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This Course Carries the Global Cultures Flag. Global Cultures Courses Are Designed to Increase Your Familiarity with Cultural Groups Outside the United States

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ITL 375 (37035) SICILY IN LITERATURE AND FILM Spring 2012 Instructor: Daniela Bini Office Hours: HRH 3.112C: W 10:30-11:00 and by appointment e-mail: [email protected]; phone: 471-5995 Class meetings: TTh: 11:00-12:30, HRH 2.112; Screenings TBA COURSE DESCRIPTION Sicily has always occupied a priviledged place in the Italian literary and cinematic imagination. While such writers as Pirandello, Sciascia, and Verga have created what can legitimately be called a distinctly Sicilian category of Italian literature, such filmmakers as Visconti, Rosi, Tornatore, Giordana have been drawn to the island as a space for cinematic experimentation and artistic self- discovery. From Visconti's 1948 neorealist masterpiece La terra trema to Tornatore's 1988 Oscar- winning Cinema Paradiso, from Verga's late nineteenth century short stories to Sciascia's Mafia-based thrillers, Sicily has become both a mythic space of the mind, as well as a signifier, in extremis for its own, and the rest of Italy's, social, political, and historical concerns. The course will involve close analysis of selected novels, short stories, and films with specific focus on such issues as unification history, the Mafia, and social/sexual mores. Attendance at the screenings is required. This course will be taught in Italian. There will be four short papers (2-3 pages) to be written in Italian, a midterm and a final. Since the course will be conducted as a seminar, a great deal of emphasis will be placed on active class participation. The final grade will be computed as follows: Papers: 40%; Midterm: 20%; Final: 30%; Class Participation: 10% This course carries the Global Cultures flag. Global Cultures courses are designed to increase your familiarity with cultural groups outside the United States. You should therefore expect a substantial portion of your grade to come from assignments covering the practices, beliefs, and histories of at least one non‐U.S. cultural group, past or present. TESTI Elio Vittorini, Conversazione in Sicilia Giuseppe Tomasi di Lampedusa, Il Gattopardo (selezione di pagine) Vitaliano Brancati, Il Bell'Antonio Leonardo Sciascia, A ciascuno il suo Luigi Pirandello, selezione da Novelle per un anno (on line) Giovanni Verga, selezione da Novelle rusticane e Vita dei campi (on line) Giuseppe Fava, due saggi on Blackboard FILM Gianni Amelio, Ladro di bambini Optional: Mauro Bolognini, Bell’Antonio Luchino Visconti, Il Gattopardo Francis Ford Coppola, Godfather 2 Franco Zeffirelli, Cavalleria rusticana Giuseppe Tornatore, L’uomo delle stelle Vittorio e Paolo Taviani, Kaos Pietro Germi, Divorzio all’italiana Marco Tullio Giordana, I cento passi SYLLABUS PARTE 1: IL VIAGGIO GENNAIO martedì 17 Introduzione: La Sicilia: Un po' di storia, arte e natura. giovedì 19 Leggere Conversazione in Sicilia, (cap. I-X) martedì 24 Conversazione (cap. XI-XXII) giovedì 26 Coversazione (XXIII-XXXV)). martedì 31 Conversazione, (finire). FEBBRAIO MERCOLEDÌ I febbraio: PROIEZIONE DI LADRO DI BAMBINI (GIANNI AMELIO) (alle 6:00) Last day to drop a course for possible refund giovedì 2 Discussione del film; leggere Il Gattopardo (parte prima, pp.31-46); SAGGIO 1. PARTE 2: LA STORIA martedì 7 Gattopardo (parte prima, finire) giovedì 9 Gattopardo (parte seconda, pp. 69-87) martedì 14 Gattopardo (parte seconda, finire ) Last day to drop a course without a possible academic penalty giovedì 16 Gattopardo,(parte terza,pp. 105-121) martedì 21 Gattopardo (parte terza, finire) giovedì 23 Gattopardo (pp.170-185) LUNEDÌ 27: PROIEZIONE DE IL GATTOPARDO-LUCHINO VISCONTI (alle 6:00) martedì 28 Analisi del film; MARZO giovedì I ESAME PARTE 3: COSTUMI SOCIALI martedì 6 Verga: "Cavalleria rusticana," http://schoolupdate.wordpress.com/2008/02/11/cavalleria-rusticana-novella-integrale/ "La lupa.” http://schoolupdate.wordpress.com/2008/02/11/la-lupa-novella-integrale/ MERCOLEDÌ 7: PROIEZIONE DELL’OPERA CAVALLERIA RUSTICANA (alle 6:00) giovedì 8 SAGGIO 2 Libretto dell’opera, http://opera.stanford.edu/Mascagni/Cavalleria/libretto.html cominciare a leggere “Rosso Malpelo” http://www.atuttascuola.it/novelle/malpelo.htm SPRING BREAK martedì 20 Verga: “Rosso Malpelo" finire, Pirandello“La giara,” http://www.classicitaliani.it/pirandel/novelle/11_144.htm giovedì 22 Pirandello: “Mal di luna,” “L’altro figlio.” LUNEDÌ 26 PROIEZIONE DEL FILM KAOS (FRATELLI TAVIANI) (alle 6:00) martedì 27 Discussione film giovedì 29 Il Bell'Antonio (V. Brancati), cap. 1-2 APRILE martedì 3 Il Bell'Antonio, cap. 3-5 giovedì 5 Il Bell’Antonio, cap.6-8; SAGGIO 3 martedì 10 Il Bell'Antonio, cap.9. MERCOLEDÌ 11: PROIEZIONE DI DIVORZIO ALL’ITALIANA (P. GERMI); FAC 344, alle 6:00 giovedì 12 Discussione del film PARTE 4: LA MAFIA martedì 17 Leggere Sciascia: A ciascuno il suo giovedì 19 A ciascuno il suo martedì 24: A ciascuno il suo giovedì 26: A ciascuno il suo (finire) LUNEDÌ 30 PROIEZIONE DE I CENTO PASSI (M.T. GIORDANA) alle 6:00 2 MAGGIO martedì I Discutere il film. SAGGIO 4 giovedì 3 Giuseppe Fava, “La vergogna” “La speranza” FINAL: SCHEDULED FINAL DAY Class and University Policies Religious holidays By UT Austin policy, you must notify me of your pending absence at least fourteen days prior to the date of observance of a religious holy day. If you must miss a class, an examination, a work assignment, or a project in order to observe a religious holy day, I will give you an opportunity to complete the missed work within a reasonable time after the absence. Academic Integrity University of Texas Honor Code The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the university is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community. Each student in this course is expected to abide by the University of Texas Honor Code. Policy on Scholastic Dishonesty Students who violate University rules on scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and/or dismissal from the University. Since such dishonesty harms the individual, all students, and the integrity of the University, policies on scholastic dishonesty will be strictly enforced. For further information, visit the Student Judicial Services web site http://www.utexas.edu/depts/dos/sjs/. This site offers excellent resources on how to cite sources and paraphrase. Copying materials from other people or from sources on the Internet, for example, or having your work edited by somebody else, constitutes a fraudulent submission. Any work submitted by a student in this course for academic credit will be the student’s own work and will acknowledge others’ work as appropriate (e.g., citing sources). Other University Notices and Policies Use of E-mail for Official Correspondence to Students It is the student’s responsibility to keep the University informed as to changes in his or her e-mail address. Students are expected to check e-mail on a frequent and regular basis in order to stay current with University- related communications, recognizing that certain communications may be time-critical. It is recommended that e-mail be checked daily, but at a minimum, twice per week. The complete text of this policy and instructions for updating your e-mail address are available at http://www.utexas.edu/its/policies/emailnotify.html. 3 Documented Disability Statement The University of Texas at Austin provides upon request appropriate academic accommodations for qualified students with disabilities. If you require special accommodations, you must obtain a letter that documents your disability from the Services for Students with Disabilities area of the Division of Diversity and Community Engagement (471-6259 voice or 471-4641 TTY for users who are deaf or hard of hearing). Present the letter to me at the beginning of the semester so we can discuss the accommodations you need. No later than five business days before an exam, you should remind me of any testing accommodations you will need. For more information, visit http://www.utexas.edu/diversity/ddce/ssd/. Behavior Concerns Advice Line (BCAL) If you are worried about someone who is acting differently, you may use the Behavior Concerns Advice Line to discuss by phone your concerns about another individual’s behavior. This service is provided through a partnership among the Office of the Dean of Students, the Counseling and Mental Health Center (CMHC), the Employee Assistance Program (EAP), and The University of Texas Police Department (UTPD). Call 512-232-5050 or visit http://www.utexas.edu/safety/bcal. Emergency Evacuation Policy Occupants of buildings on the UT Austin campus are required to evacuate and assemble outside when a fire alarm is activated or an announcement is made. Please be aware of the following policies regarding evacuation: Familiarize yourself with all exit doors of the classroom and the building. Remember that the nearest exit door may not be the one you used when you entered the building. If you require assistance to evacuate, inform me in writing during the first week of class. In the event of an evacuation, follow my instructions or those of class instructors. Do not re-enter a building unless you are given instructions by the Austin Fire Department, the UT-Austin Police Department, or the Fire Prevention Services office. 4 .
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  • Matteo Garrone's Reality:The Big Brother Spectacle and Its Rupture

    Matteo Garrone's Reality:The Big Brother Spectacle and Its Rupture

    Bucknell University Bucknell Digital Commons Faculty Journal Articles Faculty Scholarship Winter 1-1-2016 Matteo Garrone's Reality:The Big Brother Spectacle and its Rupture Anna Paparcone Bronner Bucknell University, [email protected] Follow this and additional works at: https://digitalcommons.bucknell.edu/fac_journ Part of the Composition Commons, Italian Literature Commons, Music Performance Commons, Television Commons, and the Visual Studies Commons Recommended Citation Bronner, Anna Paparcone. "Matteo Garrone's Reality:The Big Brother Spectacle and its Rupture." MLN (2016) : 270-289. This Article is brought to you for free and open access by the Faculty Scholarship at Bucknell Digital Commons. It has been accepted for inclusion in Faculty Journal Articles by an authorized administrator of Bucknell Digital Commons. For more information, please contact [email protected]. 0DWWHR*DUURQH·V5HDOLW\7KH%LJ%URWKHU6SHFWDFOHDQG,WV5XSWXUH $QQD3DSDUFRQH 0/19ROXPH1XPEHU-DQXDU\ ,WDOLDQ,VVXH SS $UWLFOH 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV '2,POQ )RUDGGLWLRQDOLQIRUPDWLRQDERXWWKLVDUWLFOH KWWSVPXVHMKXHGXDUWLFOH Access provided by Cornell University (4 May 2016 02:10 GMT) Matteo Garrone’s Reality: The Big Brother Spectacle and Its Rupture ❦ Anna Paparcone In his 1967 seminal work The Society of the Spectacle, Guy Debord wrote: “In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into representation” (thesis 1). The opening of Debord’s book aptly describes what occurs in Matteo Garrone’s 2012 filmReality whose protagonist, an exuberant fishmonger by the name of Luciano Ciotola, becomes obsessed with his participation in the reality TV show Big Brother to the point that his entire life turns into a spectacle.
  • Italian Films (Updated April 2011)

    Italian Films (Updated April 2011)

    Language Laboratory Film Collection Wagner College: Campus Hall 202 Italian Films (updated April 2011): Agata and the Storm/ Agata e la tempesta (2004) Silvio Soldini. Italy The pleasant life of middle-aged Agata (Licia Maglietta) -- owner of the most popular bookstore in town -- is turned topsy-turvy when she begins an uncertain affair with a man 13 years her junior (Claudio Santamaria). Meanwhile, life is equally turbulent for her brother, Gustavo (Emilio Solfrizzi), who discovers he was adopted and sets off to find his biological brother (Giuseppe Battiston) -- a married traveling salesman with a roving eye. Bicycle Thieves/ Ladri di biciclette (1948) Vittorio De Sica. Italy Widely considered a landmark Italian film, Vittorio De Sica's tale of a man who relies on his bicycle to do his job during Rome's post-World War II depression earned a special Oscar for its devastating power. The same day Antonio (Lamberto Maggiorani) gets his vehicle back from the pawnshop, someone steals it, prompting him to search the city in vain with his young son, Bruno (Enzo Staiola). Increasingly, he confronts a looming desperation. Big Deal on Madonna Street/ I soliti ignoti (1958) Mario Monicelli. Italy Director Mario Monicelli delivers this deft satire of the classic caper film Rififi, introducing a bungling group of amateurs -- including an ex-jockey (Carlo Pisacane), a former boxer (Vittorio Gassman) and an out-of-work photographer (Marcello Mastroianni). The crew plans a seemingly simple heist with a retired burglar (Totó), who serves as a consultant. But this Italian job is doomed from the start. Blow up (1966) Michelangelo Antonioni.