Studying at the University of Verona

Here you can find information on the organisational aspects of the Programme, lecture timetables, learning activities and useful contact details for your time at the University, from enrolment to graduation.

Type D and Type F activities

Una quota dei crediti corrispondenti all’attività formativa dell’intero triennio, determinata dal presente Regolamento in 12 CFU, è riservata alla scelta autonoma da parte della/o studente. Questa scelta può essere orientata sia verso corsi/esami non seguiti/sostenuti in precedenza, sia verso iterazioni di corsi/esami, sia ancora verso altre attività (tutorati, ulteriori competenze linguistiche, partecipazione a convegni o seminari), purché tutte preventivamente approvate dal Collegio Didattico e/o dalla Commissione Didattica del Dipartimento. Tra i 12 crediti dovrà comunque essere presente almeno un esame con voto. In conformità al dettato del D.M. 270/04 e alla luce delle raccomandazioni espresse dal D.M. 26 luglio 2007, capo 3 lettera n), la scelta, che non può essere predeterminata (fatto salvo quanto indicato per le iterazioni), deve comunque essere ispirata a coerenza col piano formativo della/del singola/o studente.
In caso di attività formative non rientranti nelle categorie previste, si dovrà fare richiesta di valutazione al Collegio Didattico di Filosofia fornendo adeguate motivazioni.
Altre informazioni sono reperibili nella Guida per i crediti liberi che è possibile trovare quì

COMPETENZE TRASVERSALI
Scopri i percorsi formativi promossi dal  Teaching and learning centre dell'Ateneo, destinati agli studenti iscritti ai corsi di laurea, volti alla promozione delle competenze trasversali:
https://talc.univr.it/it/competenze-trasversali
 
 
Prima parte del primo semestre From 9/27/21 To 11/6/21
years Modules TAF Teacher
1° 2° 3° What paradigms beyond the pandemic? D Paola Dal Toso (Coordinator)
1° 2° 3° The contagion and the cure. The world after the virus D Carlo Chiurco (Coordinator)
1° 2° 3° The ethics and aesthetics of the image D Gianluca Solla (Coordinator)
Seconda parte del primo semestre From 11/15/21 To 1/12/22
years Modules TAF Teacher
1° 2° 3° What paradigms beyond the pandemic? D Paola Dal Toso (Coordinator)
1° 2° 3° The contagion and the cure. The world after the virus D Carlo Chiurco (Coordinator)
1° 2° 3° Laboratorio “Calendario di Memoria Civile – Giornata della Memoria” D Olivia Guaraldo (Coordinator)
1° 2° 3° Eros and Polis ”and“ In the name of Tiresias: Subjectivation, transit, sexuation D Federico Leoni (Coordinator)
2 A CuCi From 2/14/22 To 3/26/22
years Modules TAF Teacher
1° 2° 3° Introduction to robotics for humanities students D Paolo Fiorini (Coordinator)
Prima parte del secondo semestre From 2/14/22 To 3/26/22
years Modules TAF Teacher
1° 2° 3° "Common world. 2022 Arendt Seminars D Ilaria Possenti (Coordinator)
1° 2° 3° Restorative Justice D Cristina Lonardi (Coordinator)
1° 2° 3° Group Psychology and the Analysis of the Ego, a hundred years later: social bond and new forms of subjectivation. D Matteo Bonazzi (Coordinator)
1° 2° 3° The contagion and the cure. The world after the virus D Carlo Chiurco (Coordinator)
1° 2° 3° Gnoseology and Metaphysics Workshop 2025 D Davide Poggi (Coordinator)
1° 2° 3° Eros and Polis ”and“ In the name of Tiresias: Subjectivation, transit, sexuation D Federico Leoni (Coordinator)
Seconda parte del secondo semestre From 4/4/22 To 6/4/22
years Modules TAF Teacher
1° 2° 3° "Common world. 2022 Arendt Seminars D Ilaria Possenti (Coordinator)
1° 2° 3° Partecipated justice and reforms. The settlement of conflicts with people and for people D Cristina Lonardi (Coordinator)
1° 2° 3° Gnoseology and Metaphysics Workshop 2025 D Davide Poggi (Coordinator)
1° 2° 3° Eros and Polis ”and“ In the name of Tiresias: Subjectivation, transit, sexuation D Federico Leoni (Coordinator)

Teaching code

4S010925

Coordinator

Gianluca Solla

Credits

1

Also offered in courses:

Language

Italian

Scientific Disciplinary Sector (SSD)

NN - -

Period

Sem. 1A dal Sep 27, 2021 al Nov 6, 2021.

Learning outcomes

We live in a society rich in images and visual content. These images convey messages, nurturing and changing our outlook on the world and on ourselves.
They do this both through composition and through the content of what they represent, be it paintings, a YouTube video or a film.
Since the birth of the study of composition, together with the recent studies of visual culture, we have begun to ask questions that not only concern the aesthetics of the images, but also ethics: who looks at these images? What do they represent and how are they read by others?
Knowing how to compose - and therefore how to read - an image is the way to understand how we see the world and how we see ourselves.

Program

In the first part we will work starting from the observation and reading of some paintings, their composition, their structure and their representation, from Kandinskij to Caravaggio, passing through De Chirico and Paolo Uccello. From these we will draw a line, a union, between the essential unity of the paintings to that of the audiovisual and cinema: the image, the frame.
In particular, we will work on the concept of composition, of the construction of spatial relationships, of a supporting structure: lasting images, which are able to resist the gaze of those who live and read them.
Thus we will see that a large part of the aesthetic composition is not only built on lines or geometries. But above all on the internal movements of the images, movements given by the gestures of the characters and the breath of their bodies. These gestures, both in paintings and in cinema, are generators of an internal tension.

Second part - Ethics
What do we mean by ethics when we talk about film framing? The ethics of the gaze is necessarily based on the relationship with the viewer. It refers to society, culture, the history of the beholder and of those who built that image: there are multiple ethics, just as there are multiple spectators.
Building an ethical relationship with the viewer, with those who look at us, means giving the viewer freedom of choice, letting his eye space freely within the frame. Do not try to represent reality, but look for one's own reality in what we represent.
And when one image is placed next to another, what role does ethics play? Can we consider film editing in a frame with a tension between several characters ethical?


When we create an image that is both ethical and aesthetic, we create a potentially infinite image, within which everyone can be free and free to roam, to navigate with their gaze in search of their own truth.

Examination Methods

Contextual processing of the skills acquired during the workshop

Students with disabilities or specific learning disorders (SLD), who intend to request the adaptation of the exam, must follow the instructions given HERE