Ateneo - UPO

Social history: gender, sexuality, violence and social control. Line, drawing, light, shadow, color and painting. History and fortune of painting from Pliny to Giorgio Vasari.

The course consists of 2 modules: A) “Modern history” (=“Storia della società moderna”, prof. Tigrino) and B) “History of modern art II” (prof. Zambrano). Two programmes are foreseen for attending and non-attending students. Anyone who has already passed the exam of “Storia della società moderna” in previous years is required to contact prof. Tigrino to replace some of the texts.

A)
All students will prepare the 2 books and 3 articles indicated below.
-U. Grassi, “Sodoma. Persecuzioni, affetti, pratiche sociali (secoli V-XVIII)”, Roma, Carocci, 2019.
-M. De Leo, “Queer: Storia culturale della comunità LGBT+”, Torino, Einaudi, 2021.
-T. Scaramella, “La storia dell'omosessualità nell'Italia moderna: un bilancio”, in «Storicamente.org – Laboratorio di storia», n. 12 (2016), pp. 1-21 (DIR).
-C. Beccalossi, “Sessualità e identità non conformi tra storia LGBT+ e storia queer”, in «Contemporanea», a. XV, f. 4 (2022), pp. 643-658 (DIR).
-O. Fiorilli, “Note per una storia trans-”, in «Contemporanea», a. XXII, f. 2 (2019), pp. 305-316 (DIR).

Not attending students, in addition to all those mentioned above, will prepare also:
-G. Marcocci, “Matrimoni omosessuali nella Roma del tardo Cinquecento: su un passo del «Journal» di Montaigne”, in «Quaderni storici», 133 (2010), pp. 107-137.
-N. Pizzolato, “«Lo diavolo mi ingannao». La sodomia nelle campagne siciliane (1572-1664)”, in «Quaderni storici», 122 (2006), pp. 449-480.


B)
Bibliography. ATTENDING Students:
For ATTENDING Students, in addition to the knowledge of the topics that will be illustrated during the lessons and a careful reading of the texts presented and commented during the course and which will be made available to the student in the D.I.R. portal, constitute study texts for the exam:
- Le tecniche artistiche, ed. by C. Maltese, Mursia, Milano 1985, ed edizioni successive (texts read during the lessons; link available on the D.I.R.).
- L'Arte (critica e conservazione), dizionario ed. by R. Cassanelli, A. Conti, M. Ann Holly, Adalgisa Lugli, Jaka Book, Milano 1993 (Texts read during the lessons; materials available on the D.I.R.).
- Cennino Cennini, Il libro dell’arte, Vicenza 2003 ed edizioni successive (parti indicate a lezione).
- L.B. Alberti, De Pictura (Della Pittura), ed. by C. Grayson, Laterza, Bari 1980. (Texts read during the lessons; link available on the D.I.R.).
- L. Montalbano, La tecnica a punta metallica dal XIV al XVI secolo attraverso l’analisi delle fonti e dei materiali, in «Mitteillungen des Kunshistorischen Institutes in Florenz», 52, 2/3, 2008, pp. 241-225 (texts on D.I.R.).
- G. Dalli Regoli, Il disegno nella bottega, in: Maestri e Botteghe. Pittura a Firenze alla fine del Quattrocento, catalogo della mostra (Firenze 1992), a cura di M. Gregori, A. Paolucci, C. Acidini Luchinat, Cinisello Balsamo 1992, pp. 60-69 (texts on D.I.R.).
- Parts indicated in class: G. Vasari, Le Vite, edizione Giuntina del 1568, online. L’edizione consigliata per questa opera è la seguente: Giorgio Vasari, Le Vite de’ più eccellenti pittori scultori e architettori nelle redazioni del 1550 e 1568, ed. by R. Bettarini and P. Barocchi, Sansoni Editore, Firenze 1966-1987. (DISUM Library and available online).
- Essays and entries published on D.I.R. that are indicated by the professor. Such materials are an integral part of the bibliography and are to be carefully studied for the verification of learning.
The texts of the sources of the Artistic Literature that will be used will be indicated during the lessons and (possibly) made available on D.I.R.

Bibliography. NON-ATTENDING Students
- B. Aikema, I Rinascimenti in Europa 1480-1620. Arte, geografia e potere, Libri Scheiwiller, Milano 2024 (in commercio).
- B. Agosti, Giorgio Vasari. Luoghi e tempi della Vite, Officina Libraria, Milano 2013 (ed edizioni successive) - (in commercio; DISUM Library = 709.02.VASAG.AGOSB.1).
- D. Levi, G. Mazzaferro, La nuova letteratura artistica, 1. Dalla tarda antichità alla fine del Quattrocento Arte Zanichelli, Bologna 2026 (in commercio).

For those who do not have a good basic knowledge, at least at the school level, we recommend reading a good Art History handbook.

The course has the following objectives at a basic level: -ability to understand social history in its transformations through the time; -to be able to independently read scientific literature and sources related to social and cultural history; -to be able at least in an elementary way to evaluate and argue the dynamics related to the history of society, its themes and objects; -to be able to convey sufficiently appropriately the specificity of social and cultural history; -to know a series of tools to be acquired both through the direct study of the works and through reading and analysis of some of the fundamental sources of Artistic Literature of the Antiquity, 14th, 15th and 16th centuries: -to understand the painting technique, the creative and executive processes, the criteria of style and the choice of subjects depicted; -to understand and read works of art in all their aspects: material, stylistic, iconographic, linguistic.

The course has the following purpose at an advanced level: -to be able to comprehensively understand social history in its transformations through the time; -to be able to critically read the scientific literature and the sources related to social and cultural history; -to be able to consciously evaluate and argue the dynamics related to the history of society, its themes and objects; -to be able to convey the specificity of social and cultural history, including in a popular manner and with appropriate scientific terminology, and to analyze the work of art by appropriately using all the tools necessary for its understanding and dissemination/ communication at different levels; -to tackle the study of the history of modern art starting from the necessary and primary analysis of the modern work of art in its main founding aspects, also using and cross-referencing different sources and each other complementary.

The 12 ECTS credits earned during the course are distributed as follows: 2,4 ECTS credits of direct teaching (didattica erogativa), including interactive sessions with and among students (see "Teaching Methods"); 9,6 ECTS credits of independent study.

Basic historical knowledge (early modern and modern history); Modern Italian Literature. Good knowledge of Modern Art History. It is recommended and preferable that the Student has already attended the Modern Art History course.

Module A):
Frontal lectures; critical reading and critical analysis of the main historiographic themes and of the historical sources of the texts of the course, with particular attention to teaching methods. Individual study. Important: Student participation during lectures is encouraged; the presentation of the texts during lectures will allow for a proportional reduction in the material to be prepared for the exam.

Module B):
Lessons, seminars, visits to museums and monuments. In order to develop skills in communication and expression of judgments (as provided for by the Mission), for Students attending lessons include large and articulated spaces for debate, insights on the lexicon of the History of Art, exercises of description of works of art and reading aloud of the Art History sources (also by Students). Lessons are formulated in such a way as to promote the active participation of Students in the learning process thanks to the stimulation of their autonomous critical spirit. Visits to museums are considered part of the course. Schedule and timetable will be agreed and given during lessons and communicated on the D.I.R. forum in order to also involve non-attending students who may be interested.

Those who have already taken the exam “Storia della società moderna” in previous academic years are required to contact prof. Tigrino to redefine the texts for the exam. Students are advised to register on DIR (Didattica In Rete), where notices and communications will be posted, and where will be disposable some materials of the lectures. Students with physical disabilities, Learning Disabilities or Special Education Needs can request specific services and tools via reference office consulting the University webpage:
https://uniupo.it/it/servizi/servizi-studentesse-e-studenti-condizione-di-disabilità-e-dsa
Students with disabilities, learning disabilities or special education needs, once they have contacted the University Staff, can refer to the teachers in charge of the course to define the examination modalities, concerning academic aspects.

The course consists of 2 modules; each module has its own specific assessment method.
The overall assessment of the examination could take into account the student's ability to improve their ability to answer questions and their general ability to organise their work.

A)
Oral exam, about 20 minutes. The questions will assess: the student's ability to contextualize the topics learned in time and space; the acquisition of an organic vision of the disciplinary issues; the ability to use them into a coherent and correct exposition, also with a scientific language; the personal critical elaboration of the topics. The exam is divided into 3-4 questions and concerns on the indicated bibliography, as well as for students attending, on the topics discussed during the lessons. The questions will concern the content of the textbooks and specifically the historiographical debate upon gender, sexuality violence and social control in history (as indicated in the content).
Vote, expressed in thirtieths, takes place on the basis of the following parameters: 1) knowledge of the fundamental notions of bibliography and, for attending students, of the topics covered during the lessons (20 points out of 30); 2) reasoning skills critic on the topics (5 points out of 30); 3) ability to express and communicate, and to use a scientific language (5 points out of 30). The exam will be successful if the sum of 18/30 is reached or exceeded.

B)
Verification of learning takes place through an oral exam lasting about thirty minutes.
The exam aims to assess the student's ability to apply the knowledge acquired during the course, to verify the autonomy of judgment, the ability to use the disciplinary vocabulary and communication skills. It consists of an interview, divided into 4-5 questions and focuses on the topics covered in class and on the assigned bibliography *.
The precision and adherence to the texts of the bibliography scheduled in the reconstruction of the contents, especially with regard to artists, works, contexts, is a priority and a rewarding criterion for evaluation. Summaries from different sources (above all, but not only television, web and other nonacademic disclosure channels), especially if not scientifically reliable and rigorous, are a penalizing element in the verification of learning. On the other hand, the additional spontaneous readings of indepth analysis (especially if published on D.I.R.) by Students are a reward element.
The final exam consists of an interview of 4-5 questions and addresses the topics dealt with in the class and the bibliography assigned*.
During the exam it is advisable to have the images of the course with you. The questions may have as a theme:
- The main figures of the artists, their works.
- The historical-artistic phenomena of reference (for example: perspective culture, the artists' workshops, the protagonists of the Renaissance, analysis of one or more works of art).
- The conceptual junctions (periodization, chronology, style).
- The lexicons analyzed during the lessons.
- Basic artistic techniques (fresco, tempera, oil, bronze, engraving, marble, terracotta), rudiments of iconography (main subjects of European Renaissance painting and sculpture).
Vote of the exam is valuated in 30/30 points and based on the following parameters:
1) knowledge of the main and principal notions presented in the lessons and in the texts indicated in the bibliography * (18-20 points out of 30); 2) critical reasoning capability and associations and connections (4-6 out of 30); 3) ability to discourse knowledge and to express it effectively and linearly, using the specialized vocabulary, where needed (4-6 out of 30).
* For non-attending Students, only on the assigned bibliography.

The course consists of 2 modules: A) “Modern history” (=“Storia della società moderna”, prof. Tigrino) and B) “The history of modern art II” (prof Zambrano).

The module A) will focus upon gender, sexuality violence and social control in the early modern and modern period, also with interdisciplinary comparison. The module will analyze the main issues of cultural and social history, and the topics of the course will be constantly analyzed in connection with the current applications in history research and teaching methodology.
Outline of the lectures:
• The history of modern society: themes in social, economic, political and cultural history.
• Gender, sexuality, violence and social control in the modern and contemporary history: the
historiographical debate.
• Homosexuality and sodomy: sin, criminalisation and social control from the Middle Ages to the early modern period.
• Sexuality and gender in the modern period: spaces and cultures of transgression.
• Europe in comparison: the issue of sexuality as a cultural clash.
• Sexual non-conformity between the 18th and 19th centuries.
• Sexual transgressions in modernity: queer history between the 19th and 20th centuries.
• Medicine, race and politics: the debate on sexuality in the 20th century.
• Trans history and the overcoming of gender binarism.

The module B) is divided into two tracks, namely through an in-depth historical and technical analysis of some highly significant works and through the reading, analysis and study of a series of texts of artistic literature which have great importance for the techniques and the formation of modern styles in painting and sculpture between the 15th and 16th centuries. The main key will be drawing (line, 'chiaroscuro', relief), as the principal tool of knowledge of reality by artists. Particular attention will be paid to issues related to the presence and role of women as artists, clients, donors and collectors in the history of modern art. The topics of the courses will be constantly analyzed in connection with the current applications in history research.
Outline of the lectures:
Lessons 1-2: introduction to the course and the history of the Art History sources.
Lessons 3-7: drawing, painting, art in Pliny.
Lessons 8-12: Cennino Cennini, introduction to painting techniques.
Lessons 13-14: aspects of the artist's profession between the Middle Ages and the early Renaissance, contracts, working times, the workshop.
Lessons 15-16: technique and style: Leon Battista Alberti.
Lessons 17-20: technique and style, a practical case of use of the art historian's working tools.

Gender issues: specific insights are foreseen in both modules (the module A is specifically dedicated to the theme of gender in history).

To achieve sufficient knowledge and skills, the student has to demonstrate: Knowledge: -to know the main problems concerning the history of modern society. -to know the general features of the historiographical discussions on social and cultural history, and in particular those concerning gender, sexuality violence and social control in the early modern and modern period; -having acquired the knowledge of the main sources of the Artistic Literature of the 15th century. Knowing how to give the correct definition of 'Art Literature' in the specificity of the discipline (what is it?) And in its main functions (what is it for?). Competence: - ability to analyze issues of social history in a critical way; -to be able to read and understand the texts of Art Literature analyzed in class. Transversal skills: -ability to clearly communicate issues discussed during the lessons, with a proper language and with a scientific terminology; -to be able, starting from the reading of the source of the Art Literature, to be able to describe and interpret the links and links that exist between sources, works and artists; -reading, analyzing and enunciating in the form of a critical comment the themes of the text of the Artistic Literature, even if it is complex, even if written in the vernacular and not in Latin, relating it to the thematic, stylistic and iconographic developments of the work of an artist. Demonstrate therefore that you know how to make sources of Art Literature, artist biography and work of art interact in an articulated form; knowing and knowing how to use the disciplinary lexicon useful for reading sources and documents relating to works of art and artists.

To achieve an advanced level, the student must also demonstrate that he/she has: - An organic vision of the topics; synthesis and analysis skills; -Capacity for personal and critical processing of the topics; -Ability to deepen theoretical and methodological issues of history in general, and in particular concerning gender, sexuality violence and social control in the early modern and modern period; -to know the main authors and texts of the Artistic Literature of the Renaissance; - demonstrate that they know how to use the sources of Art Literature in reading works of art and the figure of the artist; -to be able to use easily and without hesitation the lexicon used in the sources analyzed and used (from Cennino Cennini to Vasari) and to articulate the analysis of a text in a simple form, however placing it in relation to a 'work or a series of works of art so as to highlight the existing and underlying relationships between them; -ability to read a work of art and the figure of the Artist or group of Artists or artistic phenomenon in relation to sources and documents of the Art Literature, using the sources themselves and documents to find salient information such as autography, chronology, contexts, provenance and collecting, taste and ancient functions of a work of art; -knowing, with competence and fluency, to illustrate to a group of non-specialist listeners, using disciplinary language and lexicon, the main characters and contents of a work of art, outlining the personality of the artist in a clear and competent way who created it and outlining the cultural context in which it was produced and exists; -knowing how to deduce the historical and social role of the artist; -reading and understanding, also through the knowledge of the historical lexicon, texts, documents and works of art of the Modern Age related to the historical and artistic contexts; -knowing how to deduce the historical-cultural role of an artefact and knowing how to relate it to the contemporary context in the Italian society.