OVERVIEW

The course analyzes seriality in its various artistic forms, starting from the paradigmatic case of television series. The guided reading of some articles or book chapters is aimed at creating awareness of the debates that characterize contemporary reflection on the aesthetics of seriality.

AIMS AND CONTENT

LEARNING OUTCOMES

The course aims to analyze specific objects of aesthetic appreciation. These are both objects of artistic relevance (art forms, genres, styles) and entities of other nature (natural objects,technical objects, social objects, scientific theories, historiographical texts). These case studies will allow us to understand how the conceptual apparatus of aesthetics is to be deployed.

AIMS AND LEARNING OUTCOMES

The main teaching objective is to provide students with an appropriate understanding of the notions of series and seriality as they are defined and analyzed within the framework of aesthetics. The aim is to make students aware of the crucial role that practices of serialization play in the history of human culture, and particularly in its contemporary developments. To this end, we intend to familiarize students with the contemporary debates on series and seriality with some texts emblematic of the issues under discussion.

It is expected that, at the end of their attendance, students will be able to make use of the concepts of series and seriality, placing them appropriately in the domain of aesthetics. Furthermore, students are expected to be able to apply these notions to their specific fields (philosophy, art history, literature, media studies). The focus is on the reading and discussion of some articles or book chapters, with the aim of familiarizing students with the contemporary debates on series and seriality, and of educating them in the critical discussion of both the theses and the arguments proposed by the philosophers who participate to such debates.

The expected learning outcomes for students are as follows:

1) To provide an appropriate characterization of the notions of series and seriality and related philosophical issues.

2) To relate the notions of series and seriality to that of aesthetics, tracing the occurrences of their intertwining in the history of culture and in contemporary culture.

3) To highlight the relationships between serial and non-serial cultural practices.

4) To consider the place of seriality in the domain of art.

5) Recognize the specifics of television series as a new art form.

6) To analyze essays in contemporary debates on series and seriality, identifying their theses and arguments.

7) Acquire a greater ability to manage their social interactions with a collaborative attitude, constructive communication and dialogical skills.

8) Demonstrate work autonomy, ability to manage primary literature, argumentative ability and collaborative, coordination and negotiation attitude.

PREREQUISITES

Although the class is taught in Italian, understanding of texts written in English is required.

TEACHING METHODS

IN PRESENCE CLASSES

The course consists of 60 hours (40 for students having 6 credits), with phases of collective discussion and learning verification. In particular, preliminary readings will be given for some lectures and a preparatory exercise of identifying the main thesis, enucleating the argument that supports it, and taking a position on that thesis and argument will be required.

SYLLABUS/CONTENT

– The notion of series in the framework of philosophy and aesthetics

– The characterization of seriality and its link with the temporal and causal order

– Seriality in the various art forms

– TV series as a paradigm of seriality

– The main debates on seriality in contemporary aesthetics

– Analysis of theses and arguments on seriality in contemporary aesthetics

RECOMMENDED READING/BIBLIOGRAPHY

6 CFU:

Luca Bandirali e Enrico Terrone, "La serialità televisiva come arte concettuale", Fata Morgana Web, 2021: https://www.fatamorganaweb.it/estratto-libro-concept-tv-an-aesthetics-of-television-series/

Walter Benjamin, L’opera d’arte nell’epoca della sua riproducibilità tecnica. Einaudi, 1991.

Umberto Eco, "L’innovazione nel seriale", in Sugli specchi e altri saggi, Bompiani, 1985.

Giovanni Fiorentino (a cura di), Storia e teoria della serialità – Vol. III, Meltemi, 2024 (only selected chapters to be indicated on AulaWeb).

Michele Mari, "La serietà della serie", in Euridice aveva un cane, Einaudi, 2015.

Mario Slugan e Enrico Terrone (a cura di), “The Philosophy of Television Series”, Rivista di Estetica, 83, 2, 2023 (only selected chapters to be indicated on AulaWeb).: https://journals.openedition.org/estetica/9057

Supplementary texts on AulaWeb

Supplementary text for students who do not attend the classes: please select just one out of those two:

a) Luca Bandirali e Enrico Terrone, Concept TV, Lexington Books, 2021

b) Jason Mittell, Complex TV, NYUP, 2015

TEACHERS AND EXAM BOARD

LESSONS

LESSONS START

17 September 2024

Class schedule

The timetable for this course is available here: Portale EasyAcademy

EXAMS

EXAM DESCRIPTION

Students are required to write an essay of approximately 3000 words on one of the topics discussed in class. A list of titles for the essays and a series of methodological indications will be provided by the teacher. The choice of title will be agreed with the teacher. The essay must be sent by email to the teacher at least two weeks in advance of the exam date. In the oral exam, you will have to critically discuss your essay and the other topics of the course.

ASSESSMENT METHODS

During the class, the active participation of students is encouraged and valued while discussing particular aspects of the program. The final test will allow to assess the level of understanding the philosophical ideas that has been thought, the mastery of them and the ability to present them, as well as the disposition for critical analysis of theses and arguments, and the propensity to their construction. The student who shows understanding of the basic notions and issues concerning series and seriality, and presents them clearly and coherently, but only in their essential lines, is assessed as “sufficient”. The student who masters the basic notions and issues, and is able to analyze them is assessed as “good”. The student who, in addition to mastering the basic notions and issues, and being able to analyze them, also proves to be inclined to the construction of original theses and arguments is assessed as “outstanding”.