Elementary Italian

Allows beginning students to use actively and understand the language in different situations through communicative activities and creative exercises. Conducted entirely in Italian. » read more »

Elementary Italian

Instructor in charge: Giuliana Perco

Course conducted in Italian

Allows beginning students to use and understand the language in different situations through functional communicative activities and creative exercises.

Course Requirements: Five hours per week. Weekly quizzes, two midterms and a final.

Required texts:

The Italian Project 1a, T. Marin and S. Magnelli. Edilingua 2013. ISBN 978-960-693-019-5

The Italian Project 1b, T. Marin and S. Magnelli. Edilingua 2013. ISBN 978-960-693-020-1

Una grammatica italiana per tutti  Vol. 1, A. Latino and M. Muscolino. Edilingua. ISBN 978-960-7706-70-6

Webster’s New World Italian Dictionary Concise edition ISBN 9780139536397

Recommended texts:

English Grammar for Students of Italian  3rd edition- S. Adorni, K Primorac. Olivia and Hill. ISBN 9780934034401

Prerequisites: None. Italian 1 presumes no former study of Italian.

Elementary Italian

Allows students to build on the language skills learned in IS1 to improve their proficiency in Italian. Use of communicative activities and creative exercises. Conducted entirely in Italian.

» read more »

Elementary Italian

Instructor in charge: Giuliana Perco

Course conducted in Italian

Allows students to use and understand the language in different situations through functional communicative activities and creative exercises. Conducted entirely in Italian.

Course Requirements: Five hours per week. Weekly quizzes, two midterms and a final.

Required texts:

The Italian Project 1b, T. Marin and S. Magnelli. Edilingua 2013. ISBN 978-960-693-020-1

The Italian Project 2a, T. Marin and S. Magnelli. Edilingua 2014.ISBN 978-960-693-021-8

Una grammatica italiana per tutti Vol. 1, A. Latino and M. Muscolino. Edilingua. ISBN 978-960-7706-70-6

Una grammatica italiana per tutti Vol. 2 (edizione aggiornata), A. Latino and M. Muscolino. Edilingua. ISBN 978-960-7706-96-6

Webster’s New World Italian Dictionary Concise edition ISBN 9780139536397

Recommended texts:

English Grammar for Students of Italian  3rd edition- S. Adorni, K Primorac. Olivia and Hill. ISBN: 9780934034401

Prerequisites: Italian 1 or equivalent.

Intermediate Italian

Taught in Italian

In this course students will gain an appreciation for Italian culture through the analyses of short stories, newspaper articles, films, and plays. Students will continue to build on the work done in Italian 2, striving for a higher level of sophistication and fluency in writing, reading, and speaking. » read more »

Intermediate Italian

Course conducted in Italian.

In this course students will gain an appreciation for Italian culture through the analyses of short stories, newspaper articles, films, and plays. Students will continue to build on the work done in Italian 2, striving for a higher level of sophistication and fluency in writing, reading, and speaking.

Weekly quizzes, 2 midterms, one oral presentation, and a final exam.

Required texts:

Immagina, l’italiano senza confini, A Cummings, C. Frenquellucci, etc. Vista Higher Learning 2011. ISBN 978-1-60576-260-9

Recommended texts:

Webster’s New World Italian Dictionary Concise edition ISBN 9780139536397

Prerequisite: Italian 2 or consent of instructor.

Advanced Italian

Taught in Italian

In this course students will gain an appreciation for Italian culture through the analyses of literary texts, articles, films, and plays. Students will continue to build on the work done in Italian 3, striving for a higher level of sophistication and fluency in writing, reading, and speaking. Readings will be more challenging than in the previous semester, and will cover a wider range of topics. Excerpts taken from novels will be longer with a richer, more complex vocabulary and sentence structure.

Course Requirements

Five hours per week. Mandatory attendance. Weekly quizzes, midterm, writing assignments, one oral presentation, and a final exam.

Prerequisites

Italian 3 or consent of instructor.

Texts

STUDENTS TAKE NOTE! REVISED TEXTBOOKS 6/12/14!

Immagina, l’italiano senza confini, A Cummings, C. Frenquellucci, etc. Vista Higher Learning 2011. ISBN 978-1-60576-260-9

RECOMMENDED

Webster’s New World Italian Dictionary Concise edition ISBN 9780139536397

Advanced Italian

Course conducted in Italian

In this course students will gain an appreciation for Italian culture through the analyses of literary texts, articles, films, and plays. Students will continue to build on the work done in Italian 3, striving for a higher level of sophistication and fluency in writing, reading, and speaking. Readings will be more challenging than in the previous semester, and will cover a wider range of topics. Excerpts taken from novels will be longer with a richer, more complex vocabulary and sentence structure.

Weekly written assignments, two midterms, an oral presentation, and a final exam.

Required texts:

Immagina, l’italiano senza confini, A Cummings, C. Frenquellucci, etc. Vista Higher Learning 2011. ISBN 978-1-60576-260-9

Io non ho paura by Niccolo` Ammaniti. Einaudi, 2011 ISBN 9788806207694

Recommended texts:

Webster’s New World Italian Dictionary Concise edition ISBN 9780139536397

Prerequisite: Italian 3 or consent of instructor.

 

 

Reading and Composition

Back to Basics: Classics of Italian Literature

All Reading and Composition courses must be taken for a letter grade in order to fulfill this requirement for the Bachelor’s Degree. This course satisfies the second half or the “B” portion of the Reading and Composition requirement.

In this course, we’ll explore the richness of Italian literature from its earliest manifestations to post-WWII. We’ll examine texts that stand witness to the peninsula’s tumultuous history, beginning with a fragmented set of city-states and ending with the failure of Fascism. How did writers respond to the various cultural and social developments that shook the peninsula? What is the relationship between literature and nation-building? In what way do works critique political and gender power structures? These are just a few of the questions we’ll pose as we read.

Course Requirements

Students are expected to attend and participate regularly. There will be three writing assignments throughout the semester (totaling a minimum of 32 pages, including drafts), as well as a number of mandatory grammar/stylistic workshops.

Prerequisites

Successful completion of the “A” portion of the Reading & Composition requirement or its equivalent. Students may not enroll in nor attend R5B courses without completing this prerequisite.

Texts

Dante, Vita nuova

Boccaccio, Decameron

Petrarch, Canzoniere

Franco, Terze rime

Machiavelli, The Prince

Manzoni, The Betrothed

Goldoni, The Artful Widow

Collodi, Pinocchio

Marinetti, “Futurist Manifesto”

Aleramo, A Woman

Levi, Survival in Auschwitz

Calvino, Invisible Cities

Lampedusa, The Leopard

Reading and Composition

Crime Fiction in Italy

All Reading and Composition courses must be taken for a letter grade in order to fulfill this requirement for the Bachelor’s Degree. This course satisfies the second half or the “B” portion of the Reading and Composition requirement.

This course considers the thriving crime genre, its history, developments, and permutations, within the Italian literary tradition. We will begin by looking at certain American and British detective stories as precursors to the early Italian crime novel and then focus on the twentieth-century Italian “giallo:” fictions of crime, mystery, and suspense. One of our main concerns will be how, and to what ends, the genre and its principle motifs are manipulated in modern and post-modern appropriations of the popular form. Moreover, we will look at the place of gender and, therefore the relationship between gender and knowledge, as it is constructed by generic norms. What happens when a woman sleuths? Does the possibility of female knowing alter the genre’s course, or change its stakes? In addition, we will ask what role the very site of Italy plays in fictions of mystery and crime. How and why is Italy employed as background, or even protagonist, of the scene of the crime?

All readings will be in English. Students from all majors and those still deciding majors are welcome.

Prerequisites

Successful completion of the “A” portion of the Reading & Composition requirement or its equivalent.Students may not enroll in nor attend R5B courses without completing this prerequisite.

Texts

Forthcoming.

Reading and Composition

Crime Fiction in Italy

All Reading and Composition courses must be taken for a letter grade in order to fulfill this requirement for the Bachelor’s Degree. This course satisfies the second half or the “B” portion of the Reading and Composition requirement.

This course considers the thriving crime genre, its history, developments, and permutations, within the Italian literary tradition. We will begin by looking at certain American and British detective stories as precursors to the early Italian crime novel and then focus on the twentieth-century Italian “giallo:” fictions of crime, mystery, and suspense. One of our main concerns will be how, and to what ends, the genre and its principle motifs are manipulated in modern and post-modern appropriations of the popular form. Moreover, we will look at the place of gender and, therefore the relationship between gender and knowledge, as it is constructed by generic norms. What happens when a woman sleuths? Does the possibility of female knowing alter the genre’s course, or change its stakes? In addition, we will ask what role the very site of Italy plays in fictions of mystery and crime. How and why is Italy employed as background, or even protagonist, of the scene of the crime?

All readings will be in English. Students from all majors and those still deciding majors are welcome.

Prerequisites

Successful completion of the “A” portion of the Reading & Composition requirement or its equivalent. Students may not enroll in nor attend R5B courses without completing this prerequisite.

Texts

Forthcoming.

Reading and Composition: Topic TBA

All Reading and Composition courses must be taken for a letter grade in order to fulfill this requirement for the Bachelor’s Degree. This course satisfies the first half or the “A” portion of the Reading and Composition requirement.

A detailed description is forthcoming.

Course Requirements: Forthcoming.

Texts: TBA

Prerequisites: Successful completion of the UC Entry Level Writing Requirement. Students may not enroll in nor attend R1A/R5A courses without completing this prerequisite.

Reading and Composition: The Making and the Unmaking of the Eternal City

All Reading and Composition courses must be taken for a letter grade in order to fulfill this requirement for the Bachelor’s Degree. This course satisfies the first half or the “A” portion of the Reading and Composition requirement.

This course investigates literary and cinematic representations of Rome in the twentieth and twenty-first century. How is the “città eterna” appropriated as simultaneously a constant and fluctuating entity, a static emblem of history and a corrupting modern metropolis at once? What does it mean to author a city and how have writers and filmmakers taken on this role? How does Rome become a character of its own, one approached with an amalgam of loving curiosity, intolerance, even indifference? Furthermore, how does Rome strive to produce an Italian identity, while simultaneously repressing collective memory through its own architectural sign system? What kind of modern subject walks the Roman streets and how do they interact with it? These are some of the questions this course address by way of close readings of poems, short stories, novels and films.

Course Requirements

Students are expected to attend class regularly and to participate actively in discussions of the assigned reading. Since the purpose of the course is to enhance your skills as critical readers and writers, we will work on (among other elements) developing confidence and fluency in approaching texts, close readings, understanding the writing process, and learning to ask productive questions. Short reading responses will prepare you for the formal essays, and revision of these essays will be a central component of the course.

Texts: TBA

Prerequisites: Successful completion of the UC Entry Level Writing Requirement. Students may not enroll in nor attend R1A/R5A courses without completing this prerequisite.

Reading and Composition: “Making It New”: Reading (Italian) Modernism

All Reading and Composition courses must be taken for a letter grade in order to fulfill this requirement for the Bachelor’s Degree. This course satisfies the second half or the “B” portion of the Reading and Composition requirement.

Beginning in the nineteenth century and continuing through the twentieth, writers and artists were grappling with a unique moment in history and its attendant changes: the appeals and anxieties of urban life; new media and technologies that transformed the experience of time, space, and human labor; world wars and political upheavals. Imagining such newness activated innovative modes of artistic expression that attempted to give voice to these experiences and simultaneously break free from what was perceived as the burden of literary and cultural tradition. Yet, in coming to terms with the “new,” writers also found themselves revisiting “old” forms, ideas, and spaces—particularly in a country such as Italy, often described as belated or backward with respect to the rest of bustling, industrialized Europe. In this course, we’ll examine some of the intersections and contradictions surrounding what is known as the “modernist” period, in Italy and farther afield: tradition and innovation; speed and slowness; the urban and the rural; the mechanical and the natural. We will consider these topics, among many, through active class discussion and regular assignments designed to cultivate critical thinking and refine the writing process.

Texts will likely be selected from among the following:

Campana, Orphic Songs

Pirandello, Shoot! The Notebooks of Serafino Gubbio

Futurist manifestoes and poetry

Woolf, Mrs. Dalloway

Eliot, The Waste Land

A course reader including poetry and prose by D’Annunzio, Govoni, Gozzano, Bontempelli, Svevo, Ungaretti, Montale, and others.

Prerequisites: Successful completion of the “A” portion of the Reading & Composition requirement or its equivalent. Students may not enroll in nor attend R1B/R5B courses without completing this prerequisite.

Reading and Composition: The Great Beauty? Art, Creativity, and Nostalgia in the West

All Reading and Composition courses must be taken for a letter grade in order to fulfill this requirement for the Bachelor’s Degree. This course satisfies the second half or the “B” portion of the Reading and Composition requirement.

 

This course will use Paolo Sorrentino’s 2013 film The Great Beauty to begin and end an investigation into the meanings and use of art, creativity, and nostalgia in the cultural tradition of the West. Students will analyze Renaissance and contemporary art, nineteenth and twentieth century literature, and postwar European and American cinema to consider the significance and function of art, creativity, and nostalgia in key texts of the West’s cultural development. In considering works by Raphael, Pollock, Celine, Breton, Pirandello, Fellini, and others, students will be trained to analyze interdisciplinary primary and secondary sources while developing their own research portfolio. Successful completion of the course will signify students’ increased intellectual maturity, competence in textual analysis, and satisfactory capacity to independently undertake significant research projects.

 

Texts: The required texts for the course are forthcoming.

 

Prerequisites: Successful completion of the “A” portion of the Reading & Composition requirement or its equivalent. Students may not enroll in nor attend R1B/R5B courses without completing this prerequisite.

Reading and Composition: The Making and Unmaking of the Eternal City

All Reading and Composition courses must be taken for a letter grade in order to fulfill this requirement for the Bachelor’s Degree. This course satisfies the second half or the “B” portion of the Reading and Composition requirement.

This course investigates literary and cinematic representations of Rome in the twentieth and twenty-first century. How is the “città eterna” appropriated as simultaneously a constant and fluctuating entity, a static emblem of history and a corrupting modern metropolis at once? What does it mean to author a city and how have writers and filmmakers taken on this role? How does Rome become a character of its own, one approached with an amalgam of loving curiosity, intolerance, even indifference? Furthermore, how does Rome strive to produce an Italian identity, while simultaneously repressing collective memory through its own architectural sign system? What kind of modern subject walks the Roman streets and how do they interact with it? These are some of the questions this course address by way of close readings of poems, short stories, novels and films.

Course Requirements

Students are expected to attend class regularly and to participate actively in discussions of the assigned reading. Since the purpose of the course is to enhance your skills as critical readers and writers, we will work on (among other elements) developing confidence and fluency in approaching texts, close readings, understanding the writing process, and learning to ask productive questions. Short reading responses will prepare you for the formal essays, and revision of these essays will be a central component of the course.

Texts: TBA

Prerequisites: Successful completion of the “A” portion of the Reading & Composition requirement or its equivalent. Students may not enroll in nor attend R1B/R5B courses without completing this prerequisite.

Reading and Composition

Image and Identity: “Reading” the Portrait

All Reading and Composition courses must be taken for a letter grade in order to fulfill this requirement for the Bachelor’s Degree. This course satisfies the first half or the “A” portion of the Reading and Composition requirement.

How do we “read” portraits? On the surface level, they may seem to represent the uncomplicated likeness or essence of the sitter, forever fixed in time and space. Yet, while a portrait may at first seem to provide us with a stable identity, supported by a network of visual cues, it also offers ample room for revisionist interpretations, projections, and identifications. In this course we will study the ways in which portraits appear in novels, poems, films, and short stories, with the goal of thinking critically about characters’ responses to and interpretations of the images with which they are confronted. What secrets do they believe are to be extracted from the images or what truths do they think are concealed? How does the fixity of the portrait interact with narrative progression? How do these portraits seduce and/or repulse their viewers? And to what extent are people (primarily women) conflated with images? Throughout the course of the semester, we will engage with recurring themes of identity, gender, sexuality, and the uncanny in order to develop the skills necessary for thoughtful academic work.

Course Requirements

Students are expected to attend class regularly and to participate actively in discussions of the assigned reading. Since the purpose of the course is to enhance your skills as critical readers and writers, we will work on (among other elements) developing confidence and fluency in approaching texts, close readings, understanding the writing process, and learning to ask productive questions. Short reading responses will prepare you for the formal essays, and revision of these essays will be a central component of the course.

Prerequisites

Successful completion of the UC Entry Level Writing Requirement.Students may not enroll in nor attend R1A/R5A courses without completing this prerequisite.

Texts

Camillo Boito, “A Body” (course reader)

Alfred Hitchcock, Vertigo (film)

Vernon Lee, “Oke of Okehurst” (course reader)

Edgar Allen Poe, “The Oval Portrait” (course reader)

Georges Rodenbach, Bruges-la-Morte, Dedalus European Classics, ISBN-10:1903517826 (ISBN-13: 978-1903517826)

Iginio Ugo Tarchetti, “A Spirit in a Raspberry” (course reader)

Oscar Wilde, The Picture of Dorian Gray, Oxford University Press, ISBN-10: 0199535981 (ISBN-13: 978-0199535989)

The course reader may also include the following works:

Selected poems from Petrarch, Gaspara Stampa, Robert Browning, and Dante Gabriel Rossetti

Charles Baudelaire, The Mirror of Art: Critical Studies, excerpts

Selected secondary and critical texts

Advanced Conversational Italian

This course is designed to develop and enhance oral communication skills at an advanced level by means of conversational practice, role plays, discussion of readings, debate of issues, and use of audio-visual materials.

Weekly oral and written assignments, four oral presentations spread out over the course of the semester. A considerable portion of the final grade will be based on the overall progress and participation of the student.

Texts: TRAME, A Contemporary Italian Reader edited by Cristina Abbona-Sneider, Yale University Press. ISBN 978-0-300-12495-8

Prerequisite: Italian 3 or consent of instructor.

Freshman Seminar

Culture & Politics in Italy since World War II: The Case of Pier Paolo Pasolini

Pier Paolo Pasolini–poet, novelist, filmmaker, cultural essayist, and political journalist–was Italy’s foremost public intellectual for twenty years beginning in the mid-1950s, and the passionate urgency of his work has lost none of its relevance to Italy’s complex and often troubled cultural and political situation since he was murdered in 1975. In this seminar we will read (in English translation) a rich selection of Pasolini’s poetry, fiction, and essays; view some of his most important and controversial movies; and consider the state of Italy today in light of Pasolini’s diagnosis of his country’s ills forty years ago. The course is designed to appeal to students from any academic background who are interested in Italy, politics, good movies, great literature, or any combination of the above.

This 1-unit course is taken on a Pass/Not Pass basis.

Prerequisites

Freshman standing.

Texts

Reader:

Pier Paolo Pasolini, The Ragazzi, translated by Emile Capouya

Pier Paolo Pasolini, Poems, translated by Norman MacAfee

Italian Culture

This interdisciplinary course is designed as a broad-based introduction to the culture and history of the Italian peninsula, from the Middle Ages to the present day. Enhanced by visits from distinguished scholars of the Department of Italian Studies and other campus units, it deals with major works of literature, political science, the visual arts, music, and cinema–invoking names such as Dante, Machiavelli, Michelangelo, Verdi, and Fellini–while setting Italy’s variegated culture in its social and historical context, from the medieval and Renaissance city-state through the arduous process of building the Italian nation to the contemporary Italy of mass media, social conflict, and political upheaval.

Section 101: F 12-1, Scott Bishop

Section 102: F 2-3, Scott Bishop

Section 103: F 3-4, Scott Bishop

Section 104: F 12-1, Kate Noson

Section 105: F 2-3, Kate Noson

Section 106: F 3-4, Kate Noson

Texts: Assigned readings will be posted on bCourses; the content of lectures will also count as part of the course ‘text’.

Prerequisites: None

The Italian Renaissance

This Course is Cross-Listed with History of Art 62

The Italian Renaissance is often considered to be the beginning of modernity. This is because the Renaissance is the first coherent articulation of a number of ideas–from the role of the individual within society to the rise of capitalism– that are closely associated with notions of “modern”. In this interdisciplinary course, we will discuss the various aspects of Renaissance life and culture that made this era both distinct within and formative for the history of western society. We will focus primarily on art, literature and political philosophy to draw a picture of the major cultural forces shaping the Renaissance. You will encounter many famous figures, including Michelangelo, Leonardo da Vinci, and Miachiavelli, placing these within their social and historical context. Where possible, the readings will be from the Renaissance itself, either writings of the authors, poets and artists we are studying, or the words of contemporaries writing about them.

Course Requirements

2 papers (6 pages each), midterm, final exam.

Prerequisites

Course and readings are in English.

Texts

Kenneth Bartlett, The Civilization of the Italian Renaissance, A Sourcebook [Second Edition], University of Toronto Press, 2011, ISBN-10: 1442604859 ISBN-13: 978-1442604858

Course reader at University Copy

Italian Language Tutor Training

The Italian language tutor training course offers a one-unit field study for Italian Majors and Minors, and for UC Berkeley students with an advanced language proficiency in Italian (equivalent to at least 4 semesters of language) interested in tutoring students studying Elementary Italian (first and second semester).

 

Tutors are responsible for 2 hours of drop-in tutoring per week, plus bi-weekly meetings with the Tutoring Coordinator to discuss pedagogy and second language acquisition issues. Both your tutoring schedule and class meetings will be discussed with your instructor at a later date.

Being a peer tutor for Italian is a great experience: you will help fellow students who have just begun to study Italian to appreciate it as much as you do; reviewing sticky grammar points for your tutees will improve your own language skills; finally, direct hands-on experience in this field will be a nice addition to your resume!
To become a peer-tutor, you must enroll in Italian 197 (juniors or seniors) or Italian 97 (sophomores) for 1 unit. The enrollment process requires pre-approval before a Course Control Number can be issued by the department to enable tutors to enroll. The process is outlined below. The University mandates that you must obtain the permission of both your instructor and the Chair of the Department in order to enroll in this course.

 

  • Your first step is to contact your future instructor, Annamaria Bellezza (ambellezza@berkeley.edu), and discuss with her your availability and eligibility as a tutor. If she approves your candidacy, together you will fill out an independent study form which requires your signatures.  Once you’ll have her approval, you’ll have to obtain approval and a signature from the Chair of the department (Prof. Ascoli: ascoli@berkeley.edu) on the same form. You will need to meet him in person during his office hours (6325 Dwinelle). You can email him in advance and coordinate your visit.
  • Your last step will be to meet with the Undergraduate Student Services Advisor, Ms. Kathi Brosnan (6303 Dwinelle), and bring her the completed form. Ms. Brosnan will review the form and will give you the course control number to enable enrollment.  Her office hours are Monday-Friday 9:30-11:30 and 1:15-4:00.

Words in Action Study Group

Italian Studies 98 (Freshmen and Sophomores)

Italian Studies 198 (Juniors and Seniors)

Words in Action is a multilingual student performance taking place every year at the end of April. It is open to all UC Berkeley students taking a foreign language, at any level.  Students participating in the event will work in the language of their choice with a language instructor. You will learn to perform in front of a live audience and experience the thrill of doing it in a foreign language. You will greatly improve your speaking skills and have fun at the same time in a highly collaborative environment. The event will include ONE 10-15 minute performance per language. Contact Annamaria Bellezza for details at ambellezza@berkeley.edu

Advanced Grammar, Reading, and Composition

Course conducted in Italian

Required of majors

 

Italian Studies 101B is a reading and writing intensive course for students who are already proficient in Italian. Its goal is to help students improve their grammar and perfect their writing and reading skills, in preparation for advanced literature courses in Italian.

 

In Spring 2015, Italian Studies 101B will focus on the theme of migration, a social phenomenon that has marked Italian society, history and culture for a very long time.

In the first part of the semester we will learn and analyze the story of Italian emigration between the 19th and 20th centuries and after WWII. Later in the semester, the focus will be instead on the contemporary wave of immigration into Italy from other, less privileged countries.

 

A variety of authentic texts of a different nature, from literature, to news articles, as well as video, audio clips, and songs will be included in the materials for the course.
Course Requirements: Three 1-hour meetings per week. Monthly quizzes, several long and short compositions, a presentation, and a final examination.

 

Prerequisites: Italian Studies 4 or proficiency placement. Please contact Dr. Perco if you have a question regarding placement in this course: gperco@berkeley.edu.


 

Advanced Grammar, Reading, and Composition

Taught in Italian

Required of majors

Italian Studies 101A is a reading and writing intensive course. Its goal is to help students improve their grammar and perfect their writing and reading skills, as a preparation for taking advanced literature courses in Italian.In Fall 2014, Italian Studies 101A will focus on some of the most persistent (and often misrepresented) stereotypes that characterize the perception of Italian culture and society abroad: fashion, design, food. Attention will be given to the historical, social, and cultural implications of such stereotypes. A variety of texts of different nature, video and audio clips, and songs will be included among the materials for the course. Â

Course Requirements

Three 1-hour meetings per week. Two 1-hour exams and a final examination.

Prerequisites

Italian Studies 4 or equivalent, or proficiency placement. Please contact Dr. Perco if you have a question regarding placement in this course: gperco@berkeley.edu.

Texts

To be announced.

History of Italian Culture

From Machiavelli to Shakespeare: the Renaissance World

Taught in Italian

As the names of Machiavelli and Shakespeare indicate, the legacy of the Renaissance is still very much present in our contemporary cultural consciousness, but what actually was the Renaissance? When did it start and what parts of Europe did it influence? Why did it coincide with one of the most dynamic and creative epochs in Western history, marked by the recovery of classical antiquity, the discovery of new worlds, the printing revolution and the establishment of a capitalist world-economy? To answer these questions the course will guide the students through some of the most important texts of the period, taking into account literature and art, science and politics, philosophy and religion. Along with Renaissance Florence, Rome and Venice, special focus will be directed to Shakespeare’s England to explore the ways in which the Renaissance was exported and appropriated outside of Italy, shaping the emergence of modern Europe. Alternating lectures with discussion sessions, the course will take advantage of the several resources available on the Berkeley campus, with visits to the Berkeley Art Museums and the Bancroft Library, to look closely at Renaissance books and art works.

Course Requirements

Regular attendance and participation, short oral presentation, quizzes, final paper.

Prerequisites

Consent of the instructor.

Texts

To be announced in class.

Reading Italian Literature

Course conducted in Italian

Fulfills Major and Minor Requirements in Italian Studies

Giro d’Italia: un viaggio nella letteratura italiana dal ‘300 ad oggi

This course is designed to provide students with an introduction to Italian literary history through the reading of a variety of different genres, including poems, plays, novels and short stories from across the centuries, while also providing tools for the description and interpretation of the texts presented.

As we read these texts we will focus on the theme of la città, and consider how literary representations of the urban landscape reflect changes in Italian political and cultural history from the 13th century to the present.

Course Requirements: Assignments include 5 short papers, and 2 revisions, reading quizzes, a final exam, and an in-class presentation.

Texts:

Readings may include works by Dante Alighieri, Giovanni Boccaccio, Bernardo Dovizi da Bibbiena, Carlo Goldoni, Cleto Arrighi, Anna Maria Ortese, Filippo Tommaso Marinetti, Umberto Saba, Leo Bersani, Carlo Levi, Natalia Ginzburg, Peir Paolo Pasolini, Laila Wadia.

Prerequisites: Italian 101A or 101B or permission of the instructor.

16th-Century Literature: Italian through Media: Information and Power from Gutenberg To The Digital Revolution

Course conducted in Italian

Our present is often referred to as the ‘age of information’, marked by the expansion of knowledge-producing occupations and by the transformation of information into commodity and social good. By bringing history into media studies, this course will show that adopting a long-term perspective–and examining the similar concerns over communication that societies of the past had–can help to better understand our present ‘information society’. After a brief introduction on Antiquity and the Middle Ages, the course will focus on the ‘age of print’ and will examine how the printing revolution shaped the emergence of modernity, influencing its social, intellectual and religious tensions as well as the interactions within and outside of Europe. Along with print culture the course will devote substantial attention to the interaction between different media, taking into account handwritten texts and images (including visual arts and maps). Considering material objects and the emergence of modern collecting practices (museums, cabinets of curiosities), the course will also explore the anxiety created by the ‘information overload’ caused by the recovery of ancient civilizations and the discovery of new worlds. Alternating lectures and discussions, part of the course will take place at the Bancroft Library, at the Berkeley Museum of Art and at the Berkeley Museum of Anthropology in order to examine manuscripts and early printed books as material objects and to introduce students to pre-modern visual culture.

Texts: TBA

Prerequisites: Italian 101A and consent of instructor.

Twentieth and Twenty-First Century Literature and Culture

I nuovi media e l’ndustria culturale in Italia dall’Ottocento ad oggi: testi, storie, teorie

Taught in Italian

In questo corso esploreremo i rapporti fra i nuovi media, l’industria culturale, l’arte, e la cultura in Italia dall’Ottocento ad oggi.

Presteremo particolare attenzione alle tecnologie che piu hanno inciso sullo sviluppo artistico, culturale, e politico dell’Italia, come la fotografia, il cinema, la radio, e la televisione, nonche le tecnologie digitali contemporanee.

Per capire il significato di queste innovazioni e il loro impatto sulla societa italiana, analizzeremo testi primari come foto, film, programmi radio e tv, e siti web con la prospettiva dataci da vari testi storici e teorici, italiani e non.

Il corso sara condotto in italiano, con letture in italiano ed in inglese.

Course Requirements

Durante il semestre, gli studenti dovranno scrivere brevi saggi, fare 1-2 presentazioni, e consegnare un progetto finale.

Prerequisites

Italian 101A or B or consent of instructor.

Texts

Forthcoming!

Topics in Italian Studies: One Hundred Years Ago: Italy and the “Great War”

Course and readings in English

A century ago, the outbreak of the “Great War” brought about the dissolution of centuries old empires, the creation of brand new countries, and of the unstable terrain from which later ideologies developed. It also brought about a geographically, economically and socially different Italy.

In this course we will study and analyze how literature described and re-interpreted not only the grim experience of the war bloodshed and its consequences, but the years immediately before the war broke out and their ideologies. We will study works by Italo Svevo, Giuseppe Ungaretti, Emilio Lussu and the futurists, among others. Since WWI was the first “global war”, we will also read works by authors from other nationalities and cultures, such as Wilfred Owen and Jaroslav Hašek. Additionally, we will look at some examples in figurative arts of the time, from paintings to photography, while films related to the war, for instance All Quiet on the Western Front, Francesco Rosi’s Uomini contro (Many Wars Ago) and Federico Fellini’s E la nave va (And the Ship Sails On), will also be included among the class materials.

Ultimately, through this course, we will attempt to understand the variously faceted perceptions of the “Great War” from different cultural and historical points of view.

Reading reports, a midterm, a presentation and a final paper are required.

Prerequisites: This course is taught in English; previous knowledge of Italian is not required. Students with a background in Italian, however, are welcome to read some of the assigned texts in Italian.

Topics in Italian Studies

Disability, Difference and Desire in Italian Fiction and Film

In this course, we will analyze representations of disability in Italian literature and film, focusing on the relationship between bodily difference, language, and sexuality. Drawing from some of the basic tenets of disability studies, we will question assumptions about normalcy and ask what it means to characterize someone or something as “disabled.” We will put pressure on concepts such as “cure” and “wholeness,” and will investigate the ways in which these concepts are mobilized within the literary form. In particular, we will explore the role of language in creating, understanding, and/or challenging various definitions of disability. We will consider the importance of voice, speech, and silence in each of the texts we read, exploring the relationship between the characters’ modes of communication and the telling, or writing, of the narrative itself. Do norms of communication and speech contribute to an “outsider” status for disabled subjects? How do different types of communication and knowledge lead to different relationships to the body? Is the desire of a disabled character necessarily queer? In order to answer these questions, we will consider the relationship between disability and other marginalized groups, asking to what extent disability presents a set of issues and concerns apart from other categories of difference, such as gender, class or race. As a backdrop for our analyses of fictional texts, students will also learn about the disability rights movement in Italy and will read and engage with scholarly work in the field of disability studies.

Course Requirements

Aside from discussion and class participation, graded assignments consist of weekly reading responses, a short midterm essay (3-5 pages) and a final paper (5-7 pages). In addition, students will be expected to give two 10-minute presentations, one on a course reading and one presenting the final paper.

Prerequisites

None. This course is taught in English with readings in English.

Texts

Giuseppe Pontiggia, Born Twice ISBN: 037572768X

Dacia Maraini, The Silent Duchess ISBN: 155861222X

Paolo Giordano, The Solitude of Prime Numbers ISBN: 0143118595

A course reader will also be made available with selections from: Gianni Celati, Italo Calvino, Giovanni Boccaccio, Lennard Davis, Rosemarie Garland-Thomson, Harlan Lane, Kathi Wolfe, Simi Linton and others.

Dante’s Purgatorio and Paradiso

Course taught in English.

This close introductory reading of Dante’s Purgatorio and Paradiso (the second and third sections of the Divine Comedy) aims to guide readers through a complex and challenging poetic narrative, situate Dante and his work in their intellectual, historical, and cultural context, and discuss questions of ethics, aesthetics, interpretation, and critical practice raised by the enduringly provocative presence of this medieval masterpiece at the beginning of the twenty-first century. Previous acquaintance with the first section of Dante’s trilogy, Inferno, will be found useful but is not indispensable.

Course requirements: Students will write three short (2-3 pp.) response papers in the first half of the semester; thereafter, in consultation with the instructor, they will devise an individual project on which they will write a research paper. There will be no midterm or final exam.

Text: Dante Alighieri, The “Divine Comedy”, translated by Allen Mandelbaum (Everyman’s Library, ISBN 978-0679433132)

Prerequisites: None

Dante’s Inferno (in English)

Taught in English, using a parallel-text edition of Inferno.

A close introductory reading of Dante’s Inferno, aimed at guiding readers through a complex and challenging poetic narrative; situating Dante and his work in their intellectual, historical, and cultural context; and discussing the questions of ethics, aesthetics, interpretation, and critical practice raised by the provocative presence of this medieval masterpiece in the early twenty-first century.

Course Requirements

Students will be expected to participate in class discussion and write several very short (max. 2 pp.) response papers in the first half of the semester; thereafter, in consultation with the instructor, they will devise an individual project on which they will write a research paper (12-15 pp.). There will be no midterm or final exam.

Prerequisites

None.

Texts

Dante Alighieri, Inferno, translated by Stanley Lombardo (Hackett)

Topics in the History, Society and Politics of the Italian Peninsula: Sins Against the State

Accusations against the Catholic Church of brazen interferences with the political workings of the Italian state(s) are frequent and often come at the expense of the Church’s role as spiritual guide. However just as writers lament intrusions of religious authority in the secular realm, the language and imagery of the Church permeate many articulations of Italian politics, specifically when guidance of the fold bleeds into control over the citizenry.

In this course, we will examine the slippage between these two authorities—religious and profane—at moments of conflict and apparent harmony as well as attempt to chart the evolution of laws within the struggle to divide, or rather, better delineate the identities and responsibilities of Church and State. Our primary goal, as we interpret works spanning different media and time periods, is to grasp the scope and nature of how these entities are defined, by whom and to what end, in order to gain insight into the dynamism characterizing their interactions with each other and with the subjects they govern.

Moreover, while class discussions will acknowledge the socio-historical realities within which the authors of our texts worked (e.g. the Counter Reformation, the Enlightenment, the Risorgimento etc.), efforts will also be made to explore the fantastical, literary and utopian aspects in each of these authors’ reactions to the status quo and to the powers-that-be. In particular, we will look at the ways in which authors apply the discourse of one authority to conceive—and more significantly critique—the role of the other, seemingly opposite, entity. The vision of reality that subsequently results will allow us to not only measure the success (or failure) of the rules governing society, but also to question the boundaries protecting the self from the outside world.

Course Requirements: Regular attendance and active participation; quizzes; two papers; and a final exam

Texts: Online course reader with selections from Catherine of Siena, Dante Alighieri, Cesare Beccaria, Giordano Bruno, Marchesa Colombi, Veronica Franco, Galileo Galilei, Alessandro Manzoni, Niccolò Machiavelli, Matilde Serao, Torquato Tasso, and others

Prerequisites: Italian 101A or B or consent of instructor.

Studies in the History, Society, and Politics of the Italian Peninsula

L’anno che ha cambiato il mondo: storia e memoria del 1968

Taught in Italian

Questo corso ci portera’ indietro nel tempo per approfondire la conoscenza di un anno denso di cambiamenti rivoluzionari per la societa’ italiana. Il 1968 e’ l’anno della protesta degli studenti, delle lotte nelle piazze con la polizia, delle occupazioni nelle universita’. E’ anche l’inizio di un’epoca di libera sperimentazione sessuale e di ribellione alle norme familiari. La rivolta giovanile si concentra sull’arretratezza della societa’ italiana, ma si ispira anche a eventi mondiali come la lotta contro la guerra in Vietnam o il movimento per i diritti civili negli Stati Uniti. Con il ’68 si avvia una lunga stagione di lotta che durera’ fino alla fine degli anni Settanta e viene oggi spesso definita l’epoca degli “anni ’68″.

Seguiremo le orme dei giovani rivoluzionari, delle femministe, dei ribelli e dei “figli dei fiori” italiani per conoscere la loro critica alle relazioni di classe e di genere del tempo e comprendere quale sia stato il loro contributo al rinnovamento della societa’ italiana. Ci affideremo a studi storici, ma anche alla letteratura e al cinema di quell’epoca e dei decenni successivi, grazie all’opera di autori quali Luisa Passerini, Guido Viale, Dacia Maraini, Kristin Ross, Nanni Balestrini, Pier Paolo Pasolini, Nanni Moretti, Elio Petri. La nostra indagine si soffermera’ sulle ramificazioni del “fenomeno ’68″ a livello mondiale e sulla radicalizzazione del conflitto sociale negli anni ’70.

Per finire, ci interrogheremo su cosa resti di quegli anni nella memoria odierna degli italiani. In particolare, cosa caratterizzo’ lo spirito del ’68? Cosa ci fa dire che una stagione storica si sia conclusa o sia invece ancora capace di influenzare il presente? E come possiamo riconciliare le narrative discordanti che ereditiamo dal passato?

Course Requirements

Course reader; content to be announced.

Prerequisites

Italian 101A or B or consent of instructor.

Texts
To be announced.

Topics in the History, Society, and Politics of the Italian Peninsula: Italy in the Age of Dante (1000-1350)

Cross-listed with History 149B, Sec 1

The history of medieval Italy is one of vivid contrasts: of beauty and brutality, freedom and tyranny, piety and blasphemy. The great poet of the Inferno summons us to consider such contrasts in nearly every canto: how can such stunningly beautiful language conjure images of such horrendous violence? This course explores the world that produced Dante, Giotto, and Saint Francis. It first traces the emergence of independent city-states in northern and central Italy after the millennium, emphasizing the particular conditions and experiences that created this distinctive medieval civilization. We will then focus on the culture of these vibrant urban centers using the artifacts they produced to discover the economic, social, religious, and political tensions underpinning them.  Were the divisions and inequities of this society central to its creativity?  We will explore with particular intensity the relationship between religion and society.  Special emphasis will also be placed on analyzing material and visual sources: do they tell a different story than the written sources?  Requirements include midterm and final examinations in addition to an essay based on primary sources.

 

Readings & Sources for Spring 2015 include,

 

Barbarossa in Italy, ed. & trans. T. Carson (New York: Italica Press,

1994).

Thomas of Celano, The Lives of Saint Francis of Assisi

(CreateSpace, 2014).

The Little Flowers of St. Francis, trans. Raphael Brown (Colorado

Springs: Image Books, 1971).

Roberto Rossellini, Francesco, giullare di Dio (1950; restored ed.,

Criterion, 2005).

Dino Compagni’s Chronicle of Florence, ed. & trans. D. E. Bornstein

(Philadelphia: University of Pennsylvania Press, 1986).

Dante Alighieri, Inferno, trans. Allen Mandelbaum (New York:

Bantam, 1982).

Excerpts in translation of Geoffrey Malaterra’s Deeds of Count Roger,

Romuald of Salerno’s Chronicon, Muhammad al-Idrissi’s Kitab

          Rugiar, and Brunetto Latini’s Livres dou tresor.

Prerequisites: none.

Film and Literature: The Cinema of Italian Migration

This Course is Cross-Listed with Film 140, Section 4

Screening/Lab: TU 2:30-4:30, 188 Dwinelle

 

This course begins with the idea that modern Italy is a nation of emigrants, a premise well-illustrated by film and other forms of popular culture. Given the high numbers of Italians who have immigrated to the United States, this course examines film by and about Italians and their descendants in the United States in order to consider critically how cinema has shaped Italian and Italian American culture and history.

 

We will consider how iconic and often stereotypical imagery associated with Italian migration—the Mafia, religion, food, etc.—is commodified and at other times alternatively used to create new, hybrid ethnic identities. In so doing, students will evaluate the politics of representing immigration especially in relation to historical and contemporary policies and commonplace views on the topic. Ultimately, students will engage a varied set of critical and technical tools for unpacking how an Italian culture of migration and ethnicity is mediated in film.

 

The main focus of this course will be tracing cinematic examples by and about Italians and their descendants in the United States. However, given Italy’s complex relationship to migration—as both a nation of emigrants and a receiver of new immigrants—we will also consider some of the ways Italian films have taken on this subject. Films we will study include: The Black Hand, The Godfather II, True Love, Rocco and His Brothers, Big Night, Mean Streets, Lamerica, Io Sono Li, and The True Legend of Tony Vilar.

 

Textbooks

a course reader, more details forthcoming

 

Student requirements:

- Critical reflection papers on some of the required readings and films

- A final research paper

- Attendance and participation in class discussions

- (optional extra credit – in-class presentation on a pre-approved topic)

 

Prerequisites: None.

 

Italian Language Tutor Training

The Italian language tutor training course offers a one-unit field study for Italian Majors and Minors, and for UC Berkeley students with an advanced language proficiency in Italian (equivalent to at least 4 semesters of language) interested in tutoring students studying Elementary Italian (first and second semester).

 

Tutors are responsible for 2 hours of drop-in tutoring per week, plus bi-weekly meetings with the Tutoring Coordinator to discuss pedagogy and second language acquisition issues. Both your tutoring schedule and class meetings will be discussed with your instructor at a later date.

Being a peer tutor for Italian is a great experience: you will help fellow students who have just begun to study Italian to appreciate it as much as you do; reviewing sticky grammar points for your tutees will improve your own language skills; finally, direct hands-on experience in this field will be a nice addition to your resume!
To become a peer-tutor, you must enroll in Italian 197 (juniors or seniors) or Italian 97 (sophomores) for 1 unit. The enrollment process requires pre-approval before a Course Control Number can be issued by the department to enable tutors to enroll. The process is outlined below. The University mandates that you must obtain the permission of both your instructor and the Chair of the Department in order to enroll in this course.

 

  • Your first step is to contact your future instructor, Annamaria Bellezza (ambellezza@berkeley.edu), and discuss with her your availability and eligibility as a tutor. If she approves your candidacy, together you will fill out an independent study form which requires your signatures.  Once you’ll have her approval, you’ll have to obtain approval and a signature from the Chair of the department (Prof. Ascoli: ascoli@berkeley.edu) on the same form. You will need to meet him in person during his office hours (6325 Dwinelle). You can email him in advance and coordinate your visit.
  • Your last step will be to meet with the Undergraduate Student Services Advisor, Ms. Kathi Brosnan (6303 Dwinelle), and bring her the completed form. Ms. Brosnan will review the form and will give you the course control number to enable enrollment.  Her office hours are Monday-Friday 9:30-11:30 and 1:15-4:00.

Words in Action Study Group

Italian Studies 98 (Freshmen and Sophomores)

Italian Studies 198 (Juniors and Seniors)

Words in Action is a multilingual student performance taking place every year at the end of April. It is open to all UC Berkeley students taking a foreign language, at any level.  Students participating in the event will work in the language of their choice with a language instructor. You will learn to perform in front of a live audience and experience the thrill of doing it in a foreign language. You will greatly improve your speaking skills and have fun at the same time in a highly collaborative environment. The event will include ONE 10-15 minute performance per language. Contact Annamaria Bellezza for details at ambellezza@berkeley.edu

Introduction to Romance Linguistics and Philology

Linguistic History of the Romance Languages

This Course is Cross-Listed with French C202 and Spanish C202.

Taught in English.

This course traces the development of the Romance language family from its origins in Latin through to contemporary varieties. Although the development of languages such as French, Italian, Spanish and Portuguese is a major focus, attention is also paid to lesser-known varieties including Sardinian, Occitan and the so-called Romance-based Creoles. The course aims to provide a broad understanding of the major linguistic changes that have affected the family at three levels: phonology, morphosyntax and lexis. Central questions include which factors lead to linguistic change, how we should model the relationships between the different languages in the family and how well our theories account for the vast amount of variation that exists within each language in any given period.

The course also places considerable emphasis on the external history of the languages and varieties that make up the Romance family. This means that we will adopt a socio-historical approach to the study of the history of Romance. This is a relatively new and very fruitful approach in historical linguistics. It has broadened the task of Romance historians who are beginning to look beyond the linguistic changes as structural events to get a better picture of the variation that existed in past states. Not only does this help paint a more realistic picture of the past, it also helps our understanding of language change. In this class, we will be particularly interested in topics such as multilingualism, language contact, language attitudes, standardization and genre-based variation.

Prerequisites

Graduate standing; consent of instructor.

Texts

(Recommended)

Alkire, T. and C. Rosen (2010) Romance Languages: A Historical Introduction, Cambridge: Cambridge University Press.

Campbell, L. (1999) Historical Linguistics: An Introduction, Cambridge Mass.: M.I.T. Press.

Harris, M. and N. Vincent (eds) (1988) The Romance Languages, Oxford: Oxford University Press.

Posner, R. (1996) The Romance Languages, Cambridge: Cambridge University Press.

Seminar on Dante

Becoming Dante: Dante before the Commedia

Course Conducted in English

Reading Knowledge of Italian or Latin Required

May be taken for 2 or 4 units

This course is the first half of a two semester sequence which will study the evolution of Dante’s cultural project and his poetics.In this semester we will examine the major works leading up to the writing of the Commedia: Vita Nova; the major “canzoni”; De Vulgari Eloquentia, and Convivio, seen in proleptic relationship to selected passages from the Inferno. Our focus will be on the dialectical construction and reconfiguration of authorship and readership in both poetry and prose, viewed through the filter of a series of pertinent late medieval contexts: including the emergence of a romance vernacular canon; proto-humanistic valorization of classical Latin literature; the rhetorical, philosophical and theological traditions; the shifting macro- and micro- politico-social order.In the second half of the course we will read the balance of the Commedia; the Monarchy; and two or three other of the late, “minor” Latin works.The aim of the course as whole is to recover, in some measure, the uneven historical process by which “Dante became Dante”.

Course Requirements

Students are expected to attend and participate regularly. Students taking the course for two credits will do the reading, plus in-class reports and other short assignments. Students taking the course for four credits will also develop one of their shorter assignments into a final research paper of 6000-7500 words (25-30 pages).

Seminar on Dante: Authority in Person: The Commedia and Beyond

Course Conducted in English

Reading Knowledge of Italian or Latin Required

May be taken for 2 or 4 units

 

Course Description: This course will be devoted to a study of the latter half of Dante’s career, particular the Divina Commedia (read in its entirety, but with selective emphases), but also the Latin works (letters; Monarchia; Eclogues) of the later years. Our focus will be on the problematics of poetic authorship (and readership) and political/ecclesiastical authority that emerge full-blown in the period. This course is, ideally, the continuation of the fall semester seminar on Dante before the Commedia, but may be taken on its own. Dante’s works will be viewed through the filter of a series of pertinent late medieval contexts: including the emergence of a romance vernacular canon; proto-humanistic valorization of classical Latin literature; the rhetorical, philosophical and theological traditions; the shifting macro- and micro-politico-social order.

 

Course Requirements: Students are expected to attend and participate regularly. Students taking the course for two credits will do the reading, plus in-class reports and other short assignments. Students taking the course for four credits will also develop one of their shorter assignments into a final research paper of 6000-7500 words (25-30 pages).

 

Texts:

Durling translation of the Commedia

A.R. Ascoli, Dante and the Making of a Modern Author (pbk)

Dante Alighieri, Monarchy, ed. Prue Shaw

 

Prerequisites: Graduate standing or consent of instructor.

Seminar in Renaissance Literature and Culture

Shakespeare’s Italy: Appropriating the Renaissance in Early Modern England

Course conducted in English

May be taken for 2 or 4 units

‘Inglese italianato e un diavolo incarnato’ (an Italianate Englishman is a devil incarnate), Roger Ascham famously said in the Schoolmaster, reproaching the wide diffusion of Italian language and culture in Elizabethan England. Despite Ascham’s attack on the ‘Italianate Englishmen’, the influence of Renaissance Italy remained wide and persistent in early modern England, as is clear to any reader of the Merchant of Venice or Romeo and Juliet. What Italian authors were read the most in the Tudor and the Stuart period and by whom? Who published them and in what material form? How did the book trade work? Did the movement go only in one direction or was Italy also reciprocally influenced by English culture? These are some of the questions that this seminar intends to address. The readings will include Shakespeare, Marlowe, Bacon, James I, Milton as well as Machiavelli, Bruno, Florio and Sarpi. Moreover, the seminar will devote ample space to methodology, in order to discuss and contrast the different approaches for studying the transmission of culture across linguistic and religious borders (translation studies, new historicism, book history, history of reading, bibliography and the sociology of texts, intertextuality and others). Several classes will take place at the Bancroft Library to examine early printed books as material objects and to understand how form affects meaning. Alternating lectures and discussions, the seminar will also host some talks by distinguished visiting scholars.

Prerequisites

Graduate standing or consent of the instructor.

Seminar in Renaissance Literature and Culture: Authors, Readers, and Censors in Early Modern Europe: From the Printing of Books to the Management of Information (1450-1800)

This Course is Cross-listed with French 245A, Section 1

 

Course conducted in English

May be taken for 2 or 4 units

 

This seminar introduces students to the fundamentals of book history (the invention of the printing press, the material forms of the book, and the development and control of the book market), but also to what in the field is now called scribal culture, that is the continued circulation of manuscripts during the age of the printing press and, more generally, the lasting and constant competition between books and manuscripts in the high culture of early modern Europe. The class mainly investigates the development of the book and manuscript markets in light of the larger question of how the Renaissance and the early modern period came to terms with the ‘overload of information’ that marked the early age of print, adopting new strategies to gather, store and appropriate knowledge. Particular attention will be dedicated to examining how information (mundane, political, literary and artistic, scientific, etc.) was produced and circulated, the guises under which it travelled, the ways in which it was policed and how it was received.

 

This seminar also has a practical purpose, which is to make students more capable of finding, describing, and adequately using the print and manuscript sources they will need to study in the context of their dissertations. All classes take place in the Bancroft Library and students will be exposed to a variety of rare materials during most sessions of the seminar. We also learn how to analyze and describe rare these documents (bibliographical description) and we discuss how libraries and archives developed and are currently organized when it comes to early modern materials. Finally, the course addresses the question of the growing availability of early modern print and manuscript sources over the internet, both investigating how they can be located and discussing the drawbacks of studying such materials in immaterial formats.

 

This course will be useful both to students of literature (in French, Italian, English, Spanish and Portuguese or German, as many of the fundamentals of book and information history are similar across Europe) and to historians in general. Historians of art, music and philosophy will also find the course of interest, given how important rare books and manuscripts sources now are for these fields as well.

 

The course deals with Europe as a whole and is taught entirely in English and, but many of the rare books and manuscripts studied are in French or in Italian, because of the instructors’ current specializations. For those students wishing to do the assigned bibliography exercises on either French or Italian materials a reasonable reading knowledge of French and/or Italian is needed. For those students possessing reading knowledge neither of French nor of Italian, alternative bibliography exercises in either English, German, Hebrew, Latin and/or Ancient Greek can be set up, in consultation with the instructors. All students will however be required to read all secondary readings in the English language, even when mostly French and/or Italian materials are discussed therein.

 

Texts:

Lucien Febvre and Henri-Jean Martin, The Coming of the Book: The Impact of Printing, 1450-1800, translated by David Gerard, Verso, London and New York, 1976 and 2010. ISBN-10: 1844676331 and ISBN-13: 978-1844676330.

Mark Bland, A Guide To Early Printed Books and Manuscripts, UK/MA, Wiley-Blackwell, 2010. ISBN-10: 1405124121 and ISBN-13: 978-1405124126. A Kindle edition is available from Amazon for $88 (but no paperback version exists).

Andrew Pettegree, The Book in the Renaissance, Yale, Yale University Press, 2010. ISBN-10: 0300178212 and ISBN-13: 978-0300178210.

 

Prerequisites: Graduate standing or consent of instructor

Seminar in 20th-Century Literature and Culture: Theorizing (Italian) Fascism

Conducted in English

May be taken for 2 or 4 units

 

What was fascism: a revolution? A cult? A philosophy? A style? A war machine? This seminar will explore the scholarship explaining what made fascism tick, on levels philosophical, rhetorical, theoretical, and so on. We will start from a basically historical question: what were the necessary and sufficient conditions for the emergence and consolidation of the world’s first fascist movement and government? Beyond that, we will follow the various strands of interpretation operative under the regime, and in current analyses. Topics will include fascism and war; colonialism; ‘everyday’ violence; racialization; eschatological thought; political religion; Gramsci; palingenesis; the cult of the duce; and modernity. Readings will vary widely, including works by Emilio Gentile, Walter L. Adamson, R.J.B. Bosworth, Christopher Duggan, Barbara Spackman, Ruth Ben-Ghiat, David Roberts, and Charles Burdett (in no particular order). Every effort will be made to provide English-language versions or equivalents of Italian texts for non-Italian readers.

 

Course Requirements: each student will be responsible for at least one seminar presentation. Students taking the course for 4 units will write a 20-30 page double-spaced paper.

 

Prerequisites: Graduate standing or consent of instructor.

Special Topics: Year Zero: Neorealism

Screening/lab: TH 6-9, 226 Dwinelle

Cross-listed with Film 240, Sec. 3

Conducted in English

May be taken for 2 or 4 units

Following the traumatic devastations of Fascism and the World War filmmakers such as Rossellini, Visconti, and De Sica (to cite only the most celebrated) offered the most immediate and most forceful responses to the Italy’s physical and moral collapse. Neorealism – in its various forms and inclinations, across media but most assertively in the cinema – has thus come to define the culture of reconstruction. It forged a vital myth of origins; it projected an image of Italy back to itself, inspiring a vision of unity, of purpose, and constructive reform in a period of transition. Its binding of an ethic with an aesthetic of filmmaking has become a paradigm for the renewal of cinemas everywhere. It remains a point of reference (both admired and contested) for other nations, regions, and minorities – to our time.

This seminar will explore historiographic and theoretical approaches to neorealism, paying particular attention to film style, narrative and visual form, the use of locations, the joining of non-actor and star, the recourse to history. We will trace its achievements, its influences, and its fallacies, juxtaposing key feature films with lesser-known works, including documentaries and shorts and considering, finally, some later responses and off-shoots.

Prerequisites: Graduate standing or consent of instructor.

Directed Readings in Italian Literature and Culture

Directed readings undertaken under the direction of a faculty member of the department of Italian Studies in conjunction with an audit of a 100-series seminar.

Course Requirements

One hour meeting per week with professor and assigned readings.

Directed Readings in Italian Literature and Culture

Directed readings undertaken under the direction of a faculty member of the department of Italian Studies in conjunction with an audit of a 100-series seminar. Required: one hour meeting per week with professor and assigned readings.

Seminar Research

Directed research leading to the writing of a term paper under the direction of an Italian Studies department faculty member.

Course Requirements

Concurrent enrollment in a 100-series seminar.

Seminar Research

Directed research leading to the writing of a term paper under the direction of an Italian Studies department faculty member. Required: concurrent enrollment in a 100-series seminar.

Prospectus Tutorial

Regular meetings with professor. Directed reading course leading to the production of a formal dissertation prospectus with detailed bibliography. The course is required for all Ph.D. candidates.

Prerequisites

Consent of instructor.

Prospectus Tutorial

Regular meetings with professor. Directed reading course leading to the production of a formal dissertation prospectus with detailed bibliography. The course is required for all Ph.D. candidates. Required: Consent of instructor.

Graduate Colloquium

GRADUATE COLLOQUIUM

 

Colloquium is required of first year students who take it for a grade.

Colloquium is optional for post-first-year students, who take it S/U.

 

Introduction to important aspects of the professional field of Italian Studies. The course will alternate between two types of events. First, attendance at and active participation in departmental colloquia offered by visiting speakers, by UCB faculty, and by department graduate students presenting their dissertation prospectuses. Second, workshops on a variety of topics fundamental to the effective practice of professional scholarship in Italian Studies.

 

Course Requirements: Students are expected to attend and participate regularly at all events. There are no writing requirements.

 

Required Books: none

Graduate Colloquium

Colloquium is required of first year students who take it for a grade.

Colloquium is optional for post-first-year students, who take it S/U.

Introduction to important aspects of the professional field of Italian Studies.The course will alternate between two types of events.First, attendance at and active participation in departmental colloquia offered by visiting speakers, by UCB faculty, and by department graduate students presenting their dissertation prospectuses.Second, workshops on a variety of topics fundamental to the effective practice of professional scholarship in Italian Studies.These may include: library workshops (how to use: the graduate library, the rare book library, the department library); workshops on the research and writing of scholarly studies; workshops on the effective use of bibliographic resources, written and electronic; and so on.

Course Requirements

Students are expected to attend and participate regularly at all events. There are no writing requirements.

Texts

To be announced.

Recommended activities: Physical and virual tours of Doe/Moffitt Libraries and websites.

Practicum Teaching of Italian in College: GSI Language Training

Course conducted in Italian

May be taken for 2 or 4 units

This course is a continuation of Italian Studies 375, and continues to provide training in the practical teaching of Italian. It is a development of a repertoire of techniques to meet various teaching situations. This course contributes to an improvement of the teaching of Italian as foreign language and to the training of foreign language teachers in general. We will apply current teaching methods for practical classroom activities.

Prerequisites: GSI status in the Department of Italian Studies.

Practicum Teaching of Italian in College: GSI Language Training

May be taken for 2 or 4 units

Taught in Italian

This course is required to all GSIs teaching a language class at the Department. It is a continuation of Italian Studies 375, and provides training in the practical teaching of Italian by helping students develop a repertoire of techniques to meet various teaching situations. This course contributes to an improvement of the teaching of Italian as foreign language and to the training of foreign language teachers in general. We will apply current teaching methods for practical classroom activities.

Prerequisites

GSI standing in the Department of Italian Studies.

Practicum in College Teaching of Italian Literature, History, and Culture

Italian Studies 120 or Italian Studies 160 GSIs

Required of Italian Studies department GSIs who are teaching Italian Studies 120 and 160 Italian literature or culture courses.

May be taken for 2 or 4 units

Course may be repeated for credit. Three hours of classroom teaching per week with regular faculty supervision; attendance at faculty lectures where appropriate; routine meetings to discuss and evaluate teaching methods, including lecturing, discussion, classroom activities, grading and testing, design of syllabi and course materials. Must be taken on a satisfactory/unsatisfactory basis.

Prerequisites

GSI status in the Department of Italian Studies.

Practicum in College Teaching of Italian Literature, History, and Culture: Italian Studies 40 GSIs

Required of Italian Studies department GSIs who are teaching Italian Studies 40.

May be taken for 2 or 4 units

Course may be repeated for credit. Three hours of classroom teaching per week with regular faculty supervision; attendance at faculty lectures where appropriate; routine meetings to discuss and evaluate teaching methods, including lecturing, discussion, classroom activities, grading and testing, design of syllabi and course materials. Must be taken on a satisfactory/unsatisfactory basis.

Prerequisites: GSI status in the Department of Italian Studies.

Practicum in College Teaching of Italian Literature, History, and Culture: Italian Studies 104 and 160 GSIs

Required of Italian Studies department GSIs who are teaching Italian Studies 104 and 160.

May be taken for 2 or 4 units

Course may be repeated for credit. Three hours of classroom teaching per week with regular faculty supervision; attendance at faculty lectures where appropriate; routine meetings to discuss and evaluate teaching methods, including lecturing, discussion, classroom activities, grading and testing, design of syllabi and course materials. Must be taken on a satisfactory/unsatisfactory basis.

Prerequisites:GSI status in the Department of Italian Studies.

Practicum in College Teaching of Italian Literature, History and Culture: Reading and Composition GSI Instruction

Required of Italian Studies department GSIs teaching R5A or R5B.

May be taken for 2 or 4 units

Course may be repeated for credit. Three hours of classroom teaching per week with regular faculty supervision; attendance at faculty lectures where appropriate; routine meetings to discuss and evaluate teaching methods, including lecturing, discussion, classroom activities, grading and testing, design of syllabi and course materials. Must be taken on a satisfactory/unsatisfactory basis.

 

Prerequisites: GSI status in the Department of Italian Studies