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The Fantastic and the Strange in Italy: Art, Curiosity Collections, and Tales LdM XXXX FALL 2015 Day: xx- xx p.m. Prof. Kathryn Hoffmann Credit hours: 3 Contact hours: 45 Additional costs: approx. XX Euro (details at point 10) Teacher contact/availability: available to see students individually by appointment after class X to X pm. Contact the professor at: hoffmann@hawaii.edu 1 - DESCRIPTION Encounters with the fantastic, the strange and the marvelous in Italy in mythology, literature, art, and the history of anatomical and ethnological collections. Read selected myths, fairy tales and an excerpt from Orlando Furioso about hybrids and see hybrid "grotesques" in images from Roman palaces and at the Palazzo Vecchio and in the fountains at the Boboli gardens. Learn about the birth of museums in Renaissance cabinets of curiosities by Ulisse Aldrovandi and Imperato, and visit one of the world's most spectacular collections of "artificialia" today in the Museo degli Argenti. Learn the history of famous Italian court marvels and freak show performers (the hairy girls of Parma, Lazarus Colloredo "the two-headed boy", Caroline Crachami "the Sicilian fairy), and the history of natural history collections. Experience the unusual in real excursions throughout Florence. This is Florence read, seen, and experienced through its odd stories and corners, with emphasis on: • hybrid creatures (dragons, the hippogriff, the chimera, vegetable lambs, etc.) in

Roman and Renaissance mural decoration, sculpture, and literature. • life/death/slumber themes in fairy tales by Basile, Italian reliquary and memento mori

[remember death] art, and wax anatomical models at La Specola . • "ethnological fantasies" and the history of famous court marvels and freak show

performers from the 16th through the 20th century • 20th and 21st century art (surrealism, futurism, fantastic themes in art and fashion) Required and optional class excursions. Suitable for non-literature majors. 2 - OBJECTIVES, GOALS and OUTCOMES An interdisciplinary and cross-cultural approach is designed to help students understand how concepts of similarity and otherness, fantasy and tale-telling have impacted society in the past and continue to function as issues in the world today. Students will:

• define  and  identify  hybrids,  grotesques  in  art,  myth  and  literature,  death  and  memento  mori  topics,  unusual  bodies  in  ethnological  and  anatomical  museums)  throughout  Italian  history.  Periods  range  from  the  Romans  to  today.    

• define  and  distinguish  different  corporeal  anomalies  and  identify  famous  Italian  court  and  fairground  performers  

• identify  different  types  of  anomalies  (hypertrichosis,  conjoining  and  parasitic  twinning,  dwarfism,  etc.)  

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• research,  identify  and  discuss  trends  in  art  and  museums  in  Italy  • contribute  not  only  to  the  understanding  of  the  history  of  imagination  in  Italy  

but  to  its  creation  by  selecting  imaginative  works  to  analyse  and/or  by  contributing  new  imaginative  works  created  by  the  students  in  the  context  Florence  

• explore  Florence  with  the  class  and  independently.  This is an ethics course and students will

• engage actively with questions of ethics and diversity using a variety of approaches (see course handout on ethics),

• engage in reflection on the representation/treatment of diverse bodies • explore and discuss ethics- and imagination-based approaches to the fantastic in art,

literature, and society • engage with Italian history from the Roman period through artists working today, and

contribute to knowledge by performing research • contribute to the class through the presentation of research • gain better communication skills for dealing with difficult ethical situations. Students must also agree to the following class ethics statement and disclaimer:

• Class ethics: This is a course that involves the history and literary representation of people who were often shunned, cheated, manipulated, put on display for the gain of others, and even sold or prostituted. In order not to duplicate that world, this class is designed to function in ethical ways. You are required to treat all members of the class, any visitors and all cultural sites you will visit with courtesy and respect, no matter how different they may be from you or your views. You must use all freak show names in class with the realization of the weight those words carry, and the history behind their use.

• Disclaimer: This course contains material that some may find strange, unusual, perplexing, disturbing, shocking, or unattractive. Students will encounter historical and literary treatment of human beings that is racist, misogynistic, and belittling. You will also encounter phenomena and people who are fascinating, curious, compelling, thought-provoking, stimulating, entertaining, and inspiring. Fantasy and the strange take us to the limits where problems of knowledge, entertainment, life and death, self and other, intersect.

Students will be required to agree in writing to the above on the first day of class    3 - PREREQUISITES This is a non-introductory course in art, history (histories of cabinets of curiosities, the fairground and anthropological collections), and literature. To fulfill the prequisite, sutdents must have taken one course in any of the following fields: literature, history, anthropology or archaeology, philosophy, art history, cultural history (course taken must be indicated on day 1) An intellectual prerequisite is mandatory for all: an open mind. Students agree to:

• try to learn something new and to approach the study of fantasy, hybridity, museum history, and corporeal differences in ways that are intellectual and rational, rather than superstitious or fearful.

. The course is conducted in English.

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4 – METHOD This   class   involves   lecture,   image   presentations,   site   visits,   student   writing   and  large-­‐   and   small-­‐group   discussion.   Lectures   and   discussions   are   based   on   the  readings,   on  material   and   images   that  will   be   presented   in   class,   and   on  material  encountered   on-­‐site   in   class   visits.   Students   must   complete   all   assigned   readings  before  class  so  that  we  can  discuss  them.  Course  will  incorporate  some  site  visits  as  part   of   classes.   Other   visits   will   be   done   outside   of   class   with   the   professor   or  independently.  Readings  will  be  done  in  English.  Research  may  be  done  in  Italian,  or  English  at  the  preference  of  the  student.   5 - ASSESSMENT During  the  semester,  students  will  be  evaluated  through  I.  Weekly  writing  assignments  60%  II.  Class  presentations:  two  research  assignments  to  be  presented  in  class:  20%  III.  Participation  during  classes  and  site  visits  =  20%      Weekly  writing:  Students  will  write  at   least  one  page  per  week.  A  list  of  weekly  topics,  suggestions  styles,   and   options  will   be   proided   on   the   first   day   of   class.  Writing   assignments  must    be  completed  each  week  (i.e.  not  left  until  the  end  of  the  semester)  as  they  will  often   serve   as   the   basis   of   class   discussion,   will   orient   class   visits   and   students'  attention  during  the  visits,  and/or  allow  students  to  explore  concepts  in  ethics  and  imagination.    They  will  vary  in  topic,  writing  style,  approach  and  content,  tied  to  the  discussions   of   the  week   they   are   assigned.     They  will   involve   one   or  more   of   the  following:  research,  active  engagement  with  sites,  intepretation  and  analysis  and/or  creative   work   that   shows   comprehension   of   the   problems,   texts,   artworks,   or  approaches  of  the  lessons.      The  last  two  will  be  presented  in  class  (see  section  II)  and  submitted  in  writing.    Grading  of  written  work:  25%  Development,  amount  of  work,  degree  of  completion  of  assignment  

• Excellent:     student   does   significantly   more   than   expected,   shows   time   and   effort  were  put  into  writing  

• Good:    student  writes  more  than  the  minimum  • Acceptable:    student  does  the  minimum  number  of  questions/topics  • Unacceptable:   does   not   complete,   completes   partially,   or   answers   are   too   sketchy  

for  full  credit  25%  Thought.  Complexity,  depth,  elegance  of  reflection  and/or  imagination  

• Excellent:    writing  shows  impressive  depth  of  thought,  impressive  ability  to  handle  a  complex   topic.   Uses   complex   examples   or   ideas   rather   than   simple   ones.       Shows  ability   to   find,   reveal   or   construct     concepts   (depending   on   topic)   with   some  elegance.    No  significant  weaknesses  in  any  area.  

• Good:   writing   shows   solid   depth   of   thought,   above-­‐average   ability   to   handle   a  complex   topic.   Avoids   simple   examples   or   ideas.       Shows   ability   to   find,   reveal   or  

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construct    concepts  (depending  on  topic)  well.    No  significant  weaknesses  or  some  minor  weakness  that  does  not  affect  overall  quality..  

• Acceptable:  competent  with  enough  examples  or   thought.  Choices  are  not  bad,  but  rather   obvious.   Could   use   more   examples   and/or   better   development.     Might   or  might  not  have  errors.  

• Unacceptable:    major  errors,  inability  to  handle  basic  concepts  of  the  course,  failure  to  do  any  research  or  demonstrate  attention  during  site  visits  

25%  Substance:  Research,  comprehension  of  ethics  and  imagination  material,  attention  to  details  during  site  visits,  and/or  imaginative  content  (depending  on  weekly  topic).  Although  writing  topics  and  styles  will  vary,  the  following  categories  will  apply:  

• Excellent:  Work  is  impressive  in  one  or  more  of  the  following  areas  depending  on  the  topic  and  assignment:  number  of  examples  and  detail,  providing  evidence  of  acute  attendion  during  a  visit;  outstanding  content;  unusually  solid  grasp  and  use  of  course  material  on  ethics  or  imagination;  relies  on  signficant  sources;  adds  important  material  or  knowledge  to  the  course.        

• Good:  Work  is  above  average  and  generally  solid  in  one  or  more  of  the  following  areas  depending  on  the  topic  and  assignment:  number  of  examples  and  detail,  providing  evidence  of    sustained  attendion  during  a  visit;    above-­‐minimal  conent;  solid  grasp  and  use  of  course  material  on  ethics  or  imagination;  relies  on  signficant  sources;  adds    material  or  knowledge  to  the  course  

• Acceptable:  Work  is  minimal  but  sufficient  in  one  or  more  of  the  following  areas  depending  on  the  topic  and  assignment:  number  of  examples  and  detail,  providing  evidence  of  at  least  minimal  attendion  during  a  visit;    content  that  may  have  some  flaws  yet  be  acceptable;  minimal  expected  use  of  course  material  on  ethics  or  imagination;  relies  on  sources  of  uneven  quality;  adds  some  but  not  an  impressive  amount  material  or  knowledge  to  the  course.  

• Unacceptable:  Work  is  not  handed  or  is  insufficient  in  one  or  more  of  the  following  areas  depending  on  the  topic  and  assignment:  number  of  examples  and  detail,  do  not  providing  evidence  of  at  least  minimal  attendion  during  a  visit;    content  has  too  many  flaws  to  be  accepable;  does  not  show  grasp  or  use  of  course  material  on  ethics  or  imagination;  relies  on  no  sources  of  uneven  quality;  does  not  seek  to  or  fails  to  contribute  material  or  knowledge  to  the  course.  

25%  Style  and  mechanics  • Excellent:  Style  is  impressively  academic  (i.e.  no  contractions,  use  of  "I"  or  "we"  for  

academic  writing,  or  does  excellent  job  fitting  any  other  assigned  style  (journalism,  guide-­‐book,  creative  writing,  etc.).  No  (or  extremely  limited)  grammatical,  spelling,  or   punctuation   errors.     Writing   is   impressively   clear,   logical,   structured   and  readable.  

• Good:  Style  is  academic  (i.e.  no  contractions,  use  of  "I"  or  "we"  for  academic  writing,  or   shows  more   than   the  minimal   effort   and   success   at   fitting   any   other   assigned  style   (journalism,   guide-­‐book,   creative   writing,   etc.).   Limited   grammatical   errors,  spelling,  or  punctuation  errors.    Writing  is  clear,  logical,  structured  and  readable.  

• Acceptable:   Style   is   academic   and   conforms   any   other   assigned   style   (journalism,  guide-­‐book,   creative   writing,   etc.).   May   have   some   limited   grammatical   errors,  spelling,  or  punctuation  errors.    Writing  is  mostly  clear    and  readable  but  may  have  some  flaws  in  sturcture  or  logic.  

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• Unacceptable:     Writing   is   non-­‐academic,   does   not   fit   style   assigned,   may   have  significant  grammatical,  spelling  or  punctuation  errors  and/or  is  difficult  to  read.  

 Assignments  must  be  done  weekly  as   they  may  be  collected   in   the  class   for  which  they  are  assigned,  used  as  the  basis  of  that  class  discussion,  or  be  shared  in  class  for  the  benefit  of  the  learning  of  other  students.    Students  will  have  two  dates  on  which  to   submit   all   work   done   up   until   that   point   (weeks   7   and   14).   See   the   specific  directions  on  the  writing  sheet  distributed  in  the  first  class.        Late  work   is   not   acceptable.     Grade  will   be   lowered   one   full   grade   for   every   day  work  is  late.    II.  Presentations  (20%):  33%    Content  

• Excellent:  student  presents  an  outstanding  amount  of  material  succinctly  in  large  or  small  groups,  as  directed.  Points  are  clear  and  material  is  unquestionably  pertinent  to  class  topic  

• Good:     student   presents   an   significant   amount   of   material   succinctly   in   large   or  small  groups,  as  directed.  Points  are  clear  and  material   is  visibly  pertinent  to  class  topic  

• Acceptable   -­‐   presents   a   minimal   amount   of   material.   Pertinence   of   topic   may   be  there,  but  may  not  be  completely  clear  to  professor  and/or  peers.  

• Unacceptable:     failure   to   present,   presentation   of   a   topic   not   pertinent   to   class  discussion,  topic  unclearly  linked  to  class  or  insufficiently  developed  

 33%  Preparation  

• Excellent:   has   done   an   outstanding   job   in   preparation.   Student   has   mastered   the  content   of   the   presentation   and   can   handle   questions.   If   student   cannot   handle   a  question,  can  direct  audience  to  a  source.    

• Good:     has   done   a   solid   but   not   outstanding   job   in   preparation.   Student   has  mastered   the   content   of   the   presentation   and   can   handle   questions.   If   student  cannot  handle  a  question,  can  direct  audience  to  a  source.    

• Acceptable:   Preparation   is   minimal   but   acceptable.     Student   has   mastered   an  acceptable  amount  of  content  of  the  presentation  but  could  have  done  more.  Will  be  able  to  answer  some  questions,  but  may  make  errors  or  display  lack  of  knowlege  or  cannot  direct  audience  to  another  source.  

 33%  Style   and  mechanics   of   the  presentation.  Voice   level   and   clarity,   eye   contact,  observes  time,  uses  images  as  required  

• Excellent:Speaks  loudly  and  clearly  and  is  very  comprehensible  to  others.    Uses  eye  contact   exgremely   well.     Speaks   well,   consulting   notes,   but   without   reading.    Fills   the   time   allotted   without   going   over.   Outstanding   illustrations   within   time  limit.  

• Good:    speaks  clearly  and  is  comprehensible.      Speaks  well,  but  may  have  to  rely  on  notes  more  than  those  in  the  "excellent"  category.    Eye  contact  sufficient.  Fills  time  alloted  without  going  over.  Solid  illustrations.  

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• Acceptable  -­‐  At  least  minimal  in    poise;  may  unclear  in  voice  or  somewhat  uneven  in  eye  contact,  may  be  asked  to  raise  voice.  Uses  at  least  most  of  the  time.  Tries  not  to  read.  Does  not  go  over  time  allotted.  Enough  illustrations  to  be  acceptable.  

• Unacceptable:     failure   to   present,   presentation   of   a   topic   not   pertinent   to   class  discussion,   unclearly   linked   to   class   or   insufficiently   developed,   failure   to   speak  comprehensibly,   failure   or   to   have   enough   material   for   the   time   or   sufficient  illustrations  to  make  point  clear  

   III.  Class  participation:  20%  Students   are   expected   to   be   active   participants   in   class   and   to   contribute   to   the  construction  of  knowledge  within  the  classroom.  

• Excellent:    student's  contribution  is  regular,  adds  depth  to  the  class  and  makes  new  knowledge.     Student   is   aware  of   other   students   and  other   thinkers   and   allows   for  other  views.    While  contribution  is  important,  the  student  does  not  monopolize  the  discussion  or  fail  to  notice  when  others  want  to/try  to  communicate.  

• Good:   student's   contribution   is   regular   and   solid   and,   adds   some   material   to   the  class.     Student   is   aware  of   other   students   and  other   thinkers   and  allows   for  other  views.    The  student  does  not  monopolize  the  discussion  or  fail  to  notice  when  others  want  to/try  to  communicate.  

• Acceptable:  Student's  contribution  is  at  least  minimal.    It  may  be  good  at  times  but  somewhat  irregular,  or  uneven  in  its  contribution  to  course  knowledge.  Student    is  aware  of  other  students  and  other  thinkers  and  allows  for  other  views.    The  student  does   not   monopolize   the   discussion   or   fail   to   notice   when   others   want   to/try   to  communicate  .  

• Unacceptable:     Attendance   or   contribution   to   class   discussions   is   irregular,   below  minimal   in   number   of   contributions   or   depth   of   contribution   to   knowledge   in   the  course.   Student   may   demonstrate   lack   of   knowledge   of   the   readings,   or   lack   of  awareness   of   students   around   him/her.   Failure   to   participate   in   discussions,  monopolization  of  discussion,  or  failure  to  acknowledge/consider  other  views,  will  result  in  an  unacceptable  grade.  

 Should issues of academic dishonesty arise (plagiarism, etc.), the professor will refer to the LdM written rules 6 - EXAMS This   course  has  no  exams  but   it  has   required  written  and  oral  work   that  must  be  prepared,  researched,  written,  and  handed  in  or  presented  on  the  dates  indicated  on  the  syllabus.  Remember that the dates of the assignments can NOT be changed for any reason, so please organize your personal schedule accordingly. 7 - EVALUATION and GRADING SYSTEM 60%   Weekly  writing  assignments  20%     Class  presentations:  two  assignments  to  be  presented  in  class  20%    Participation  during  classes  and  site  visits  

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Following grading system will be observed: 0 - 59 = F, 60 - 69 = D, 70 - 72 = C-, 73 - 76 = C, 77 - 79 = C+, 80 - 82 = B-, 83 - 86 = B, 87 - 89 = B+, 90 - 92 = A-, 93 - 100 = A 8 - ATTENDANCE and BEHAVIOUR Mandatory attendance is a primary requirement for a responsible learning experience at LdM. Please note that:

• if the student misses THREE classes, the Final grade will be lowered by one full letter grade.

• If more than THREE classes are missed, the final grade will be “F” and NO credits will be given for this course.

It is the responsibility of the student to keep track of his or her absences and to catch up on any missed work due to absences or lateness. Punctuality is mandatory. Students must arrive in class on time: any lateness, leaving class during the lesson without notice, not showing up on time after the break, or leaving earlier, will impact the participation grade and the Final Grade. Three late arrivals or equivalent (10 minutes or more) result in one absence on the attendance count. Missing half a lesson or more will be considered as one full absence. It is the responsibility of the student to catch up on any missed work and to keep track on his or her absences and tardies.

Make-up classes are always mandatory since part of the course program. If a class occasionally creates conflict with another class, the student is required to inform both instructors in advance. The instructors will then share a written excuse for the class going to be missed. Students may NOT keep cell phones or Blackberry systems switched on during class. If your cell phone rings or noise is heard from any electronic device, you will be assigned a special presentation to be done in the next class. Laptop computers, iPads, etc. may be used for note taking only and with the professor’s prior permission. Wireless internet may not be switched on during classes unless the professor has authorized an exception in order for students to do an internet search during class on a specific topic. Use of a laptop for any reason other than taking notes will result in your laptop not being allowed into the classroom again. Students are required to behave properly within the school premises. Classrooms are to be left in order and clean. Disabilities and special needs. I want my classroom to be accessible and as comfortable as possible for anyone with any difference, disability, condition, or special need. If there is something I can do to make life easier, please let me know. Students with learning disabilities are required to contact their LdM Advisor or LdM Dean of students. University of Hawaii students: If you feel you need reasonable accommodations because of the impact of a disability, please 1) contact the KOKUA Program (V/T) at 956-7511 or 956-7612 in room 013 of the QLCSS at the University of Hawaii; 2) speak to

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me privately if you wish to discuss your needs. I will be happy to work with you and the KOKUA Program to meet your access needs related to your documented disability. Academic dishonesty: should issues of academic dishonesty arise (plagiarism and so on), the teacher will refer to the LdM written policy on such matters. 9 - READINGS & SOURCES Required Readings/Materials: Packet: All hard-copy readings will be in a packet to be purchased in Florence. Written excerpts in packet to include:

• Italo Calvino, Invisible Cities, excerpt • Ludovico Ariosto, Orlando Furioso, excerpt • Ovid, Metamorphoses, excerpt • Giambattista Basile "Young Slave" and "Green Meadow" (Italy) Perrault's

"Cinderella" (France) • Merry Wiesner-Hanks, The Marvelous Hairy Girls: The Gonzales Sisters and

Their Worlds • Jan Bondeson, excerpts from A Cabinet of Medical Curiosities and The Two-

Headed Boy and Other Medical Marvels (“The Two Inseparable Brothers,”) • Francesco Paolo De Ceglia, “The Rotten, the disemboweled woman, the skinned

man” (article) • Patrick Mauries, Cabinets of Curiosities, excerpts • Rosemarie Garland Thomson (ed.), Freakery: Cultural spectacles of the

Extraordinary Body (essays by Bogdan and Gerber) • Cesare Lombroso, excerpts from writings on criminology, characterology • Marta Poggesi, excerpt from Encyclopedia Anatomica • ethics and imagination handout (see E-focus statement attached to this

application)

The packet may be purchased in Florence at: copystore TBA. Internet: Students will need to perform internet searches and will need access to the internet for some assignments. Note that LdM has computers for student use. Camera: Students will need a camera, smart-phone or I-pad to take photographs for assignments and use in class discussions. If student does not have a camera, but has drawing skills, drawings may be substituted for photographs. See the professor.

10 - ADDITIONAL COSTS Throughout the course students will spend approx. XX Euro as follows: * Euro required for mandatory readings (details at point 9) Approx. X Euro required for visits / trips (details at point 11) 11 - VISITS and TRIPS During the semester there will be visits to museums of worldwide importance and fundamental for the course. They are mandatory and count as regular attendance. They usually take place during regular class time (unless specified differently, due to specific time schedules).

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These visits require students to pay regular entry. The school tries to get reduced or free class entry whenever possible (see list of visits below). The professor will collect the fees (total of [...] Euro) during the second class. The following visits are mandatory during this semester (approx. XX euro) • Palazzo Vecchio, first courtyard (free) • Palazzo Pitti, Museo degli Argenti (Pitti Palace) and Boboli Gardens (combined ticket

6 euro - to check) • Museo di Storia Naturale “La Specola”, Università degli Studi di Firenze, Via

Romana, 17 (X euro - to check) • Museo di Antropologia e Etnologia, Palazza Nonfinito Via del Proconsolo, 12 (X euro

- to check) • Santa Maria Novella (musuem-reliquaries), 3.5 euro

Other churches, museums and public squares for hybrid searches (investigate on your own). Other sites may be announced or substitutions may be made if sites are closed. The following visit out of town is optional, depending on student interest: • Bologna: Museo di Palazzo Poggi: The Ulisse Aldrovandi Collection (tentative for

Sept. X) For detailed dates, addresses, meeting points and entries see the daily schedule at point 13, and handouts For visits/field trips, students must: • be able to walk across Florence at good clip so we do not spend too much time on

transit. If you have a mobility problem, inform the professor and LdM on or before the first day of class.

• block off the times for all mandatory excursions and be available for them • know exact meeting points and time for each scheduled visit. Late arrival, getting

lost, no-shows, etc. are considered absences. We may be doing multiple sites on any given excursion and/or opening hours may be changed by the sites without notice. You need to be on time in case of changes beyond the professor’s control. We cannot wait until you arrive.

• wear appropriate clothing for churches and monasteries: i.e. no shorts or sleeveless shirts for men or women, t-shirts with offensive slogans, etc. Remember that these remain active houses of worship for others.

• behave in respectful and scholarly fashion. Voices should be lowered, especially in churches and monasteries. These are intellectual field trips. Running, shouting, loud laughing, and any other behavior that would interrupt the visits of other museum patrons or those worshipping in churches will not be tolerated.

12 - MATERIALS NA 13A- CLASS SCHEDULE 1. Sept. X. INTRODUCTION: BEGINNING WITH IMAGINATION. ETHICS, OTHERNESS AND THE PLACE OF THE IMAGINATION An introduction to the course topics and to ethics materials. Excerpt provided in class: Calvino, Invisible Cities.

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Ethics and Imagination handout-discussion Exercises in using the imagination from Dada and Surrealism Prior to class 2: Students must visit the Palazzo Vecchio (first courtyard, entrance free) on their own and photograph 5 "grotesque" hybrids. See writing handout for details.

I. HYBRIDS AND GROTESQUES (from Rome to the Renaissance) 2. Sept. X. "Grotesques" and artistic hybrids: Rome to the Renaissance Readings: excerpts from Ariosto's Orlando Furioso, and Ovid's Metamorphoses (packet). To prepare before class: visit Palazzo Vecchio, first courtyard before class and photograph (or draw if you have no camera) 5 hybrid grotesques. a. Roman mural art: Villa of the Farnesina, Palazzo Massimo • website: http://archeoroma.beniculturali.it/en/national-roman-museum-palazzo-

massimo-alle-terme/paintings-and-mosaics/frescoes-villa-farnesina b. Renaissance imitations of Roman grotesques: • grotesques by Marco Marchetti for Vasari in Palazzo Vecchio, Florence, 1556-1557

(students must visit and photograph before class-see handout) • Buontalenti, Bernardo: Grotto et Grotticina della Madama, Boboli Gardens (1583) Writing: see writing handout 3. Sept. X. Cabinets of curiosities in the 16th and 17th centuries: the birth of museums and the beliefs in hybrid and monstrous things in the natural world Reading to prepare: Mauriès, Cabinets of Curiosities In class: Cabinets of curiosities with "dragons", "mermaids" "vegetable lambs" "fish trees" etc., Ulisse Aldrovandi and Fredinando Cospi (Bologna), Franceso Calzolari (Verona), Ferrante Imperato (Naples), Manfredo Settala (Milan), Francesco I, studiolo (Florence: Palazzo Vecchio), with images from cabinets in class. Writing: see writing handout 4. Sept. XX. Visit: Pitti Palace (Museo degli Argenti) and Boboli Gardens. Meet at xx:xx at Palazzo Pitti. A cabinet of artificialia (glassworks, ivory turnings, hybrids in baroque jewels, works by Archimboldo and others) This visit involves walking through gardens on a hill--wear comfortable shoes and plan to check your bags in the museum. Discussion of hybrids in fairy tales, garden sculpture and silver art will continue in the garden Writing: see writing handout II. GLASS GIRLS. AT THE BOUNDARIES OF LIFE AND DEATH: RELIQUARIES, FAIRY TALES, AND THE ANATOMICAL MUSEUM 5. Oct. X

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To prepare: Discussion of Pitti Palace visit and of reliquaries Memento mori (remember death) and the spaces between life and death. In class: images of memento mori objects, art, and reliquaries (esp. from Italy). Writing: see writing handout 6. Oct. XX. Reliquaries and glass: Santa Maria Novella and S. Lorenzo Santa Maria Novella museum (reliquaries). Entrance to the museum is to the left of the church as you face the church. It is not the entrance on the right (which is for the church only and where most tourists will be headed. San Lorenzo: glass/silver reliquary coffin containing the remains of San Cesonio. Writing: see writing handout 7. Oct XX. Glass in Fairy Tales Readings: Basile “Young Slave”; and "Green Meadow". “Perrault, “Sleeping Beauty” and "Cinderella" Writing: see writing handout Hand in all writing assignments completed so far, weeks 2-7

Oct. XX-XX - Fall Break

. 8. Oct/Nov. X Sleeping anatomical maidens and skinned muscle men Visit (time and date to be confirmed): La Specola. Meet at courtyard of Museo di Storia Naturale di Firenze, Università degli Studi di Firenze, Via Romana, 17 at 12:20. See Zumbo’s wax teatrini (The Plague, Syphilis, the Tomb, The Triumph of Time and the wax anatomical collection. Readings (to be done before class and discussed in the museum): De Ceglia, “The Rotten, the disemboweled woman”, Poggesi, excerpt from Encyclopedia Anatomica. Writing: see writing handout

III. HUMAN "CURIOSITIES" AND ETHNOLOGICAL FANTASIES: IMAGINATION, COLLECTION, ERROR 9. Nov. XX.: Pietro Barbino, court dwarf, Lazarus and Johannes Baptista Colloredo (parasitic twinning), Gonzales girls in Parma (hypertrichosis), Caroline Crachami the "Sicilian Fairy", Excerpts from Marvelous Hairy Girls; Bondeson "Two-headed boy" excerpts from texts on the ethical approach to otherness (Bodgan and Gerber from Freakery), packet 82-93.

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Writing: see writing handout 10. Nov. XX Visit Ethnological Museum: Visit: Museo di Antropologia e Etnologia, Palazza Nonfinito Via del Proconsolo, 12 Read before visit: excerpt from Cesare Lombroso, Bogdan and Gerber. Writing: see writing handout

IV. Modern versions of the fantastic and fantasy in Italy: art, fashion or adverising 11. Nov. XX. 20th and 21st-century art and fashion Students must do internet research or research in the LdM or other libraries on an artist, fashion designer or contemporary advertising campaign with fantasy themes. Students will present the work of their artist/designer in class during weeks 11 and 12. Additional details provided. Art suggestions The metaphysical surrealist city: Giorgio de Chirico Futurism (MoMa exhibition) Spatialism: Lucio Fontana Arte Povera: Piero Manzoni mermen and two-headed statues: Fiore de Henriquez and Peralta: http://www.peraltatuscany.com/fiore/thelife.html Others: Monica Tarocco, Agostino Bonalumi, Dadamaino, Salvatore Arancia, Valerio Carruba Writing: see writing handout 12. Nov. XX. 20th and 21st-century art and fashion student presentations from week 11 continued. All students must participate Writing: see writing handout 13. Dec. X Map of Fantasy Italy Making a map for a visible, but often missed Italy of hybrids, history, and the imagination (playing off of Calvino's Invisible Cities, from day 1: a real map) Research and presentations: Students will find odd things in Florence not covered in the course and research 3 sites in Italy outside of Florence that have material related to the course topics. You will present one of them either this week or the following week (schedule distributed in class). In class we will make a map of places to go and topics to research in "Odd Florence" and "Strange Italy" Writing: see writing handout 14. Dec. X map of fantasy Italy Research and presentations from week 13 continued.

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Writing: see writing handout. Hand in all writing work from weeks 8 through this class. 13B- ALTERNATIVE LESSON Should the professor be indisposed or otherwise unable to attend, a substitute teacher (whenever available) will conduct the scheduled or a pre-prepared alternative lesson, at the regular class time. The pre-prepared alternative lesson is X (to be set)    d.  45  contact  hours  e.  Prerequisites:  see  syllabus  above,  section  3  f.  This  course  is  tailored  to  the  stay  in  Florence,  making  maximum  use  not  only  of  Italian  art,  museum  history,  myth  and  literature,  but  of  Florence  resources  and  sites,  including  museums,  churches,  and  garden  sculpture.      g.  see  detailed  syllabus  above,  under  sections  5  and  7