Important Information for Students on Moodle Course Availability

You may not see a full list of all your expected courses in your Moodle My Courses list or in this category. This does not necessarily mean that your course registrations are incorrect. There are two possible reasons:

  • Departments/Tutors make courses visible to Students in Moodle when the course is ready for teaching
  • Not all courses use Moodle.

You can use the Study tab in Campus Connect to check the courses you are registered for or contact your department who can also provide information on their use of Moodle.

Help with Search courses

19-20 IT1230: Politics, Religion, and Love: The Italian Three Crowns (Dante, Petrarch, and Boccaccio)

The course aims to introduce students to the life and works of the Tre Corone – Dante, Petrarch and Boccaccio, known as the Three Crowns – the three major writers of the Middle Ages and early Renaissance in Italy. The works of these three writers have inspired many subsequent writers, artists, dramatists and film makers, and their influence from the start has extended outside Italy, across Europe and beyond. Students will also be introduced to some of the fundamental ideas about literature in the Middle Ages.

19-20 IT1950: Building the Italian Nation: Heroes and anti-Heroes from Pinocchio to The Leopard

The course focuses on some of the symbolic passages in the process of nation-building in Italy in the 19th and 20th centuries, as Italy reached its unity only in 1861.

Four key moments will exemplify the development of Italy’s national identity: two in the 19th century, pre-Risorgimento (the making of Italy), and post-Risorgimento (the making of the Italians); and two in the 20th century; the Resistenza (the making of the Republic), and the post-war (the crisis of nationhood).

The authors selected to represent these four moments in the history of Italy will be Ugo Foscolo (1778-1827), Carlo Collodi (1826-90), Italo Calvino (1923-85), and Giuseppe Tomasi di Lampedusa (1896-1957). The works to be read will be Foscolo’s Last Letters of Jacopo Ortis (1798), Collodi’s Pinocchio (1880), Calvino’s The Path to the Nest of Spiders (1947), and Tomasi di Lampedusa’s The Leopard (1958). Special attention will be paid to the problem of the absence of a national hero in the Italian literary tradition, such as Wilhelm Tell for Switzerland or D’Artagnan for France or Robin Hood for Britain.

Teacher (Course Author): Stefano Jossa, Danielle Sands, Sarah Wright

19-20 IT2340: Postwar Italian Cinema

This course provides an introduction to Italian cinema. It offers a general exploration of the context of cinema, the role of the state in the film industry and of the main trends and movements in film production. The first part of the course consists of a closer examination of the most important movement in Italian film-making: Neorealism. This current roughly lasted from 1945 to 1952, and it gave rise to some of the most distinctive and influential Italian films which shocked for their unusual and raw examination of war and reconstruction. The second part of the course explores the evolution and decline of Neorealism, and the emergence of a new cinematic realism and of a new modernist cinema. Here attention will be paid to the potentialities of modernist films with particular reference to technical device and practicalities on the one hand, and to the juxtaposition of fantasy and reality on the other.

19-20 IT2400: Art And Literature In Renaissance Florence

Florence in the 15th century was one of the most vibrant and innovative artistic and cultural centres in Italy and Europe. The cultural, philosophical and artistic life of Renaissance Florence is the focus of this course which combines the analysis of Renaissance painting, mural decoration and sculpture with that of writings on art from the time. We look in detail at a number of works of world famous Italian Renaissance artists such a Masaccio, Sandro Botticelli, Leonardo da Vinci, Raphael and Michelangelo. We also take a close look at texts discussing the role of the arts and artists, and the comparison between the arts by Renaissance theorists such as Leon Battista Alberti, Leonardo da Vinci, Michelangelo Buonarroti and Giorgio Vasari.

19-20 IT2840: Italian Crime Fiction

This course investigates the history of Italian crime fiction, from its tentative birth in the 1930s to its increasing importance in the postwar period and the 1990s in particular. You will study the principal theoretical debates surrounding detective and noir fiction and apply them to the close study of four novels. Issues which will be single out during the course comprise: the link between Italian crime fiction and the tradition of impegno [the socio-political engagement of the writer]; the representation of the city in crime narrative; and the representation of the Italian South, especially the Sicilian Mafia.

19-20 IT3230: Dante – Divine Comedy II

Purgatory is the place in which "the human spirit purges himself, and climbing to Heaven makes himself worthy." Paradiso is where the human spirit reaches its blessedness.

Though considered for long less attractive than Inferno, Purgatorio and Paradiso are the two canticles where Dante's design of the afterlife comes to completion. The Divine Comedy cannot be comprehended but through a close reading of the poem as a whole. This course aims to explore Dante's full vision of the otherworld.

Purgatorio is the most original section of Dante's conception of the afterlife, because at the time its existence was disputed and controversial.

Paradiso is the third and final part of Dante’s imagined journey into the realms of the Afterlife. After leaving the darkness, terrors and torments of Hell (Inferno), Dante, still accompanied by Virgil has climbed up the mountain of Purgatory (Purgatorio). In Purgatorio he has encountered the souls of those who are on their way to salvation and the bliss of heaven, but who have to spend a certain amount of time preparing themselves, by purging their sinful tendencies and making reparation (paying their dues) for their sins and sinfulness during their earthly life. All the souls in Purgatorio will one day reach Heaven and so they are characterized by hope and a deep longing to move upwards. At the top of Mount Purgatory Dante enters the Earthly Paradise where he is reunited with Beatrice, and Virgil abruptly leaves him. The Paradiso opens with Dante still in the Earthly Paradise about to ascend with Beatrice to the heavens.
Many of the themes which have preoccupied Dante in the first two cantiche continue to exercise his mind in Paradiso; and he is as interested in meeting the souls of the blessed and hearing their stories as he has been in Hell and Purgatory. Yet Paradiso is qualitatively different from both Inferno and Purgatorio. It has no connection at all with the earth. It is a realm of pure light, in which time and place have no meaning. It is, by definition, suprahuman. Dante thus must find ways of communicating to his readers what is in fact beyond human expression. The Paradiso is thus challenging, but as Dante strives to express the inexpressible, he achieves the greatest and most beautiful poetry of the whole Divine Comedy, culminating in the wonderful images of the later cantos and the supreme vision of the Godhead at the end.

Where his experiences in the Inferno and Purgatorio were troubling and burdensome, Paradiso introduces the reader to a journey of comfort, revelation, and, above all, love - both romantic and divine.

19-20 IT3860: Shooting History: Dictatorship, Terror and Crime in Italian Film

This course brings together the study of the topics of Fascism, organised crime and terrorism through film narrative. Students are presented with political and social issues concerning the nature of State authority and the problems of violence, and pay particular attention to how the presence of the State is affirmed by means of fascist violence and to how the State is rendered absent or is annihilated by means of the terroristic means of organised crime and leftist revolutionaries. At the end of the course students will have developed an understanding of all phenomena and of how they are represented in film. They will also acquire familiarity with some of the theoretical strategies for reading film.