LICEO SCIENTIFICO “NICCOLO' MACHIAVELLI” ACHIAVELLI” SORIANO CALABRO A.S. 2015/2016 CLIL classe V Prof.sse Maria Francesca Durante Emanuela Perri
LICEO SCIENTIFICO “NICCOLO MACHIAVELLI” DI SORIANO CALABRO A.S.2015/2016 CLIL CLASSE V sse Prof. Maria Francesca Durante, Emanuela Perri
PRESENTAZIONE DELLA CLASSE La classe V A è composta da 22 alunni, 11 ragazze e 11 ragazzi, differenti tra loro per preparazione di base, capacità di attenzione e motivazione. Dal punto di vista disciplinare la classe si mostra abbastanza tranquilla, quasi tutti gli studenti seguono con attenzione ed interesse le attività proposte e partecipano in maniera attiva alle lezioni, ma non tutti sono ancora in grado di gestire in maniera sicura una conversazione in lingua inglese e di organizzare in maniera autonoma i contenuti disciplinari. Per quanto concerne il profitto la classe può essere divisa in tre fasce di livello: in una prima fascia rientrano alunni con buone conoscenze di base, che sono in grado di gestire lo studio in maniera autonoma ed hanno sviluppato senso critico e capacità di analisi; in una seconda fascia rientrano alunni che possiedono una discreta preparazione di base e con uno studio un po’ più approfondito potrebbero raggiungere buoni risultati, ma mostrano ancora difficoltà nello speaking, nel listening e nel writing; in una terza fascia (n. 5 studenti) rientrano alunni che hanno mostrato lacune di base anche gravi, hanno necessità di essere continuamente stimolati allo studio.
THE AESTHETIC MOVEMENT Erika Bellissimo At the end of 1800 it is evident the search of a new kind of poem,that find a resul in the aesthetic movement. It is an artistic movement born in England, but also a true life style . the start behind aestheticism is art for art, which enhances the value of artistic beauty. The absolute exaltation of the art results in the rejection of Realism. According to the theory of aestheticism the artist must lives his life as a work of art, and hence the shape of the esthete or dandy, described as an aristocratic and refined person who makes his life a constant search for beauty also in public life; is the one who takes as a guiding principle of his life only the beautiful and exclusively on the basis of its acts and judges the reality. In fact, the esthete hates the common life, has a deep contempt for a society dominated by the interest and the material profit. Daily acts of his life are transformed in materials for a true work of art. Art and life for him are mixed, in the sense that the second is absorbed by the first one.It always goes in search of rare sensations, it surrounds the most precious objects, paintings, jewelery, old books, horrified by the banality and vulgarity of the common people. They are positions that are theorized for the first time in England by Walter Pater and in France by Joris-Karl Huysmans, and they will have the greatest resonance with Oscar Wilde and Gabriele D'Annunzio.
AESTHETICISM AND D’ANNUNZIO (Chiara Prestanicola) A constant of all the works of D'Annunzio is its decadent aestheticism obedience. The esthete of D'Annunzio is embodied in Andrea Sperelli, the protagonist of the novel "The pleasure." Aestheticism is the cult of feeling, the cult of the body and instinct, in the sense irrational and anti-Christian; D'Annunzio makes feelings the only center of knowledge of reality, humiliating the feelings that represented the absolute desire for romantics . From D'Annunzio's aestetism was born the poet's program to as "supreme-creator", or as one who produces art objects through a long technical processing, similar in its operation to a locksmith. But for D'Annunzio, art is the product of a superior mind and he called himself the creator of images,through refined sounds and precious and rare words. Obviously the poet is not only skilled technically-formal level, but also knows how to hit the reader's imagination with the updated reproduction of the myths of the past, that offer readers uncontrollable emotions.The poet himself clarifies his theory when he says that ..lthe life is art and art is life. "Art is life" means that art is the last, the ultimate goal of life; only the cult of "beauty" can give meaning to life. Similarly "life is art" it indicates that life must be lived moment to moment in absolute freedom, above any social law and all moral restraints. As wee can see, the life of the D'Annunzio has been characterized by a desire to live a unique and to never stay in the shadows.
Aestheticism Symbolism Scapigliatura of Decadentism Surrealism Biafora Elena – Campisi Caterina Turcaloro Ritalucia – Paniconi Annamary
"The Artist is the creator of beautiful things"
"There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all"
1880 - 1890
sYmBolism
cursed poets
scApigliAturA of decAdentism
surreAlism
Name:
Decadentism Complet e t he crossword below 1 2 3
4 5 6 7
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Created with TheTeac hers Co rner.net Cro s s wo rd Maker
Acro ss 3. The use of symbols to represent ideas, especially in art and literature. 4 . Synonymous with political, social and moral decay. 6. 'The Scream' 's painter. 7. Narcotic and hallucinogenic substance. 9. The making of things such as paintings or drawings, or the things that are made. 10. Movement that considers the cult of beauty as central in life.
Do wn 1. He tolks about the 'Fanciullino'. 2. Someone who lives and thinks in a way that is different from other people. 5. He wrote 'Les Fleurs du Mal'. 8. Something strange or not know that has not yet been explained or understood.
DECADENTISM & LANGUEUR ANGELA PRESTANICOLA & IRENE MAZZOTTA
VERISM
DECADENTISM
CHARACTERISTIC
The absence of confidence in reason Exaltation of individuality Isolation from the surrounding reality Sense of crisis, death, anxiety and loneliness
OSCAR WILDE
GABRIELE D’ANNUNZIO
PAUL VERLAINE
LANGUEUR PAUL VERLAINE(1844-1896) ALORS ET MAINTENANT
Roman Empire invaded by barbarians .
Je suis l’Empire à la fin de la décadence,qui regarde passer les grands Barbares blancs en composant des acrostiches indolents d’un style d’or où la langueur du soleil danse. L’âme seulette a mal au coeur d’un ennui dense. Là-bas on dit qu’il est de longs combats sanglants. Ô n’y pouvoir, étant si faible aux voeux si lents,ô n’y vouloir fleurir un peu cette existence! Ô n’y vouloir, ô n’y pouvoir mourir un peu! Ah! tout est bu! Bathylle, as-tu fini de rire? Ah! tout est bu, tout est mangé! Plus rien à dire! Seul, un poème un peu niais qu’on jette au feu, seul, un esclave un peu coureur qui vous néglige, seul, un ennui d’on ne sait quoi qui vous afflige!
Period of Roman decadence The condition of the state of mind , devoid of any moral or social content , become purely formal exercise.
LANGUORE [ITALIANO] Sono l’Impero alla fine della decadenza, che guarda passare i grandi Barbari bianchi componendo acrostici indolenti dove danza il languore del sole in uno stile d’oro. Soletta l’anima soffre di noia densa al cuore. Laggiù, si dice, infuriano lunghe battaglie cruente. O non potervi, debole e così lento ai propositi, o non volervi far fiorire un po’ quest’esistenza! O non potervi, o non volervi un po’ morire! Ah! Tutto è bevuto! Non ridi più, Batillo? Tutto è bevuto, tutto è mangiato! Niente più da dire! Solo, un poema un po’ fatuo che si getta alle fi amme, solo, uno schiavo un po’ frivolo che vi dimentica, solo, un tedio d’un non so che attaccato all’anima!
LANGUEUR [ENGLISH] I am the Empire in the last of its decline, That sees the tall, fair-haired Barbarians pass,-the while Composing indolent acrostics, in a style Of gold, with languid sunshine dancing in each line. The solitary soul is heart-sick with a vile Ennui. Down yon, they say, War's torches bloody shine. Alas, to be so faint of will, one must resign The chance of brave adventure in the splendid file,Of death, perchance! Alas, so lagging in desire! Ah, all is drunk! Bathyllus, hast done laughing, pray? Ah, all is drunk,-all eaten! Nothing more to say! Alone, a vapid verse one tosses in the fire; Alone, a somewhat thievish slave neglecting one; Alone, a vague disgust of all beneath the sun!
ANALYSIS AND COMMENTARY This text is one of the most famous expession of decadent poetry. In it, there is the expression of some basic attitudes of the decadent sensibility and art. “Languore” became immediately famous, because it synthetized with efficacy the widespread sense of decadence which circulated in the culture of the age. The poet associates by analogy his own mood of languore at the end of the decline from the Roman empire, an age of moral weakness and escaping in the pleasure of life. The disease that afflicts him is loneliness and boredom that make him not want to live to die. Here Verlaine finds the death of art. The feeling of decadence unites two historical moments, past and present, and acquires a universal meaning that gives to the play the symbol of European Decadence. Languore as sickness of the soul and intelectual inertia condition will be also in the D’Annunzio’s novel THE PLEASURE.
SYMBOLISM (Elena Biafora) Symbolism was born in France between 1880 and 1890. It developed from the concept that reality isn’t what we can discover by studying science or feel by our experiences, because it is something deeper and more mysterious, and only in this way it can be considered a truthful fact. So these aspects of reality cannot be understood by reason but only by poetry and its language, because they are instruments to express the unconscious processes that usually go on in our mind. Symbolists always tried to communicate their ideas through symbols, as the name “symbolism” says. From their point of view, the word “symbol” doesn’t mean “metaphor” or something like that, but “symbol” has to be something that allows everyone to comprehend what was real, and that means reality by itself. Therefore, poets had to be a sort of clairvoyant, that is able to discover what is hidden behind objects and go over their simple meanings. French poets like Mallarmé, Rimbaud, Verlaine and Baudelaire, also known as “poetes maudits”, can be defined, for the greatness of/ because of their works, the forerunners of this particular literary movement.
AESTHETICISM (Annamary Paniconi) Aestheticism is a literary and philosophical movement born in Europe during the 19th century, and it developed right from the Decadent movement. It considered art like an engaging experience, that must involve all poets’ existence. In fact, intellectuals’ life, overlapping art, has to become art itself, and the aesthetes, as they were called, thought that life should copy art and not the opposite. They also strongly believed that art has no moral implications, and no practical purpose, and for this reason they coined the emblematic slogan “art for art’s sake” that in a few words contains all the principles of this movement. The identity between life and art is greatly expressed in “the Picture of Dorian Gray”, written in 1890 by the English author Oscar Wilde. In fact, in its preface, he said: << The Artist is the creator of beautiful things>> <<There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all>>.
SCAPIGLIATURA (Rita Lucia Turcaloro) Scapigliatura’s poets were the beginners of the decadent movement in Italy, especially in Milan, and they worked especially between 1860s and 1870s. They were incapable to accept their reality, they disclaimed the middle class cultural models and romantic literature like Manzoni’s works. In their poetry they refused every kind of traditional prosody forms, and preferred to use a kind of literature similar to prose. These author’s works deal with concepts like melancholy, restlessness and with themes like unconsciousness, surreal, mystery and ecstasy. They gained this state of ecstasy also by alcohol, sex and drugs like hashish, opium and morphine because they believed that they could improve their sensory perception, discovering in this way new realities that were hidden beyond common things. Indeed, writers (and artists, too) denied actual reality, refused to take part of political and social life and showed all their indignation about it in their compositions.
SURREALISM (Caterina Campisi) Surrealism had his forerunner in Guillome Apollinaire and it expresses the irrationality of poetry that became a transcription of irrational impulses and unconscious sensations. The Surrealists sought to overthrow the oppressive rules of modern society by demolishing its backbone of rational thought Its manifesto was written by Andrè Breton in 1924, that in the extract below defined Surrealism as a <<Psychic automatism in its pure state, by which one proposes to express…the actual functioning of thought…in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.>> that allows us to understand better his peculiar point of view and his personal conception of poetry. The main goal of André Breton’s Manifesto of Surrealism is to free one’s mind from the past and from everyday life to arrive at truths one has never known. By the time Breton wrote his manifesto, French poets—including Breton himself—and artists had already demonstrated Surrealist techniques in their works. For this reason, surrealist art aims to catch not the reality they can only perceive but the surreal that goes beyond sensitive and cognitive appearances and it gets decadent theories to their extreme and absolute consequences. This movement spreads particularly to Italy, Germany and France and came to an end in 1938, with the beginning of the Second World War.
In tanti ne parlano e molti affermano, pur non possedendo alcuna certificazione linguistica, di sentirsi assolutamente in grado di portare a termine un’esperienza di questo genere. “Dai, è facile!” “Cosa vuoi che sia, basta imparare a memoria due paroline e il gioco è fatto!” “Fosse capitata a me una fortuna del genere…” Questo mi sono sentita dire nel corso dei mesi di studio per la preparazione dell’esperienza CLIL. Eppure, nonostante la certificazione B2, nonostante la collaborazione con la collega di lingua e nonostante l’impegno costante per la riuscita del progetto, non mi vergogno a dire di aver incontrato non poche difficoltà nell’avvicinarmi all’insegnamento di una disciplina che – pur essendo la mia – viene veicolata attraverso una lingua ed un metodologia differenti rispetto a quelle tradizionali. Mentre, però, nell’applicazione di metodi innovativi posso affermare di avere una certa esperienza, quantomeno per il fatto di essermi sempre aggiornata e di aver costantemente “effettuato sperimentazione” nel corso delle mie lezioni – nella convinzione che se un argomento risulta noioso o ostico per me, certamente non può risultare interessante per i miei studenti – nell’uso della lingua ho trovato qualche difficoltà in più. Sì, perché, non è assolutamente semplice, almeno non per me, né reperire quelle “quattro paroline in croce” di cui qualcuno parla (anche perché non esistono testi cui appoggiarsi), né esporle utilizzando il lessico specifico della disciplina ad una classe che si aspetta molto dal suo insegnante e di fronte alla quale non si può certamente rischiare di perdere propria credibilità. C’è altro? Beh, sì… Diciamo che, facendo i conti con la realtà, quelle “quattro paroline in croce” non sono assolutamente sufficienti, né minimamente utili, per portare avanti 12 ore di attività (condivisa) in maniera interattiva, per dialogare e collaborare con gli studenti e stimolare in loro il gusto per l’apprendimento e la voglia di approfondire tematiche tradizionali con una metodologia innovativa. Rischierò di cadere nell’autoreferenzialità, ma il criterio informatore del mio insegnamento è stato sempre quello del mettermi nei panni dei miei studenti per capire se, a parti rovesciate, avrei provato interesse per quello che stavo facendo o ipotizzavo di fare. Proprio per questo motivo ho cercato, pur nei miei limiti, di proporre delle presentazioni verbali che fossero il meno possibile mnemoniche e ho elaborato dei documenti-guida che riducessero al minimo i contenuti testuali, eccezion fatta parole chiave, concetti e tematiche da ricordare, in maniera tale da evitare quanto più possibile l’effetto di saturazione dell’apprendimento e il rischio di far cadere gli studenti nella distrazione e nella noia. Assieme alla mia collega ho portato avanti questo percorso che è stato di formazione sia per gli studenti che per me. I risultati? Contrariamente alle mie aspettative, i ragazzi si sono dimostrati interessati a questa pratica didattica “inusuale” e hanno partecipato attivamente alle lezioni, senza tralasciare qualche battutina english stile.
Il lavoro di gruppo, le interviste parallele e il fatto di “gareggiare” con i compagni per stabilire chi fosse “il migliore” hanno costituito un punto di forza nel nostro progetto e i risultati ottenuti, che pubblicheremo a breve nell’apposita sezione insieme alla relazione finale, sono stati soddisfacenti. Questa del Clil è stata un’esperienza bellissima per tutti noi, anche se non so se sarei pronta a ripeterla a breve, ma se proprio dovessi fare una proposta per il miglioramento, questa andrebbe certamente nella direzione di un corso CLIL all’estero o un’esperienza di lettorato in un paese anglofono, che permetta ai docenti di “immergersi” nella disciplina acquisendo maggiore sicurezza e migliorando la propria fluency.