For both curricula, the international one and the one focused on the teaching of Italian as a second language, graduates in Languages and Literatures for Teaching and Cultural Professions 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, with the achievement of a high level of proficiency in the first language and an improved level in the second language for the MULTIPLE curriculum or in the single foreign language chosen for the DIL2 curriculum; 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. The ‘Literature, Arts, Media’ course is one of the characterising modules of the MA programme. It provides advanced critical knowledge and methodologies for analysing literary texts from English-speaking countries, with a focus on their relationship with other arts and media. It also equips students with tools relevant to the teaching of literature. Additionally, the course refines linguistic and communication skills, along with the ability to independently apply key theoretical and literary tools for the in-depth analysis of texts and cultural phenomena. By the end of the course, students should be able to: independently analyse literary texts and phenomena using the theoretical, critical, and pedagogical tools acquired; communicate subject-specific content at an advanced level; apply this knowledge within the cultural, artistic, performative, and entertainment industries. Prerequisites: students from other degree programmes must have completed at least 12 CFU (ECTS credits) in English Literature during their undergraduate studies (BA programme) and provide evidence of a B2 level of English proficiency. This 12-CFU (ECTS) course consists of two modules: Module A and Module B. Students from other degree programmes can choose Module A as a 6-CFU elective course (“esame a scelta”).
Curriculum
teacher profile teaching materials
Aldous Huxley, Brave New World [1932], Vintage classics, 2007.
Angela Carter, Come Unto These Yellow Sands (radioplay), 1979, available online.
Films: Prospero’s Books, dir. Peter Greenaway, 1991, and The Tempest, dir. Julie Taymor, 2010.
Margaret Atwood, The Handmaid’s Tale [1985], Vintage, 1996.
TV series The Handmaid’s Tale, created by Bruce Miller (season 1, 2017).
Tom Stoppard, Rock’n’roll (radioplay), 2007, available online.
Benjamin Zephaniah, Dis poetry and other poems, available online.
Programme
The course, entitled ‘Emotions, ethics, and politics in literature from an interartistic and intermedial perspective’, focuses on a number of texts from different periods and literary genres which, through the analysis, exhibition and elaboration of certain emotions, convey an ethical and/or political message aimed at stimulating action and developing greater critical thinking in readers, as well as a deeper sense of justice. The theme is addressed taking into account interartistic and intermedial issues, based on the belief that the encounter between writing and the specific languages of other arts and media can prove particularly fruitful for a wider and more effective dissemination of the message. Some of the texts analysed stem from William Shakespeare’s romance The Tempest (1610), and include Aldous Huxley’s novelistic rewrite Brave New World, Angela Carter’s radio pastiche Come Unto These Yellow Sands (1979), and the film adaptations by Peter Greenaway (1991) and Julie Taymor (2010). Other texts considered include Margaret Atwood’s dystopian novel The Handmaid’s Tale (1985) and its 2017 television adaptation; Tom Stoppard’s radio adaptation of his own play Rock’n’roll (2007); and Benjamin Zephaniah’s dub poetry. While in audiovisual texts images complement and enrich the verbal message, in the case of performance poetry and radio plays, it is the voice, sound and music that directly express emotions and stimulate a greater empathetic response.Core Documentation
William Shakespeare, The Tempest [1610], any edition.Aldous Huxley, Brave New World [1932], Vintage classics, 2007.
Angela Carter, Come Unto These Yellow Sands (radioplay), 1979, available online.
Films: Prospero’s Books, dir. Peter Greenaway, 1991, and The Tempest, dir. Julie Taymor, 2010.
Margaret Atwood, The Handmaid’s Tale [1985], Vintage, 1996.
TV series The Handmaid’s Tale, created by Bruce Miller (season 1, 2017).
Tom Stoppard, Rock’n’roll (radioplay), 2007, available online.
Benjamin Zephaniah, Dis poetry and other poems, available online.
Reference Bibliography
Rippl, Gabriele, “Introduction” to Handbook of Intermediality: Literature - Image - Sound - Music, edited by Gabriele Rippl, De Gruyter, 2015, pp. 1-31. Bruhn Jørgen and Beate Schirrmacher (eds.), "Intermedial Studies. An Introduction to Meaning Across Media", London and New York, Routledge, 2022 (3 chapters: “Intermedial combinations”, by M. Arvidson et al; “Transmediation”, by J. Bruhn et al; “Media representation: Film, music and painting in literature”, by J. Bruhn et al.). Esposito, Lucia, “Degenerating Tempests: The Loss of the Ethical Power of Shakespeare’s Emotions in Brave New World”, Prospero, 29 (2024), pp. 81-107. On "Come Unto These Yellow Sands": excerpts from three critical essays on Angela Carter’s radioplay. Dvorak, Marta, “Subverting Utopia. Ambiguity in The Handmaid’s Tale”, Rennes, Presses Universitaires de Rennes, 1999, pp. 73-86. Roche, David, “Shallow Focus Composition and the Poetics of Blur in 'The Handmaid’s Tale' (Hulu 2017-)”, in "Adapting Margaret Atwood", edited by Shannon Wells-Lassagne and Fiona McMahon, Palgrave-Macmillan, 2021, pp. 127-141. Esposito, Lucia, “Musica e politica sulle ali del Rock’n’roll: migrazioni e contaminazioni”, in "Forms of Migration / Migration of Forms" (Proceedings of the XXIII AIA Conference – Cultural Studies), eds V. Intonti, F. Troisi di Bari, M. Vitale, Bari, Progedit, 2009, pp. 153-165. Ruggiero, Alessandra, “Performing Rituals of Self-Narration: Benjamin Zephaniah’s Storytelling”, Textus, 2 (2018), pp. 89-102.Attendance
Attendance is optional, but strongly recommended.Type of evaluation
The exam wil be oral, in English. There will also be a self-assessment test. teacher profile teaching materials
Aldous Huxley, Brave New World [1932], Vintage classics, 2007.
Angela Carter, Come Unto These Yellow Sands (radioplay), 1979, available online.
Films: Prospero’s Books, dir. Peter Greenaway, 1991, and The Tempest, dir. Julie Taymor, 2010.
Margaret Atwood, The Handmaid’s Tale [1985], Vintage, 1996.
TV series The Handmaid’s Tale, created by Bruce Miller (season 1, 2017).
Tom Stoppard, Rock’n’roll (radioplay), 2007, available online.
Benjamin Zephaniah, Dis poetry and other poems, available online.
Programme
The course, entitled ‘Emotions, ethics, and politics in literature from an interartistic and intermedial perspective’, focuses on a number of texts from different periods and literary genres which, through the analysis, exhibition and elaboration of certain emotions, convey an ethical and/or political message aimed at stimulating action and developing greater critical thinking in readers, as well as a deeper sense of justice. The theme is addressed taking into account interartistic and intermedial issues, based on the belief that the encounter between writing and the specific languages of other arts and media can prove particularly fruitful for a wider and more effective dissemination of the message. Some of the texts analysed stem from William Shakespeare’s romance The Tempest (1610), and include Aldous Huxley’s novelistic rewrite Brave New World, Angela Carter’s radio pastiche Come Unto These Yellow Sands (1979), and the film adaptations by Peter Greenaway (1991) and Julie Taymor (2010). Other texts considered include Margaret Atwood’s dystopian novel The Handmaid’s Tale (1985) and its 2017 television adaptation; Tom Stoppard’s radio adaptation of his own play Rock’n’roll (2007); and Benjamin Zephaniah’s dub poetry. While in audiovisual texts images complement and enrich the verbal message, in the case of performance poetry and radio plays, it is the voice, sound and music that directly express emotions and stimulate a greater empathetic response.Core Documentation
William Shakespeare, The Tempest [1610], any edition.Aldous Huxley, Brave New World [1932], Vintage classics, 2007.
Angela Carter, Come Unto These Yellow Sands (radioplay), 1979, available online.
Films: Prospero’s Books, dir. Peter Greenaway, 1991, and The Tempest, dir. Julie Taymor, 2010.
Margaret Atwood, The Handmaid’s Tale [1985], Vintage, 1996.
TV series The Handmaid’s Tale, created by Bruce Miller (season 1, 2017).
Tom Stoppard, Rock’n’roll (radioplay), 2007, available online.
Benjamin Zephaniah, Dis poetry and other poems, available online.
Reference Bibliography
Rippl, Gabriele, “Introduction” to Handbook of Intermediality: Literature - Image - Sound - Music, edited by Gabriele Rippl, De Gruyter, 2015, pp. 1-31. Bruhn Jørgen and Beate Schirrmacher (eds.), "Intermedial Studies. An Introduction to Meaning Across Media", London and New York, Routledge, 2022 (3 chapters: “Intermedial combinations”, by M. Arvidson et al; “Transmediation”, by J. Bruhn et al; “Media representation: Film, music and painting in literature”, by J. Bruhn et al.). Esposito, Lucia, “Degenerating Tempests: The Loss of the Ethical Power of Shakespeare’s Emotions in Brave New World”, Prospero, 29 (2024), pp. 81-107. On "Come Unto These Yellow Sands": excerpts from three critical essays on Angela Carter’s radioplay. Dvorak, Marta, “Subverting Utopia. Ambiguity in The Handmaid’s Tale”, Rennes, Presses Universitaires de Rennes, 1999, pp. 73-86. Roche, David, “Shallow Focus Composition and the Poetics of Blur in 'The Handmaid’s Tale' (Hulu 2017-)”, in "Adapting Margaret Atwood", edited by Shannon Wells-Lassagne and Fiona McMahon, Palgrave-Macmillan, 2021, pp. 127-141. Esposito, Lucia, “Musica e politica sulle ali del Rock’n’roll: migrazioni e contaminazioni”, in "Forms of Migration / Migration of Forms" (Proceedings of the XXIII AIA Conference – Cultural Studies), eds V. Intonti, F. Troisi di Bari, M. Vitale, Bari, Progedit, 2009, pp. 153-165. Ruggiero, Alessandra, “Performing Rituals of Self-Narration: Benjamin Zephaniah’s Storytelling”, Textus, 2 (2018), pp. 89-102.Attendance
Attendance is optional, but strongly recommended.Type of evaluation
The exam wil be oral, in English. There will also be a self-assessment test. teacher profile teaching materials
Aldous Huxley, Brave New World [1932], Vintage classics, 2007.
Angela Carter, Come Unto These Yellow Sands (radioplay), 1979, available online.
Films: Prospero’s Books, dir. Peter Greenaway, 1991, and The Tempest, dir. Julie Taymor, 2010.
Margaret Atwood, The Handmaid’s Tale [1985], Vintage, 1996.
TV series The Handmaid’s Tale, created by Bruce Miller (season 1, 2017).
Tom Stoppard, Rock’n’roll (radioplay), 2007, available online.
Benjamin Zephaniah, Dis poetry and other poems, available online.
Programme
The course, entitled ‘Emotions, ethics, and politics in literature from an interartistic and intermedial perspective’, focuses on a number of texts from different periods and literary genres which, through the analysis, exhibition and elaboration of certain emotions, convey an ethical and/or political message aimed at stimulating action and developing greater critical thinking in readers, as well as a deeper sense of justice. The theme is addressed taking into account interartistic and intermedial issues, based on the belief that the encounter between writing and the specific languages of other arts and media can prove particularly fruitful for a wider and more effective dissemination of the message. Some of the texts analysed stem from William Shakespeare’s romance The Tempest (1610), and include Aldous Huxley’s novelistic rewrite Brave New World, Angela Carter’s radio pastiche Come Unto These Yellow Sands (1979), and the film adaptations by Peter Greenaway (1991) and Julie Taymor (2010). Other texts considered include Margaret Atwood’s dystopian novel The Handmaid’s Tale (1985) and its 2017 television adaptation; Tom Stoppard’s radio adaptation of his own play Rock’n’roll (2007); and Benjamin Zephaniah’s dub poetry. While in audiovisual texts images complement and enrich the verbal message, in the case of performance poetry and radio plays, it is the voice, sound and music that directly express emotions and stimulate a greater empathetic response.Core Documentation
William Shakespeare, The Tempest [1610], any edition.Aldous Huxley, Brave New World [1932], Vintage classics, 2007.
Angela Carter, Come Unto These Yellow Sands (radioplay), 1979, available online.
Films: Prospero’s Books, dir. Peter Greenaway, 1991, and The Tempest, dir. Julie Taymor, 2010.
Margaret Atwood, The Handmaid’s Tale [1985], Vintage, 1996.
TV series The Handmaid’s Tale, created by Bruce Miller (season 1, 2017).
Tom Stoppard, Rock’n’roll (radioplay), 2007, available online.
Benjamin Zephaniah, Dis poetry and other poems, available online.
Reference Bibliography
Rippl, Gabriele, “Introduction” to Handbook of Intermediality: Literature - Image - Sound - Music, edited by Gabriele Rippl, De Gruyter, 2015, pp. 1-31. Bruhn Jørgen and Beate Schirrmacher (eds.), "Intermedial Studies. An Introduction to Meaning Across Media", London and New York, Routledge, 2022 (3 chapters: “Intermedial combinations”, by M. Arvidson et al; “Transmediation”, by J. Bruhn et al; “Media representation: Film, music and painting in literature”, by J. Bruhn et al.). Esposito, Lucia, “Degenerating Tempests: The Loss of the Ethical Power of Shakespeare’s Emotions in Brave New World”, Prospero, 29 (2024), pp. 81-107. On "Come Unto These Yellow Sands": excerpts from three critical essays on Angela Carter’s radioplay. Dvorak, Marta, “Subverting Utopia. Ambiguity in The Handmaid’s Tale”, Rennes, Presses Universitaires de Rennes, 1999, pp. 73-86. Roche, David, “Shallow Focus Composition and the Poetics of Blur in 'The Handmaid’s Tale' (Hulu 2017-)”, in "Adapting Margaret Atwood", edited by Shannon Wells-Lassagne and Fiona McMahon, Palgrave-Macmillan, 2021, pp. 127-141. Esposito, Lucia, “Musica e politica sulle ali del Rock’n’roll: migrazioni e contaminazioni”, in "Forms of Migration / Migration of Forms" (Proceedings of the XXIII AIA Conference – Cultural Studies), eds V. Intonti, F. Troisi di Bari, M. Vitale, Bari, Progedit, 2009, pp. 153-165. Ruggiero, Alessandra, “Performing Rituals of Self-Narration: Benjamin Zephaniah’s Storytelling”, Textus, 2 (2018), pp. 89-102.Attendance
Attendance is optional, but strongly recommended.Type of evaluation
The exam wil be oral, in English. There will also be a self-assessment test.