MODERN HISTORY 2

The ancient regime and the origins of modern sensibility: politics, religion, art, culture, society. From Homer to Britney Spears

The course takes place at the second year of the LCSL "Political and International" curriculum and intends to provide a further critical analysis step in the historical and historical-cultural subjects for the students of the course, asking what is the premise of passing an exam mod. 1 of Modern History or of Contemporary History (exam of I year)

Knowledge and understanding: At the end of the course the student will have to demonstrate
a) to know how to articulate a coherent historical framework of events and debates from early modern to the Enlightenment cultural revolution, a turning point in the birth of the contemporary world;
b) ability to recognize the different types of historiographical research in relation to the different historical and artistic sources examined, therefore
c) to be able to adequately comment on the complex of historical sources (visual and written) analyzed in class,
d) to show a job aware of the historiographical categories used during the lessons;
e) the ability to independently initiate in-depth studies and reflections on specific cases related to the course topic.

To attend the course you must have already taken a first-year history exam (module 1: Modern History or Contemporary History). The course is structured on the learning needs of the students of the "political-international" curriculum, but can be attended (as free-choice exam) by all the members of the LCSL CdS

Title of the course: The ancient regime and the origins of modern sensibility: politics, religion, art, culture, society. From Homer to Britney Spears

The teaching intends to outline a long period of cultural history from the ancient times until the end of the “ancien régime” such as to allow the identification of the moment of the foundation of the moderns’ sensitiveness in the Age of Enlightenment («siècle qui élabora la plupart des idées dont nous vivons» [Francastel]) both in the public sphere of society and politics, and in the global perception of the nature of man understood as a political creature, as a unique and unrepeatable individual, holder of inalienable rights.
For this reason the relations between arts and politics from the Homeric poem to the modern consumer music will be analyzed, concentrating on the different forms of representation about the mission of the man between the Age of «disciplinamento» and «confessionalizzazione» and the «invention» of the human rights, using the main medias of these historical times: literature, theatre, music, visual arts. The metamorphosis of the symbols and the themes of duties, rights and imperatives of politics and faith, that came with different cultural objects vehicles of social communication, will allow us to notice and highlight some of the main passages in the European culture during its toilsome transit towards “our” modernity.

ATTENDING STUDENTS:

a) lesson's notes; b) the book: G. TOCCHINI, Arte e politica nella cultura dei Lumi. Diderot, Rousseau e la critica dell'antico regime artistico, Roma, Carocci, 2016

NON ATTENDING STUDENTS:
the book G. TOCCHINI, Arte e politica nella cultura dei Lumi. Diderot, Rousseau e la critica dell'antico regime artistico, Roma, Carocci, 2016, and TWO books at your own choice in this list:

Bibliografia

Per gli studenti FREQUENTANTI

1) lesson's notes an 2) some readings that will be indicated at the beginning of the course


Per gli studenti NON FREQUENTANTI

1) the book: TOCCHINI, G., Arte e politica nella cultura dei Lumi. Diderot, Rousseau e la critica dell'antico regime artistico, Roma, Carocci, 2016

and: 2) one book at own choice from the list A, and 3) one bbok at own choice from the list B.

LIST A

* BERTELLI, S., Il corpo del re. Sacralità e potere nell’Europa medievale e moderna, Firenze, Ponte alle Grazie, 1990
* BREWER, J., I piaceri dell'immaginazione. La cultura inglese del Settecento (trad. it.), Roma, Carocci, 1999
* BURKE, P., The Fabrication of Louis XIV, New Haven, Yale University Press, 1992 [*trad. it.: La fabbrica del Re Sole, Milano, Il Saggiatore, 1993; poi 2017 col titolo Il Re Sole]
* CROW, Th., Painters and Public Life in Eighteenth-Century Paris, New Haven, Yale University Press, 1985 [*trad. fr.: Id., La peinture et son public à Paris au XVIIIe siècle, Paris, Macula, 2000]
* FIRPO, M., Gli affreschi di Pontormo a San Lorenzo. Eresia, politica e cultura nella Firenze di Cosimo I, Torino, Einaudi, 1994
* HASKELL, F., Mecenati e pittori. Studi sui rapporti tra arte e società italiana nell'età Barocca, Firenze, Sansoni, 1966 [*opp. 1985; Torino, Allemandi, 2000, Torino, Einaudi 2020; trad. fr.: Mècènes et peintres. L'art et la société au temps du baroque italien, Paris, Gallimard, 1991]
* MARAVALL, J. A., La cultura del barocco. Analisi di una struttura storica, Bologna, Il Mulino, 1985 e rist.
* SHINER, L., The Invention of Art. A Cultural Histori, Chicago, Chicago University Press, 2001 [*trad. it: L’invenzione dell’arte. Una storia culturale, Torino, Einaudi, 2010]
* TOCCHINI, G. I Fratelli d’Orfeo. Gluck e il teatro musicale massonico tra Vienna e Parigi, Firenze, Olschki, 1998
* TOCCHINI, G., Su Greuze e Rousseau. Romanzo, politica e committenza d'arte della tarda età dei Lumi, Pisa, Edizioni della Normale, 2016.

LIST B

* DARNTON, R., Edition et sédition. L'univers de la littérature clandestine au XVIIIe siècle, Gallimard, Paris 1991
* FERRONE, V., Il mondo dell’Illuminismo. Storia di una rivoluzione culturale, Torino, Einaudi, 2019
* GRAFTON, A., Falsari e critici. Creatività e finzione nella tradizione letteraria occidentale (trad. it.), Torino, Einaudi, 1996;
* PANICHI, S., Roma antica e la nuova America. Come il mito di Lucrezia e l’idea della Repubblica varcarono l’Oceano, Roma, Donzelli, 2018
* PANOFSKY, E., Architettura gotica e filosofia scolastica, Milano, Abscondita, 2010
* SETTIS, S., La tempesta interpretata. Giorgione, i committenti il soggetto, Torino, Einaudi, 1978
* TOCCHINI, G., Minacciare con le immagini. Gli affreschi scomparsi della ‘Casa Barbariga’ e la svolta ideologica del patriziato veneziano, Roma, Edizioni di Storia e Letteratura, 2010
* ZAPPERI, R., Annibale Carracci. Ritratto di artista da giovane, Torino, Einaudi, 1989
* ZAPPERI, R., Eros e controriforma. Preistoria della galleria Farnese, Torino, Bollati-Boringhieri, 1994

The oral exam, of an average duration of about 20 minutes, will focus on at least two topics covered during the lectures and aims at a cross-examination of the student's preparation and his ability to present and coordinate the topics of the course, his ability to link different topics.

In carrying out the oral test the student will have to demonstrate:
a) to know how to articulate a coherent historical framework of the events and debates that are at the origin of the Enlightenment cultural revolution, a turning point in the birth of the contemporary world;
b) ability to recognize the different types of historiographical research in relation to the different historical and artistic sources examined, therefore
c) to be able to adequately comment on the complex of historical sources (visual and written) analyzed in class,
d) to show a job aware of the historiographical categories used during the lessons;
e) the ability to independently initiate in-depth studies and reflections on specific cases related to the course topic.

lectures, with the aid of music and iconology; comment of the sources

Attending students will be required to print and bring to the classroom a paper version of the texts that will be read during the lessons, downloadable in pdf from the Moodle section of this webpage.

oral

This subject deals with topics related to the macro-area "Poverty and inequalities" and contributes to the achievement of one or more goals of U. N. Agenda for Sustainable Development