Graduates in Languages and Literatures for Teaching and Translation obtain advanced knowledge and understanding in all the subject areas of their training in order to
1) consolidate and develop their competence in European and American Studies, with particular attention to their literature of specialisation;
2) deepen their knowledge of the two foreign languages chosen, achieving a heightened competence in the language of specialization and an advancement in the second language;
3) reach enhanced awareness of the linguistic features of their language of specialisation, both from a diachronic and a synchronic perspective;
4) reach an adequate knowledge of the most advanced methodologies for the analysis of literary texts;
5) handle confidently the theoretical-practical tools for teaching and for translation.
Text and performance is one of the characterising modules of the programme. It allows students to strengthen their linguistic and communicative skills and their ability to interpret literary phenomena; it also enhances their competence in teaching literature and fosters their capacity for autonomous and accurate critical evaluation.
At the end of the module students will be able to: employ advanced theoretical skills in the field of literary translation as well as in the analysis of the interrelationships between literary language and other expressive forms, also from an intermedial perspective; communicate at an advanced level the disciplinary content.
Requirements: Students must have already taken Literature and Forms.
1) consolidate and develop their competence in European and American Studies, with particular attention to their literature of specialisation;
2) deepen their knowledge of the two foreign languages chosen, achieving a heightened competence in the language of specialization and an advancement in the second language;
3) reach enhanced awareness of the linguistic features of their language of specialisation, both from a diachronic and a synchronic perspective;
4) reach an adequate knowledge of the most advanced methodologies for the analysis of literary texts;
5) handle confidently the theoretical-practical tools for teaching and for translation.
Text and performance is one of the characterising modules of the programme. It allows students to strengthen their linguistic and communicative skills and their ability to interpret literary phenomena; it also enhances their competence in teaching literature and fosters their capacity for autonomous and accurate critical evaluation.
At the end of the module students will be able to: employ advanced theoretical skills in the field of literary translation as well as in the analysis of the interrelationships between literary language and other expressive forms, also from an intermedial perspective; communicate at an advanced level the disciplinary content.
Requirements: Students must have already taken Literature and Forms.
Canali
teacher profile teaching materials
The course aims to explore the complex dynamics involved in the adaptation of literary texts across different genres (such as drama, the novel, and the short story) and media (ranging from theatrical performance to film and television adaptation). William Shakespeare’s The Tempest will serve as an exemplary case study, and we will explore the evolution of the text through its many reworkings over time. The analysis will focus on how each adaptation, in reworking the source text, brings to light new and significant aspects, closely tied to the cultural, political, and aesthetic contexts in which it is produced. Particular attention will be paid to the intermedial strategies that underpin the process of rewriting, and to how these strategies give voice to an ongoing dialogue between past and present, text and performance, tradition and innovation.
- William Shakespeare, The Tempest, edited by Virginia Mason Vaughan and Alden T. Vaughan, Bloomsbury Arden Shakespeare, 2011.
- John Dryden e William Davenant, The Tempest, or, The Enchanted Island, 1670 (https://quod.lib.umich.edu/e/eebo/A59520.0001.001/?view=toc)
- Margaret Atwood, Hag-Seed: The Tempest Retold, Vintage Publishing, 2016.
- Jeanette Winterson, “Ghost in the Machine”, in Jeanette Winterson, Night Side of the River: Ghost Stories, Jonathan Cape, 2023, pp. 63-83.
The following viewings are also required:
- The Tempest, film directed by Julie Taymor (2010)
- Westworld, TV series created by Jonathan Nolan and Lisa Joy for HBO (Season 1, Episodes 1 and 10, 2016)
- La tempesta, directed by Daniele Salvo, Gigi Proietti Globe Theatre Silvano Toti, 2010 (the video is available in the Gigi Proietti Globe Theatre Silvano Toti Archive at our Department)
It is strongly recommended that the reading and viewing materials be completed before or during the course.
Programme
Literary and Intermedial Metamorphoses of the Dramatic TextThe course aims to explore the complex dynamics involved in the adaptation of literary texts across different genres (such as drama, the novel, and the short story) and media (ranging from theatrical performance to film and television adaptation). William Shakespeare’s The Tempest will serve as an exemplary case study, and we will explore the evolution of the text through its many reworkings over time. The analysis will focus on how each adaptation, in reworking the source text, brings to light new and significant aspects, closely tied to the cultural, political, and aesthetic contexts in which it is produced. Particular attention will be paid to the intermedial strategies that underpin the process of rewriting, and to how these strategies give voice to an ongoing dialogue between past and present, text and performance, tradition and innovation.
Core Documentation
Students are required to read the following primary texts in English, preferably in the editions listed below:- William Shakespeare, The Tempest, edited by Virginia Mason Vaughan and Alden T. Vaughan, Bloomsbury Arden Shakespeare, 2011.
- John Dryden e William Davenant, The Tempest, or, The Enchanted Island, 1670 (https://quod.lib.umich.edu/e/eebo/A59520.0001.001/?view=toc)
- Margaret Atwood, Hag-Seed: The Tempest Retold, Vintage Publishing, 2016.
- Jeanette Winterson, “Ghost in the Machine”, in Jeanette Winterson, Night Side of the River: Ghost Stories, Jonathan Cape, 2023, pp. 63-83.
The following viewings are also required:
- The Tempest, film directed by Julie Taymor (2010)
- Westworld, TV series created by Jonathan Nolan and Lisa Joy for HBO (Season 1, Episodes 1 and 10, 2016)
- La tempesta, directed by Daniele Salvo, Gigi Proietti Globe Theatre Silvano Toti, 2010 (the video is available in the Gigi Proietti Globe Theatre Silvano Toti Archive at our Department)
It is strongly recommended that the reading and viewing materials be completed before or during the course.
Reference Bibliography
Both attending and non-attending students must read the following critical texts (additional secondary readings will be made available during the course via Moodle): - Sujata Iyengar, Shakespeare and Adaptation Theory, Bloomsbury Arden Shakespeare, 2023 (Introduction, pp. 1-21; Chapter 1, pp. 23-43; Chapter 4, pp. 87-108; Glossary, pp. 177-185). - Irina Rajewsky, “Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality”, Intermédialités 6, 2005, pp. 43–64. - Virginia Mason Vaughan and Alden T. Vaughan, “Introduction”, In William Shakespeare, The Tempest, ed. by Virginia Mason Vaughan and Alden T. Vaughan, Bloomsbury Arden Shakespeare, 2011, pp. 1-138. - Lisanna Calvi, “Nature's artfulness in Dryden and Davenant’s The Tempest, or The Enchanted Island (1667)”, Cahiers Élisabéthains 114(1), 2024, 106-118. - Melissa Caldwell, “‘The Isle Is Full of Noises’: the Many Tempests of Margaret Atwood’s Hag-Seed”, Comparative Drama 57, no. 1-2, 2023, pp. 119-137. - Elisabeth Bronfen, “Shakespeare’s Spectres: Westworld”, in Ead., Serial Shakespeare: An Infinite Variety of Appropriations in American TV Drama, Manchester University Press, 2020, pp. 26-57. - Courtney Lehmann, “‘Turn off the dark’: A Tale of Two Shakespeares in Julie Taymor’s Tempest”, Shakespeare Bulletin, 32 no. 1, 2014, pp. 45-64.Attendance
Attendance is not compulsory but strongly recommended. Students who do not attend the course are advised to get in touch with me during the year.Type of evaluation
Final assessment will be through an in-person oral examination. Additional midterm assessments, either written or oral, may be introduced during the course at the instructor’s discretion. teacher profile teaching materials
The course focuses on the relationship between the literary text and its performative and (self-)regenerative possibilities, both within the same medium (intramedial) and across different media (intermedial). The texts under consideration will be The Waste Land by T. S. Eliot, John Ford’s ’Tis Pity She’s a Whore as well as The Company of Wolves by Angela Carter, and Krapp’s Last Tape by Samuel Beckett. These works will be analysed in relation to their transcodings for theater, radio, and screen, with the aim of exploring the methods and creative potential of cross-media comparison.
- T.S. Eliot, The Waste Land (English editions: Norton Critical Edition, Penguin Classics, Signet Classics; It.-En. parallel text: BUR or il Saggiatore).
- Angela Carter, “John Ford’s ’Tis Pity She’s a Whore” and “The Company of Wolves” (the short story and radio play versions, as well as videos and audio recordings, will be provided at the start of the course); John Ford, ’Tis Pity She’s a Whore (edition details will be provided at the start of the course).
- Samuel Beckett, “Krapp’s Last Tape” (text and link will be provided at the start of the course).
Programme
Voicing stories in different mediaThe course focuses on the relationship between the literary text and its performative and (self-)regenerative possibilities, both within the same medium (intramedial) and across different media (intermedial). The texts under consideration will be The Waste Land by T. S. Eliot, John Ford’s ’Tis Pity She’s a Whore as well as The Company of Wolves by Angela Carter, and Krapp’s Last Tape by Samuel Beckett. These works will be analysed in relation to their transcodings for theater, radio, and screen, with the aim of exploring the methods and creative potential of cross-media comparison.
Core Documentation
PRIMARY SOURCES (mandatory for all students)- T.S. Eliot, The Waste Land (English editions: Norton Critical Edition, Penguin Classics, Signet Classics; It.-En. parallel text: BUR or il Saggiatore).
- Angela Carter, “John Ford’s ’Tis Pity She’s a Whore” and “The Company of Wolves” (the short story and radio play versions, as well as videos and audio recordings, will be provided at the start of the course); John Ford, ’Tis Pity She’s a Whore (edition details will be provided at the start of the course).
- Samuel Beckett, “Krapp’s Last Tape” (text and link will be provided at the start of the course).
Reference Bibliography
SECONDARY SOURCES (context and criticism – compulsory reading) - Recommended History of English Literature: P. Bertinetti (a cura di), “English Literature. A Short History”; or J. Peck and M. Coyle (eds), “A Brief History of English Literature”. - Rippl G., “Introduction” to Handbook of Intermediality: Literature - Image - Sound - Music, edited by G. Rippl, De Gruyter, 2015, pp. 1-31; Rajewsky I., “Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality”, Intermédialités / Intermediality, 6, 2005, pp. 43-64, https://doi.org/10.7202/1005505ar - Wheeler L., “Undead Eliot: How The Waste Land Sounds”, Poetry, 204/5, 2014, pp. 467-479. - Ryan-Sautour M., “The Intermedial Trajectories of Angela Carter’s Wolf Tales”, Journal of the Short Story in English, 59, 2012, http://journals.openedition.org/jsse/1322; Stevanato S., “Incest as Form and the Identity Taboo according to Angela Carter”, Annali di Ca’ Foscari. Serie occidentale, 57, 2023, pp. 245-260. - Li L., “‘To Narrate’—A Verb in the Middle Voice?: Narrativity and Performance in Samuel Beckett’s Krapp’s Last Tape and Ohio Impromptu”, Narrative, 28/3, 2020, pp. 289-303. FOR NON-ATTENDING STUDENTS Students who do not attend classes are strongly encouraged to contact me during the year. Their required study materials include both those specified above for attending students and others that will be uploaded to Moodle in designated folders. NOTE FOR EVERYONE The critical material from the secondary bibliography will be uploaded online on the Moodle platform before the course begins. Any additions and/or changes will be communicated during the course.Attendance
Attendance is optional, but strongly recommended. Students who do not attend are are strongly encouraged to contact me during the year.Type of evaluation
The exam will be oral and in English. Written and/or oral assessment tests may be scheduled during the semester. The exam will cover all topics and is intended to assess the expected learning outcomes: the ability to read and understand literary texts and contexts through the application of the theoretical and analytical tools introduced in the course; the development of critical thinking and its expression through appropriate linguistic and communicative strategies.