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JOHN CABOT UNIVERSITY
COURSE CODE: "ITS 350"
COURSE NAME: "Dante's Inferno in Art, Literature and Film"
SEMESTER & YEAR:
Fall 2016
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SYLLABUS
INSTRUCTOR:
Theodore Cachey
EMAIL: [email protected]
HOURS:
TTH 6:00 PM 7:15 PM
TOTAL NO. OF CONTACT HOURS:
45
CREDITS:
3
PREREQUISITES:
Prerequisite: EN 110 with a grade of C or above
OFFICE HOURS:
by appointment
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COURSE DESCRIPTION:
This course undertakes an interdisciplinary reading of the Dante's Inferno from the perspectives of comparative literature, the history of art, music, and the history of cinema. Selected primary sources from across the fine arts over seven centuries of reception include architectural (Palacio Barolo, Terraglia’s ‘Danteum”) literary (from Chaucer to Heaney) visual (from medieval mss. to Blake to Rauschenberg to Greenaway), musical (Franz Liszt, Puccini) and sculptural (Rodin, etc.) "interpretations."
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SUMMARY OF COURSE CONTENT:
This course undertakes an interdisciplinary reading of the Dante's Inferno from the perspectives of comparative literature, the history of art, music, and the history of cinema. Selected primary sources from across the fine arts over seven centuries of reception include architectural (Palacio Barolo, Terraglia’s ‘Danteum”) literary (from Chaucer to Heaney) visual (from medieval mss. to Blake to Rauschenberg to Greenaway), musical (Franz Liszt, Puccini) and sculptural (Rodin, etc.) "interpretations."
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LEARNING OUTCOMES:
Upon completion of this course students will be able to:
Read and critically interpret Dante’s poem;
Analyze critically works of literature, art and film related to Dante’s poem;
Discuss the significance of the cultural reception of the poem and its interpretation as mediated by comparative literature, the history of art, and the history of film;
Critically reflect on how Dante’s poetry relates to key themes of Medieval, Renaissance, Baroque, Enlightenment, Romantic, Modern, and Postmodern cultures.
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TEXTBOOK:
| Book Title | Author | Publisher | ISBN number | Library Call Number | Comments | Format | Local Bookstore | Online Purchase |
| The Inferno, translated by R. and J. Hollander | Dante Alighieri | Doubleday | 0-385-496974 | | Please buy this paperback edition with the Hollanders' translation and the Italian original on the facing page. | | | |
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REQUIRED RESERVED READING:
RECOMMENDED RESERVED READING:
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GRADING POLICY
-ASSESSMENT METHODS:
| Assignment | Guidelines | Weight |
| Attendance |
| 10% |
| Participation | | 10% |
| Midterm exam | | 20% |
| Oral presentation | | 10% |
| Final exam |
| 30% |
| Term paper | | 20% |
-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the cour
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until ____________
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ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic
dishonesty will receive a failing grade on the work in which the dishonesty occurred.
In addition, acts of academic dishonesty, irrespective of the weight of the assignment,
may result in the student receiving a failing grade in the course. Instances of
academic dishonesty will be reported to the Dean of Academic Affairs. A student
who is reported twice for academic dishonesty is subject to summary dismissal from
the University. In such a case, the Academic Council will then make a recommendation
to the President, who will make the final decision.
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STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap.
Students with approved accommodations must inform their professors at the beginning
of the term. Please see the website for the complete policy.
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SCHEDULE
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Week 1
Introduction: Dante’s Inferno. Critical reception and influence
Week 2
Introduction: Dante’s “Life and Works”. Biographical and iconographical portraits of Dante.
Week 3
Inferno 1-4; Selected medieval illuminated mansucripts.
Week 4
Inferno 5-8; Sandro Botticelli’s Illustrations for the Inferno (1444-45); Mapping Dante’s Hell; Jan van der Straet (Joannes Stradanus) (1523-1605).
Week 5
Inferno 9-11; The Romantic reception and the illustrations of the Inferno by William Blake, 1824-27.
Week 6
Inferno 12-14; Dante and Music: Franz Liszt’s “Dante Symphony” (1857).
Week 7
Inferno 15-17; Gustave Doré's Inferno (1861); Auguste Rodin, “The Gates of Hell” (1880-1917)
MIDTERM
Week 8
Inferno 18-20; Silent Film: L’Inferno (1911, Milano films), directed by Francesco Bertolini e Adolfo Padovan; Tangerine Dream, “Inferno” (2002).
Week 9
Inferno 21-24; Architecture: The Palacio Barolo in Buenos Aires (1923) and Giuseppe Terragni’s “Danteum” (1938); the “modernist” Dante of T.S. Eliot and Ezra Pound.
Week 10
Inferno 25-27; Primo Levi’s “Canto of Ulysses”; Salvador Dali’s Illustrations (1950-59); Robert Rauschenberg’s “Dante Drawing” (1958-1960).
Week 11
Inferno 28-30: “A TV Dante” (1989) by Peter Greenaway and Tom Phillips; Dante’s Inferno (2007), directed by Sean Meredith.
Week 12
Inferno 28-30; Puccini’s ‘Gianni Schicchi” (1917-18).
Week 13
Inferno 31-34; Chaucer’s “Hugelino Comite de Pize”; Seamus Heaney’s “Ugolino”; and other selected poems.
Week 14- Conclusions
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