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 I is among the characterizing activities of the "Foreign Literatures" area. It provides the student with initial knowledge and understanding of the Spanish literary culture through the reading of exemplary texts analysed paying special attention to intercultural dynamics. It helps students discover the tools and methodologies of literary, cultural and historical analysis.
At the end of the module, students will be able to read and understand literary texts in the original language employing the analytical methods and tools they will have learned in class; furthermore, they will possess the necessary communicative skills to re-elaborate the acquired disciplinary contents.
Spanish Literature I is among the characterizing activities of the "Foreign Literatures" area. It provides the student with initial knowledge and understanding of the Spanish literary culture through the reading of exemplary texts analysed paying special attention to intercultural dynamics. It helps students discover the tools and methodologies of literary, cultural and historical analysis.
At the end of the module, students will be able to read and understand literary texts in the original language employing the analytical methods and tools they will have learned in class; furthermore, they will possess the necessary communicative skills to re-elaborate the acquired disciplinary contents.
Canali
teacher profile teaching materials
Women and love, women and violence, women and stereotypes, women and the search for personal and sexual freedom... Since the end of the Middle Ages, unforgettable, paradigmatic female types have emerged in Spanish literature: we will study some of them, over a very wide time span, which will give us the opportunity to dwell on some major moments of cultural change. Furthermore, the variety of genres considered (theatre, fiction, poetry) will also allow us to begin to familiarise ourselves with the specific languages and techniques of these literary forms.
N.B. Students with a surname beginning with a letter between A and L (=channel A-L) will take the course with Prof. F. Antonucci in the SECOND SEMESTER. M-Z students will take the course with Prof. Resta in the FIRST SEMESTER.
- F. de Rojas, La Celestina, introduzione di C. Samonà, Milano, BUR (compulsory edition);
- P. Calderón de la Barca, La dama duende, traduzione, introduzione e note di F. Antonucci in Il teatro dei secoli d’oro, II, a cura di M. Grazia Profeti, Milano, Bompiani, 2015, pp. 11-241 (compulsory edition made available by the teachers);
- E. Pardo Bazán, “El indulto”, “El encaje roto”, “Las medias rojas” (“L’indulto”, “Il pizzo strappato”, “Le calze rosse”), original and translation in: E. Pardo Bazán, Il pizzo strappato. Racconti sulla violenza contro le donne, a cura di Valentina Nider, Venezia, Marsilio, 2021, (compulsory edition);
- F. García Lorca, “Lucía Martínez”, “Romance de la pena negra”, “La casada infiel” (texts made available by the teachers).
Programme
Female models and types in Spanish literature: a journey through time and literary genres.Women and love, women and violence, women and stereotypes, women and the search for personal and sexual freedom... Since the end of the Middle Ages, unforgettable, paradigmatic female types have emerged in Spanish literature: we will study some of them, over a very wide time span, which will give us the opportunity to dwell on some major moments of cultural change. Furthermore, the variety of genres considered (theatre, fiction, poetry) will also allow us to begin to familiarise ourselves with the specific languages and techniques of these literary forms.
N.B. Students with a surname beginning with a letter between A and L (=channel A-L) will take the course with Prof. F. Antonucci in the SECOND SEMESTER. M-Z students will take the course with Prof. Resta in the FIRST SEMESTER.
Core Documentation
1) TEXTS (to be studied in full; where a specific edition is required, it is the one required for the exam preparation):- F. de Rojas, La Celestina, introduzione di C. Samonà, Milano, BUR (compulsory edition);
- P. Calderón de la Barca, La dama duende, traduzione, introduzione e note di F. Antonucci in Il teatro dei secoli d’oro, II, a cura di M. Grazia Profeti, Milano, Bompiani, 2015, pp. 11-241 (compulsory edition made available by the teachers);
- E. Pardo Bazán, “El indulto”, “El encaje roto”, “Las medias rojas” (“L’indulto”, “Il pizzo strappato”, “Le calze rosse”), original and translation in: E. Pardo Bazán, Il pizzo strappato. Racconti sulla violenza contro le donne, a cura di Valentina Nider, Venezia, Marsilio, 2021, (compulsory edition);
- F. García Lorca, “Lucía Martínez”, “Romance de la pena negra”, “La casada infiel” (texts made available by the teachers).
Reference Bibliography
2) CRITICS and LITERARY HISTORY AND HISTORY NOTICES: a) Carlos Alvar, José Carlos Mainer, Rosa Navarro, Storia della letteratura spagnola, Vol. I: Il Medioevo e l’età d’oro, Torino, Einaudi (only part 2, “L’età d’oro” up to p. 341); b) The introductions to the compulsory editions of the works indicated in the TEXTS section; c) F. Antonucci, Calderón de la Barca, Roma, Salerno editrice, chapters 1 and 10; d) F. Antonucci, Il Novecento letterario spagnolo: percorsi, Pisa, ETS, units 4 and 5; e) Other critical and/or supporting materials made available by the lecturers.Type of delivery of the course
1) General presentation of each of the four texts or blocks of texts into which the programme is divided; information on the historical-literary context. Lectures. 2) Analysis of the female characters in the context of each of the works on the programme. Introduction to the different methodologies of analysis useful for works of drama, fiction and poetry. Lectures, classroom exercises, exercises to be carried out at other times as part of individual study. 3) The historical-literary reference framework, which will be presented in the frontal lectures, will have to be deepened by the students through the study of the Criticism and Literary History texts indicated under "Adopted texts".Attendance
Active and constant attendance is strongly recommended for adequate preparation for the examination. A student is considered to be attending if he/she has actively attended at least 70% of the lectures, during which he/she will be led to carry out a series of on-going exercises that will contribute 30% to the final assessment of competence. Non-attending students are invited to contact the lecturer at least two months before the call to which they intend to attend. During the interview, the lecturer will indicate the specific syllabus for the 'non-attending' mode (different from the one indicated above) and will provide all the 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 examination.Type of evaluation
Forms of in-progress assessment are envisaged through individual exercises and/or presentations to be carried out in written or oral form, reserved for students who attend regularly. The final oral examination will assess the general knowledge (points 1 and 3 of the Terms of Reference) and the skills acquired (point 2), excluding any parts that may have been verified through the exercises and individual work. teacher profile teaching materials
Women and love, women and violence, women and stereotypes, women and the search for personal and sexual freedom... Since the end of the Middle Ages, unforgettable, paradigmatic female types have emerged in Spanish literature: we will study some of them, over a very wide time span, which will give us the opportunity to dwell on some major moments of cultural change. In addition, the variety of genres considered (drama, fiction, poetry) will also allow us to begin to familiarize ourselves with the specific languages and techniques of these literary forms.
N.B. Students with a last name beginning with a letter between A and L (=channel A-L) will take the course with Prof. F. Antonucci in the SECOND SEMESTER. Students in channel M-Z will take the course with Prof. Resta in the FIRST SEMESTER.
1) F. de Rojas, La Celestina, introduction by C. Samonà, Milan, BUR (mandatory edition);
2) P. Calderón de la Barca, La dama duende, translation, introduction and notes by F. Antonucci in: The Theater of the Golden Ages, II, edited by M. Grazia Profeti, Milan, Bompiani, 2015, pp. 11-241 (mandatory edition made available by professors).
3) E. Pardo Bazán, "El indulto," "El encaje roto," "Las medias rojas" ("The Pardon," "The Torn Lace," "The Red Stockings," in original and translation in: E. Pardo Bazán, The Torn Lace. Tales of violence against women, edited by Valentina Nider, Venice, Marsilio, 2021, mandatory edition).
4) F. García Lorca, "Lucía Martínez," "Romance de la pena negra," "La casada infiel" (texts made available by professors).
CRITICISM AND NOTIONS OF LITERARY HISTORY
1. Carlos Alvar, José Carlos Mainer, Rosa Navarro, History of Spanish Literature, Vol. I: The Middle Ages and the Golden Age, Turin, Einaudi (part 2 only, "The Golden Age" up to p. 341);
2. Introductions to the mandatory editions of the works indicated in the TEXTS section;
3. F. Antonucci, Calderón de la Barca, Rome, Salerno editrice, chapters 1, 10;
4. F. Antonucci, The Spanish literary twentieth century: paths, Pisa, ETS, units 4-5;
5. Other critical and/or supporting materials made available by the professors.
Programme
Female models and types in Spanish literature: a journey through time and literary genres.Women and love, women and violence, women and stereotypes, women and the search for personal and sexual freedom... Since the end of the Middle Ages, unforgettable, paradigmatic female types have emerged in Spanish literature: we will study some of them, over a very wide time span, which will give us the opportunity to dwell on some major moments of cultural change. In addition, the variety of genres considered (drama, fiction, poetry) will also allow us to begin to familiarize ourselves with the specific languages and techniques of these literary forms.
N.B. Students with a last name beginning with a letter between A and L (=channel A-L) will take the course with Prof. F. Antonucci in the SECOND SEMESTER. Students in channel M-Z will take the course with Prof. Resta in the FIRST SEMESTER.
Core Documentation
TEXTS1) F. de Rojas, La Celestina, introduction by C. Samonà, Milan, BUR (mandatory edition);
2) P. Calderón de la Barca, La dama duende, translation, introduction and notes by F. Antonucci in: The Theater of the Golden Ages, II, edited by M. Grazia Profeti, Milan, Bompiani, 2015, pp. 11-241 (mandatory edition made available by professors).
3) E. Pardo Bazán, "El indulto," "El encaje roto," "Las medias rojas" ("The Pardon," "The Torn Lace," "The Red Stockings," in original and translation in: E. Pardo Bazán, The Torn Lace. Tales of violence against women, edited by Valentina Nider, Venice, Marsilio, 2021, mandatory edition).
4) F. García Lorca, "Lucía Martínez," "Romance de la pena negra," "La casada infiel" (texts made available by professors).
CRITICISM AND NOTIONS OF LITERARY HISTORY
1. Carlos Alvar, José Carlos Mainer, Rosa Navarro, History of Spanish Literature, Vol. I: The Middle Ages and the Golden Age, Turin, Einaudi (part 2 only, "The Golden Age" up to p. 341);
2. Introductions to the mandatory editions of the works indicated in the TEXTS section;
3. F. Antonucci, Calderón de la Barca, Rome, Salerno editrice, chapters 1, 10;
4. F. Antonucci, The Spanish literary twentieth century: paths, Pisa, ETS, units 4-5;
5. Other critical and/or supporting materials made available by the professors.
Reference Bibliography
see textsType of delivery of the course
1) General presentation of each of the four texts or blocks of texts into which the syllabus is divided; information on the historical and literary context. Frontal lectures. 2) Analysis of female characters in the context of each of the works in the syllabus. Introduction to the different methodologies of analysis useful for drama, fiction and poetry. Lectures, classroom exercises, exercises to be done as part of individual study. 3) The historical and 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. teacher profile teaching materials
Women and love, women and violence, women and stereotypes, women and the search for personal and sexual freedom... Since the end of the Middle Ages, unforgettable, paradigmatic female types have emerged in Spanish literature: we will study some of them, over a very wide time span, which will give us the opportunity to dwell on some major moments of cultural change. Furthermore, the variety of genres considered (theatre, fiction, poetry) will also allow us to begin to familiarise ourselves with the specific languages and techniques of these literary forms.
N.B. Students with a surname beginning with a letter between A and L (=channel A-L) will take the course with Prof. F. Antonucci in the SECOND SEMESTER. M-Z students will take the course with Prof. Resta in the FIRST SEMESTER.
- F. de Rojas, La Celestina, introduzione di C. Samonà, Milano, BUR (compulsory edition);
- P. Calderón de la Barca, La dama duende, traduzione, introduzione e note di F. Antonucci in Il teatro dei secoli d’oro, II, a cura di M. Grazia Profeti, Milano, Bompiani, 2015, pp. 11-241 (compulsory edition made available by the teachers);
- E. Pardo Bazán, “El indulto”, “El encaje roto”, “Las medias rojas” (“L’indulto”, “Il pizzo strappato”, “Le calze rosse”), original and translation in: E. Pardo Bazán, Il pizzo strappato. Racconti sulla violenza contro le donne, a cura di Valentina Nider, Venezia, Marsilio, 2021, (compulsory edition);
- F. García Lorca, “Lucía Martínez”, “Romance de la pena negra”, “La casada infiel” (texts made available by the teachers).
Programme
Female models and types in Spanish literature: a journey through time and literary genres.Women and love, women and violence, women and stereotypes, women and the search for personal and sexual freedom... Since the end of the Middle Ages, unforgettable, paradigmatic female types have emerged in Spanish literature: we will study some of them, over a very wide time span, which will give us the opportunity to dwell on some major moments of cultural change. Furthermore, the variety of genres considered (theatre, fiction, poetry) will also allow us to begin to familiarise ourselves with the specific languages and techniques of these literary forms.
N.B. Students with a surname beginning with a letter between A and L (=channel A-L) will take the course with Prof. F. Antonucci in the SECOND SEMESTER. M-Z students will take the course with Prof. Resta in the FIRST SEMESTER.
Core Documentation
1) TEXTS (to be studied in full; where a specific edition is required, it is the one required for the exam preparation):- F. de Rojas, La Celestina, introduzione di C. Samonà, Milano, BUR (compulsory edition);
- P. Calderón de la Barca, La dama duende, traduzione, introduzione e note di F. Antonucci in Il teatro dei secoli d’oro, II, a cura di M. Grazia Profeti, Milano, Bompiani, 2015, pp. 11-241 (compulsory edition made available by the teachers);
- E. Pardo Bazán, “El indulto”, “El encaje roto”, “Las medias rojas” (“L’indulto”, “Il pizzo strappato”, “Le calze rosse”), original and translation in: E. Pardo Bazán, Il pizzo strappato. Racconti sulla violenza contro le donne, a cura di Valentina Nider, Venezia, Marsilio, 2021, (compulsory edition);
- F. García Lorca, “Lucía Martínez”, “Romance de la pena negra”, “La casada infiel” (texts made available by the teachers).
Reference Bibliography
2) CRITICS and LITERARY HISTORY AND HISTORY NOTICES: a) Carlos Alvar, José Carlos Mainer, Rosa Navarro, Storia della letteratura spagnola, Vol. I: Il Medioevo e l’età d’oro, Torino, Einaudi (only part 2, “L’età d’oro” up to p. 341); b) The introductions to the compulsory editions of the works indicated in the TEXTS section; c) F. Antonucci, Calderón de la Barca, Roma, Salerno editrice, chapters 1 and 10; d) F. Antonucci, Il Novecento letterario spagnolo: percorsi, Pisa, ETS, units 4 and 5; e) Other critical and/or supporting materials made available by the lecturers.Type of delivery of the course
1) General presentation of each of the four texts or blocks of texts into which the programme is divided; information on the historical-literary context. Lectures. 2) Analysis of the female characters in the context of each of the works on the programme. Introduction to the different methodologies of analysis useful for works of drama, fiction and poetry. Lectures, classroom exercises, exercises to be carried out at other times as part of individual study. 3) The historical-literary reference framework, which will be presented in the frontal lectures, will have to be deepened by the students through the study of the Criticism and Literary History texts indicated under "Adopted texts".Attendance
Active and constant attendance is strongly recommended for adequate preparation for the examination. A student is considered to be attending if he/she has actively attended at least 70% of the lectures, during which he/she will be led to carry out a series of on-going exercises that will contribute 30% to the final assessment of competence. Non-attending students are invited to contact the lecturer at least two months before the call to which they intend to attend. During the interview, the lecturer will indicate the specific syllabus for the 'non-attending' mode (different from the one indicated above) and will provide all the 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 examination.Type of evaluation
Forms of in-progress assessment are envisaged through individual exercises and/or presentations to be carried out in written or oral form, reserved for students who attend regularly. The final oral examination will assess the general knowledge (points 1 and 3 of the Terms of Reference) and the skills acquired (point 2), excluding any parts that may have been verified through the exercises and individual work.