Archaeology of Italy and the Roman Provinces [ LARKO2370 ]

None.

The course discusses problematic issues and specific problems of interpretation in relation with use of archaeological sources for the reconstruction of social and political relations of the Campanian city of Pompeii, since its Etruscan foundation up to the eruption of 79 AD. Especially considered are elements of urbanism, architecture and construction techniques in order to define a scheme of interpretation of a Roman city throughout the ages.

Advanced course for archaeologists specialising in Roman archaeology whether of Italy, the centre of power, or of the provinces of the Empire. The aim is to develop a critical sense and apply methods of analysis of art (painting, sculpture and architecture) and material culture of this millennium long civilisation reluctant of all standardised analytical approach. Use of theoretical and anthropological concepts in archaeological interpretation as well of literary and epigraphical sources of Latin Antiquity.

Oral exam at the end of term (10 points), continuous evaluation (seminars) (5 points) and personal paper (5 points).

A combination of ex-cathedra lessons by the teacher or invited speakers and seminars. The sessions are prepared by the students on the basis of one or more articles of which the list is given at the beginning of the year. The students are also invited to participate actively in certain sessions which may take the forms of seminars prepared by the students. Possibility to organise a study tour in Italy with presentations by students and introduction to field work. Reading list: Da Pompei a Roma. Histoires d'une éruption, Catalogue of the Brussels exposition 2004. P. Zanker, Pompei. Società, immagini urbane e forme dell'abitare, Turin 1993. E. La Rocca, A. et M. de Vos, Guida archeologica di Pompei, Milan 1976.

"Nisi utile est quod facimus, stulta est gloria." The famous Latin maxim reveals the mentality of the Romans, which differs in many aspects with the Greeks'one. In truth, the artistic activity worthy of a Roman citizen was to unite the decor and utilitas. And while Philodemus of Gadara, adhering to the Epicurean thought, beyond the end of the utility claiming under poetic art, because everything is true, provided that effectively represented, Horace followed the peripatetic theory and stoic close to that of Neoptolemus of Parium, for whom art was to reproduce the true and plausible. Also Pliny the Elder admired the Roman portrait: it made the image of people and made ''known the faces of famous men.

 Support : Summary, bibliography and PPT presentations are available on CDR.