness”;
– to critically examines ideas about cultural differences and images of “otherness”;
to develop in the student a capacity to recognize preconceptions and assumptions of their own social and cultural environments.
This kind of knowledge is today particularly important, even necessary in order to understand the changes we’re all experiencing, and educate the future generations to live together the Others and recognize that they are an essential resource, but also to offer the means useful to the practice of everyday life and to every kind of job, especially for the teachers of any level of the educational system.
Knowledge and skills in the field of anthropology and cultural anthropology are extremely useful for the practice of teaching at any level of the education system, because they enhance the awareness of students’ personal stories and identities, of their peculiarities, and family backgrounds; at the same time, they help the teacher to abstain form any kind of social and cultural labelling.
Curriculum
teacher profile teaching materials
In Italy, between the 1960s and 1970s, the body of artists and poets became fully visible for the first time also thanks to new media (photography, cinema, television) and their mass diffusion. The transformation of the artist into performer is part of a tendency, typical of the same historical period, to dissolve the boundaries between different media, traditions and contexts. The course examines this transformation in a series of cases in which the body, the living presence of the artist, becomes an object acquires its own exemplary value. Texts, films, and photographs of performance in Italy and the broader area of performance experiences in the international field will be examined.
Other essays and books are indicated in the recordings and partly available in PDF on the course Teams channel in the Files section.
Fruizione: 20710598 STORIA E TEORIA DELL'ARTE CONTEMPORANEA - LM in Storia dell'arte LM-89 (docente da definire)
Programme
The expanded body. Art and performance in Italy, 1968-1980In Italy, between the 1960s and 1970s, the body of artists and poets became fully visible for the first time also thanks to new media (photography, cinema, television) and their mass diffusion. The transformation of the artist into performer is part of a tendency, typical of the same historical period, to dissolve the boundaries between different media, traditions and contexts. The course examines this transformation in a series of cases in which the body, the living presence of the artist, becomes an object acquires its own exemplary value. Texts, films, and photographs of performance in Italy and the broader area of performance experiences in the international field will be examined.
Core Documentation
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & HudsonOther essays and books are indicated in the recordings and partly available in PDF on the course Teams channel in the Files section.
Type of delivery of the course
traditionalAttendance
Free choiceType of evaluation
The course offers the possibility of being taken in-person, remotely and through recordings. All students are required to attend lectures, in-person or recorded, and to be familiar with the materials explained. Exams are conducted in written mode with oral exposition (see below). Exams 12 CFU: The examination consists of the writing and subsequent discussion of a paper, the topic and specific bibliography of which must be agreed with the lecturer (minimum length 24,000 characters, including spaces, notes and bibliography), to be then sent by e-mail at least ten days before the examination. Thorough knowledge of the course materials (texts, images, films), and the ability to expound and comment in the oral interview of the exam, themes, historical aspects, ideas and works examined in the light of the texts listed in the bibliography is also required. Please note: in addition to the paper, non-attending in-person students are required to take an oral examination on the course topics, including a discussion of essays and texts (PDFs) available in the Files section of the course's Team. Exams 6 CFU: The exam is written and is taken in the classroom (or online if necessary). The exam is designed to test the ability to present and analyze themes, poetics, movements, and artists addressed in the lectures and covered in the bibliography and to attest the ability to read and interpret works of art, using appropriate critical terminology and relating the work of art to its historical context. teacher profile teaching materials
In Italy, between the 1960s and 1970s, the body of artists and poets became fully visible for the first time also thanks to new media (photography, cinema, television) and their mass diffusion. The transformation of the artist into performer is part of a tendency, typical of the same historical period, to dissolve the boundaries between different media, traditions and contexts. The course examines this transformation in a series of cases in which the body, the living presence of the artist, becomes an object acquires its own exemplary value. Texts, films, and photographs of performance in Italy and the broader area of performance experiences in the international field will be examined.
Other essays and books are indicated in the recordings and partly available in PDF on the course Teams channel in the Files section.
Fruizione: 20710598 STORIA E TEORIA DELL'ARTE CONTEMPORANEA - LM in Storia dell'arte LM-89 (docente da definire)
Programme
The expanded body. Art and performance in Italy, 1968-1980In Italy, between the 1960s and 1970s, the body of artists and poets became fully visible for the first time also thanks to new media (photography, cinema, television) and their mass diffusion. The transformation of the artist into performer is part of a tendency, typical of the same historical period, to dissolve the boundaries between different media, traditions and contexts. The course examines this transformation in a series of cases in which the body, the living presence of the artist, becomes an object acquires its own exemplary value. Texts, films, and photographs of performance in Italy and the broader area of performance experiences in the international field will be examined.
Core Documentation
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & HudsonOther essays and books are indicated in the recordings and partly available in PDF on the course Teams channel in the Files section.
Type of delivery of the course
traditionalAttendance
Free choiceType of evaluation
The course offers the possibility of being taken in-person, remotely and through recordings. All students are required to attend lectures, in-person or recorded, and to be familiar with the materials explained. Exams are conducted in written mode with oral exposition (see below). Exams 12 CFU: The examination consists of the writing and subsequent discussion of a paper, the topic and specific bibliography of which must be agreed with the lecturer (minimum length 24,000 characters, including spaces, notes and bibliography), to be then sent by e-mail at least ten days before the examination. Thorough knowledge of the course materials (texts, images, films), and the ability to expound and comment in the oral interview of the exam, themes, historical aspects, ideas and works examined in the light of the texts listed in the bibliography is also required. Please note: in addition to the paper, non-attending in-person students are required to take an oral examination on the course topics, including a discussion of essays and texts (PDFs) available in the Files section of the course's Team. Exams 6 CFU: The exam is written and is taken in the classroom (or online if necessary). The exam is designed to test the ability to present and analyze themes, poetics, movements, and artists addressed in the lectures and covered in the bibliography and to attest the ability to read and interpret works of art, using appropriate critical terminology and relating the work of art to its historical context.