One of the main aims of this Course of Study is to provide students with advanced knowledge of two foreign literatures related to the two languages of their choice, paying special attention to intercultural and transcultural dynamics. The course also aims at refining their ability to interpret cultural phenomena, using the tools and methodologies of literary, cultural and historical analysis.
Spanish Literature II is among the characterizing activities of the "Foreign Literatures" area. It allows students to deepen their knowledge of Spanish Literature in the period between the 16th and 21st centuries, with special attention to intercultural dynamics and the theoretical-methodological debate; it helps students master the tools and methodologies of literary, cultural and historical analysis.
At the end of the module, students will reach a good critical ability in the interpretation of exemplary texts in the original language, as well as the necessary competence for oral rewording, translation, rewriting and adaptation in Italian of the texts themselves. They will also be able to re-elaborate and communicate disciplinary knowledge in a specialized and non-specialized intercultural context.
Pre-requisite: Spanish Literature I; Spanish Language and Translation I
Spanish Literature II is among the characterizing activities of the "Foreign Literatures" area. It allows students to deepen their knowledge of Spanish Literature in the period between the 16th and 21st centuries, with special attention to intercultural dynamics and the theoretical-methodological debate; it helps students master the tools and methodologies of literary, cultural and historical analysis.
At the end of the module, students will reach a good critical ability in the interpretation of exemplary texts in the original language, as well as the necessary competence for oral rewording, translation, rewriting and adaptation in Italian of the texts themselves. They will also be able to re-elaborate and communicate disciplinary knowledge in a specialized and non-specialized intercultural context.
Pre-requisite: Spanish Literature I; Spanish Language and Translation I
Canali
teacher profile teaching materials
The course aims to analyse in a diachronic perspective some canonical texts of Spanish fiction and explore the evolution of the narrative voice and the point of view. The student will be led to have 1) a good knowledge of Spanish fiction from its beginnings to the present day through the reading and narratological analysis of the texts in the programme; 2) deepen the historical and cultural context to which the texts belong.
1. Cervantes, «Novelas ejemplares», Madrid, Cátedra ("Prólogo", "El celoso extremeño", "Rinconete y Cortadillo");
2. Mariano José de Larra, «Artículos de costumbres», Madrid, Cátedra (3 articles provided by the teacher);
3. Benito Pérez Galdós, «Tristana», Madrid, Cátedra; (compulsory edition);
4. Leopoldo Alas, “Clarín”, «Cuentos completos», Madrid, Cátedra (3 short stories provided by the teacher);
5. Pío Baroja, «El árbol de la ciencia», ed. I. Fox, Madrid, Cátedra; (compulsory edition);
6. C. Laforet, «Nada», ed. J. Teruel, Madrid, Cátedra; (compulsory edition);
7. J. Llamazares, «Luna de lobos», ed. M. Tomás-Valiente, Madrid, Cátedra
Critical texts and notions of literary history
1. G. Mancini-F. Guazzelli, "Cervantes", in: C. Samonà, G. Mancini, F. Guazzelli, A. Martinengo, "La letteratura Spagnola, I Secoli d'Oro", Milano, Rizzoli (BUR) o Milano, Sansoni-Accademia (ch. 9 and 10).
2. R. Rossi, "l'Otto-Novecento", in: Mario Di Pinto, Rosa Rossi, La letteratura spagnola dal Settecento ad oggi, Milano, Rizzoli (BUR) o Milano, Sansoni-Accademia (ch. 9, "Il Romanticismo", ch. 10, "La seconda metà dell'Ottocento, ovvero l'età del romanzo", ch. 11, "Una nuova letteratura, tra decadentismo e avanguardie", ch. 12, "Una grande letteratura fino alla guerra civile", ch. 13, "Trent'anni di dopoguerra")
3. D. Manera (a cura di), «Letteratura spagnola contemporanea», Pearson ("Narrativa", ch. 6 and 7);
4. M. Socrate, "Novelas ejemplares" in «Il riso maggiore di Cervantes», La Nuova Italia (provided by the teacher);
5. L. Chines, C. Varotti, «Che cos’è un testo letterario», Roma, Carocci (cap. 3);
6. Le introduzioni e le note delle edizioni indicate (cfr. “TEXTS”);
7. Other critical materials provided by the teacher.
Programme
Sara Pezzini, channel A-L, course delivered in the First Semester: «Forms of fiction in Spain between the 17th and 20th centuries»The course aims to analyse in a diachronic perspective some canonical texts of Spanish fiction and explore the evolution of the narrative voice and the point of view. The student will be led to have 1) a good knowledge of Spanish fiction from its beginnings to the present day through the reading and narratological analysis of the texts in the programme; 2) deepen the historical and cultural context to which the texts belong.
Core Documentation
TEXTS (the editions indicated as compulsory are part of the examination programme):1. Cervantes, «Novelas ejemplares», Madrid, Cátedra ("Prólogo", "El celoso extremeño", "Rinconete y Cortadillo");
2. Mariano José de Larra, «Artículos de costumbres», Madrid, Cátedra (3 articles provided by the teacher);
3. Benito Pérez Galdós, «Tristana», Madrid, Cátedra; (compulsory edition);
4. Leopoldo Alas, “Clarín”, «Cuentos completos», Madrid, Cátedra (3 short stories provided by the teacher);
5. Pío Baroja, «El árbol de la ciencia», ed. I. Fox, Madrid, Cátedra; (compulsory edition);
6. C. Laforet, «Nada», ed. J. Teruel, Madrid, Cátedra; (compulsory edition);
7. J. Llamazares, «Luna de lobos», ed. M. Tomás-Valiente, Madrid, Cátedra
Critical texts and notions of literary history
1. G. Mancini-F. Guazzelli, "Cervantes", in: C. Samonà, G. Mancini, F. Guazzelli, A. Martinengo, "La letteratura Spagnola, I Secoli d'Oro", Milano, Rizzoli (BUR) o Milano, Sansoni-Accademia (ch. 9 and 10).
2. R. Rossi, "l'Otto-Novecento", in: Mario Di Pinto, Rosa Rossi, La letteratura spagnola dal Settecento ad oggi, Milano, Rizzoli (BUR) o Milano, Sansoni-Accademia (ch. 9, "Il Romanticismo", ch. 10, "La seconda metà dell'Ottocento, ovvero l'età del romanzo", ch. 11, "Una nuova letteratura, tra decadentismo e avanguardie", ch. 12, "Una grande letteratura fino alla guerra civile", ch. 13, "Trent'anni di dopoguerra")
3. D. Manera (a cura di), «Letteratura spagnola contemporanea», Pearson ("Narrativa", ch. 6 and 7);
4. M. Socrate, "Novelas ejemplares" in «Il riso maggiore di Cervantes», La Nuova Italia (provided by the teacher);
5. L. Chines, C. Varotti, «Che cos’è un testo letterario», Roma, Carocci (cap. 3);
6. Le introduzioni e le note delle edizioni indicate (cfr. “TEXTS”);
7. Other critical materials provided by the teacher.
Reference Bibliography
See «TEXTS» and «Critical texts and notions of literary history»Type of delivery of the course
Lectures on the historical and literary context that the student will study in depth and complete through the study of the textbook in the syllabus; analysis of the works with particular attention to the function and evolution of the narrative voice and point of view; written and oral exercises. The reading of all the texts in the syllabus is a prerequisite for the use of the lessons as well as for the preparation of the exam.Attendance
Attending students are expected to participate actively and regularly in the courses, including the performance of written and oral activities. For non-attending students, there is a specific study programme to be agreed upon with a compulsory interview at least two months prior to the call in which the exam is to be taken.Type of evaluation
Final oral examination, with possible modifications to the study programme based on what was done in the classroom. teacher profile teaching materials
The program offers an itinerary consisting of works of drama and fiction that begins with one of the most famous romantic dramas and ends with a 1985 novel about the anti-Franco guerrillas. What strategies do playwrights and storytellers put into practice to recount the past, reflect on their country's problems, and remember the more or less famous victims of the violence of power? Each author or writer has his or her own language, rooted not only in his or her stylistic individuality and ideology, but also in the historical-cultural period in which he or she operates; and which should also be related to the peculiarities of the literary genre, drama or fiction, in which his or her work is framed. At the end of our journey we will have deepened our examination of some key-moments in the literary reflection on "Spain as a problem," and we will have approached some particularly poignant and evocative reworkings of the trauma of the civil war and the difficulties of life under the Franco dictatorship.
- A. García Gutiérrez, El trovador, ed. C. Ruiz Silva, Madrid, Cátedra;
- B. Pérez Galdós, La desheredada, ed. G. Gullón, Madrid, Cátedra;
- F. García Lorca, Mariana Pineda, ed. L. Martínez Cuitiño, Madrid, Cátedra;
- C. Laforet, Nada, ed. J. Teruel, Madrid, Cátedra;
- A. Buero Vallejo, Historia de una escalera, ed. V. Serrano, Madrid, Espasa (Austral Collection);
- J. Llamazares, Luna de lobos, ed. M. Tomás-Valiente, Madrid, Cátedra.
All editions indicated are mandatory.
CRITICISM AND HISTORY OF LITERATURE
1) History of literature: materials provided in pdf by the professor and made available in the Teaching Materials section of the Teaching Team.
2) The introductions and notes of the indicated editions (see "TEXTS" sections);
3) L. Chines, C. Varotti, Che cos'è un testo letterario, Roma, Carocci (chap. 3);
4) J.L. García Barrientos, Cómo se comenta una obra de teatro, Madrid, Síntesis.
Programme
History, memory, literature in Spain between the 19th and 20th centuries.The program offers an itinerary consisting of works of drama and fiction that begins with one of the most famous romantic dramas and ends with a 1985 novel about the anti-Franco guerrillas. What strategies do playwrights and storytellers put into practice to recount the past, reflect on their country's problems, and remember the more or less famous victims of the violence of power? Each author or writer has his or her own language, rooted not only in his or her stylistic individuality and ideology, but also in the historical-cultural period in which he or she operates; and which should also be related to the peculiarities of the literary genre, drama or fiction, in which his or her work is framed. At the end of our journey we will have deepened our examination of some key-moments in the literary reflection on "Spain as a problem," and we will have approached some particularly poignant and evocative reworkings of the trauma of the civil war and the difficulties of life under the Franco dictatorship.
Core Documentation
TEXTS- A. García Gutiérrez, El trovador, ed. C. Ruiz Silva, Madrid, Cátedra;
- B. Pérez Galdós, La desheredada, ed. G. Gullón, Madrid, Cátedra;
- F. García Lorca, Mariana Pineda, ed. L. Martínez Cuitiño, Madrid, Cátedra;
- C. Laforet, Nada, ed. J. Teruel, Madrid, Cátedra;
- A. Buero Vallejo, Historia de una escalera, ed. V. Serrano, Madrid, Espasa (Austral Collection);
- J. Llamazares, Luna de lobos, ed. M. Tomás-Valiente, Madrid, Cátedra.
All editions indicated are mandatory.
CRITICISM AND HISTORY OF LITERATURE
1) History of literature: materials provided in pdf by the professor and made available in the Teaching Materials section of the Teaching Team.
2) The introductions and notes of the indicated editions (see "TEXTS" sections);
3) L. Chines, C. Varotti, Che cos'è un testo letterario, Roma, Carocci (chap. 3);
4) J.L. García Barrientos, Cómo se comenta una obra de teatro, Madrid, Síntesis.
Type of delivery of the course
1) General presentation of each of the texts into which the syllabus is divided; information on the historical and literary context. Frontal lectures. 2) Analysis of some particularly relevant aspects of the works in the syllabus, with particular regard to the reworking of historical data, the manifest or implicit ideological intention, and the semantic charge with which spaces and characters are charged. Application of the various methodologies of analysis useful for the work of drama and fiction. Lectures, classroom exercises, exercises to be done at other times as part of individual study. 3) The historical-literary frame of reference, which will be presented in the frontal lectures, should be deepened by the students with the study of the texts in Literary Criticism and History indicated under "Adopted Texts."Attendance
Active and constant attendance is strongly recommended for adequate preparation for the exam. A student who will have actively attended at least 70 percent of the lectures, during which he or she will be led to carry out a series of on-the-job exercises that will contribute 30 percent to the final skills assessment, is considered to be attending. Non-attending students are asked to contact the lecturer at least two months before the roll call to which they intend to appear. During the interview, the lecturer will point out the specific syllabus for the 'non-attending' mode and give all information and support materials for individual study, as well as access to a self-study platform set up specifically for this mode. Those who have not followed this procedure will not be allowed to take the exam.Type of evaluation
Forms of in-progress assessment through individual exercises and/or presentations to be carried out in written or oral form are provided, reserved for students who attend regularly. The final oral examination will assess general knowledge (items 1 and 3 of the Procedures) and skills acquired (item 2), excluding any parts that may have been verified by the exercises and individual work.