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
This information is intended exclusively for students already enrolled in this course.If you are a new student interested in enrolling, you can find information about the course of study on the course page:
Laurea in Filosofia - Enrollment from 2025/2026COMPETENZE 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
ATTENZIONE: Per essere ammessi a sostenere una qualsiasi attività didattica, incluse quelle a scelta, è necessario essere iscritti all'anno di corso in cui essa viene offerta.
PER I LAUREANDI: Si raccomanda ai laureandi delle sessioni di novembre e marzo/aprile di NON svolgere attività extracurriculari del nuovo anno accademico (a cui non risultano iscritti e per il quale NON devono rinnovare l'iscrizione) per il conseguimento di cfu di "tipologia D o F", essendo tali sessioni di laurea con validità riferita all'anno accademico precedente. Le attività formative svolte in un anno accademico cui non si è iscritti, non danno luogo a riconoscimento di CFU.
years | Modules | TAF | Teacher |
---|---|---|---|
1° 2° 3° | Walking on water to think the land | D |
Rosanna Cima
(Coordinator)
|
1° 2° 3° | Italy in the World | D |
Paola Dal Toso
(Coordinator)
|
1° 2° 3° | The Logic of Phantasm | D |
Matteo Bonazzi
(Coordinator)
|
1° 2° 3° | NIETZSCHE AND CONTEMPORANEITY / 1: NIETZSCHE IN THE MIRROR OF GERMAN CULTURE IN THE 20TH CENTURY | D |
Alessandro Stavru
(Coordinator)
|
1° 2° 3° | University and DSA - Methods and strategies for tackling study and university studies | D |
Angelo Lascioli
(Coordinator)
|
1° 2° 3° | Fifth Seminar of classical readings | D |
Alessandro Stavru
(Coordinator)
|
years | Modules | TAF | Teacher |
---|---|---|---|
1° 2° 3° | Walking on water to think the land | D |
Rosanna Cima
(Coordinator)
|
1° 2° 3° | Social service: profession, institutions and territories | D |
Anna Carreri
(Coordinator)
|
1° 2° 3° | Italy in the World | D |
Paola Dal Toso
(Coordinator)
|
1° 2° 3° | In the cloud. Epiphanies of the virtual | D |
Massimiliano Badino
(Coordinator)
|
1° 2° 3° | Neurosciences and legality | D |
Valentina Moro
(Coordinator)
|
1° 2° 3° | NIETZSCHE AND CONTEMPORANEITY / 1: NIETZSCHE IN THE MIRROR OF GERMAN CULTURE IN THE 20TH CENTURY | D |
Alessandro Stavru
(Coordinator)
|
1° 2° 3° | University and DSA - Methods and strategies for tackling study and university studies | D |
Angelo Lascioli
(Coordinator)
|
1° 2° 3° | Fifth Seminar of classical readings | D |
Alessandro Stavru
(Coordinator)
|
years | Modules | TAF | Teacher |
---|---|---|---|
1° 2° 3° | Critical Research and Tertiary Education Today | D | Not yet assigned |
1° 2° 3° | Gnoseology and Metaphysics Workshop 2025 | D |
Davide Poggi
(Coordinator)
|
1° 2° 3° | The other of art | D |
Matteo Bonazzi
(Coordinator)
|
1° 2° 3° | Molestie sessuali in ambito universitario. Un approccio multidisciplinare e intersezionale alla prevenzione | D |
Gianluca Solla
(Coordinator)
|
1° 2° 3° | In the cloud. Epiphanies of the virtual | D |
Massimiliano Badino
(Coordinator)
|
1° 2° 3° | NIETZSCHE AND CONTEMPORANEITY / 1: NIETZSCHE IN THE MIRROR OF GERMAN CULTURE IN THE 20TH CENTURY | D |
Alessandro Stavru
(Coordinator)
|
1° 2° 3° | Workshop "Rethinking Responsibility in the face of 21st century Challenges" | D |
Giorgio Erle
(Coordinator)
|
1° 2° 3° | Seminari di storiografia filosofica | D |
Alessandro Stavru
(Coordinator)
|
1° 2° 3° | Fifth Seminar of classical readings | D |
Alessandro Stavru
(Coordinator)
|
The ethics and aesthetics of the image (2021/2022)
Teaching code
4S010925
Teacher
Coordinator
Credits
1
Also offered in courses:
- The ethics and aesthetics of the image of the course Bachelor's degree in Educational Sciences
- The ethics and aesthetics of the image of the course Bachelor's degree in Psychological Sciences for Training and Professional Development
- The ethics and aesthetics of the image of the course Bachelor's degree in Social Work
- The ethics and aesthetics of the image of the course Master's degree in Philosophy
- The ethics and aesthetics of the image of the course Master's degree in Psychology for Training and Professional Development
- The ethics and aesthetics of the image of the course Master's degree in Advanced Social Work
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