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 DIL 2 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 course ‘Literatura española y patrimonio cultural: tradiciones, confluencias, manipulaciones / Spanish literature and cultural heritage: traditions, confluences and manipulations’ is one of the characterising activities of the Master degree. The course provides the advanced methodological and practical skills necessary for the analysis of Spanish literary texts and cultural phenomena, also from an interdisciplinary perspective. Thanks to the broad chronological horizon and the in-depth study of the intertextual, inter-artistic and/or intermedial dimension, it allows the knowledge acquired during the three-year course to be put to use through a critical-theoretical reflection on the problems of literature. It also enables students to refine their linguistic-communicative skills in Spanish. The student should be able to: analyse autonomously, and with a specialist approach, Spanish literary texts and cultural phenomena, also in their transcultural dimension; make inter-textual, inter-artistic and/or intermediate comparisons; draft and/or present short analytical essays to the class.
Requirements: students enrolled in other degree programmes are allowed to select this module if they have gained at least 12 CFU in Spanish Literature in their bachelor’s degree, and can certify the attainment of a B2 level of Spanish.
Requirements: students enrolled in other degree programmes are allowed to select this module if they have gained at least 12 CFU in Spanish Literature in their bachelor’s degree, and can certify the attainment of a B2 level of Spanish.
Curriculum
teacher profile teaching materials
The course will examine the formation and subsequent historiographical construction of the Generation of ’27, critically questioning the very notion of a “generation” and the mechanisms through which a heterogeneous group of writers and artists was transformed into a canon of Spanish modernity.
The course will also address the recovery of women writers, artists, and intellectuals who were long excluded from canonical narratives, with particular reference to the so-called Sinsombrero.
Upon completion of the course, students will have acquired knowledge of:
1. the historical and cultural context of Spain in the 1920s and 1930s;
2. the principal critical interpretations of the Generation of ’27 (Generación del 27);
3. the relationships between tradition, the avant-garde, and mass culture;
4. the major theatrical works of Federico García Lorca and other members of the group;
5. the role of cinema in the poetic and artistic imagination of the Generation of ’27;
6. the consequences of the Spanish Civil War, exile, and censorship;
7. the principal forms of theatrical, cinematic, and television reception of the Generation’s works;
8. the contribution of women writers and artists excluded from the traditional canon.
Students will be able to:
1. place literary texts and audiovisual works within their historical context;
2. analyse a dramatic text from both dramaturgical and performance perspectives;
3. identify the principal features of cinematic language;
4. compare a literary work with one or more stage or film adaptations;
5. analyse the role of directing, acting, performance space, music, and editing;
6. identify continuities, transformations, and divergences between a source text and its adaptation;
7. use archival materials and reception documents as tools for critical analysis and research.
Antologia di testi poetici fornita dal docente
María Teresa León, Memoria de la melancolía (estratti)
Rafael Alberti, Noche de guerra en el Museo del Prado
Concha Méndez, El personaje presentido
Altri testi messi a disposizione del docente.
Materiali audiovisivi:
Luis Buñuel e Salvador Dalí, Un chien andalou, 1929.
Carlos Saura, Bodas de sangre, 1981
Paula Ortiz, La novia, 2015.
Las Sinsombrero (documental): https://www.youtube.com/watch?v=DXwgReVkrtQ
Registrazioni delle messe in scena di Bodas de sangre e Noche de guerra en el Museo del Prado (https://teatroteca.teatro.es/)
Programme
On the occasion of the centenary of the Generation of ’27, the course offers a reassessment of the group not only as a poetic and literary phenomenon, but also as a cultural constellation shaped by a dense network of relationships among poetry, theatre, cinema, music, the visual arts, and performance culture.The course will examine the formation and subsequent historiographical construction of the Generation of ’27, critically questioning the very notion of a “generation” and the mechanisms through which a heterogeneous group of writers and artists was transformed into a canon of Spanish modernity.
The course will also address the recovery of women writers, artists, and intellectuals who were long excluded from canonical narratives, with particular reference to the so-called Sinsombrero.
Upon completion of the course, students will have acquired knowledge of:
1. the historical and cultural context of Spain in the 1920s and 1930s;
2. the principal critical interpretations of the Generation of ’27 (Generación del 27);
3. the relationships between tradition, the avant-garde, and mass culture;
4. the major theatrical works of Federico García Lorca and other members of the group;
5. the role of cinema in the poetic and artistic imagination of the Generation of ’27;
6. the consequences of the Spanish Civil War, exile, and censorship;
7. the principal forms of theatrical, cinematic, and television reception of the Generation’s works;
8. the contribution of women writers and artists excluded from the traditional canon.
Students will be able to:
1. place literary texts and audiovisual works within their historical context;
2. analyse a dramatic text from both dramaturgical and performance perspectives;
3. identify the principal features of cinematic language;
4. compare a literary work with one or more stage or film adaptations;
5. analyse the role of directing, acting, performance space, music, and editing;
6. identify continuities, transformations, and divergences between a source text and its adaptation;
7. use archival materials and reception documents as tools for critical analysis and research.
Core Documentation
Federico García Lorca, Bodas de sangre, Madrid, CátedraAntologia di testi poetici fornita dal docente
María Teresa León, Memoria de la melancolía (estratti)
Rafael Alberti, Noche de guerra en el Museo del Prado
Concha Méndez, El personaje presentido
Altri testi messi a disposizione del docente.
Materiali audiovisivi:
Luis Buñuel e Salvador Dalí, Un chien andalou, 1929.
Carlos Saura, Bodas de sangre, 1981
Paula Ortiz, La novia, 2015.
Las Sinsombrero (documental): https://www.youtube.com/watch?v=DXwgReVkrtQ
Registrazioni delle messe in scena di Bodas de sangre e Noche de guerra en el Museo del Prado (https://teatroteca.teatro.es/)
Reference Bibliography
José-Carlos Mainer, La Edad de Plata, 1902-1939, Madrid, Cátedra: capitoli scelti. Anderson, Andrew A., El veintisiete en tela de juicio, Madrid, Gredos, 2005: parti scelte. Mangini, Shirley, Las modernas de Madrid. Las grandes intelectuales españolas de la vanguardia, Barcelona, Península, 2001: capitoli scelti. Emilio Peral Vega, «La poesía que se hace humana». El teatro de Federico García Lorca, Madrid, Cátedra, 2026 Tània Balló, Las Sinsombrero: sin ellas, la historia no está completa, Booket, 2019 (disponibile anche in ebook) Altri saggi critici forniti dal docente.Attendance
Students intending to take the examination as attending students are strongly advised to engage actively, consistently, and on a regular basis in the activities described under the “Course Delivery” section, thereby acquiring the knowledge and skills required for successful completion of the course. Non-attending students will be assigned a specific programme of study, to be agreed upon with the instructor during a mandatory preliminary consultation at least two months prior to the examination session in which they intend to sit the exam. This consultation is required to enable the instructor to register the student on the dedicated online learning platform.Type of evaluation
Students' fulfilment of the prerequisite requirements and their acquisition of the relevant cultural and academic competences will be monitored and assessed continuously during the course, which is structured as a seminar. Any gaps identified will be addressed through additional readings prescribed by the instructor. The acquisition of methodological skills and competences will be evaluated through: a) ongoing activities of textual and contextual analysis and interpretation of the materials included in the syllabus; b) the completion of projects and assigned tasks throughout the course. Any learning outcomes not assessed through seminar activities will be evaluated by means of a final oral examination. Students who do not attend classes must agree on a specific programme of study with the instructor at least two months before the examination session and will be assessed through an oral examination. teacher profile teaching materials
The course will examine the formation and subsequent historiographical construction of the Generation of ’27, critically questioning the very notion of a “generation” and the mechanisms through which a heterogeneous group of writers and artists was transformed into a canon of Spanish modernity.
The course will also address the recovery of women writers, artists, and intellectuals who were long excluded from canonical narratives, with particular reference to the so-called Sinsombrero.
Upon completion of the course, students will have acquired knowledge of:
1. the historical and cultural context of Spain in the 1920s and 1930s;
2. the principal critical interpretations of the Generation of ’27 (Generación del 27);
3. the relationships between tradition, the avant-garde, and mass culture;
4. the major theatrical works of Federico García Lorca and other members of the group;
5. the role of cinema in the poetic and artistic imagination of the Generation of ’27;
6. the consequences of the Spanish Civil War, exile, and censorship;
7. the principal forms of theatrical, cinematic, and television reception of the Generation’s works;
8. the contribution of women writers and artists excluded from the traditional canon.
Students will be able to:
1. place literary texts and audiovisual works within their historical context;
2. analyse a dramatic text from both dramaturgical and performance perspectives;
3. identify the principal features of cinematic language;
4. compare a literary work with one or more stage or film adaptations;
5. analyse the role of directing, acting, performance space, music, and editing;
6. identify continuities, transformations, and divergences between a source text and its adaptation;
7. use archival materials and reception documents as tools for critical analysis and research.
Antologia di testi poetici fornita dal docente
María Teresa León, Memoria de la melancolía (estratti)
Rafael Alberti, Noche de guerra en el Museo del Prado
Concha Méndez, El personaje presentido
Altri testi messi a disposizione del docente.
Materiali audiovisivi:
Luis Buñuel e Salvador Dalí, Un chien andalou, 1929.
Carlos Saura, Bodas de sangre, 1981
Paula Ortiz, La novia, 2015.
Las Sinsombrero (documental): https://www.youtube.com/watch?v=DXwgReVkrtQ
Registrazioni delle messe in scena di Bodas de sangre e Noche de guerra en el Museo del Prado (https://teatroteca.teatro.es/)
Programme
On the occasion of the centenary of the Generation of ’27, the course offers a reassessment of the group not only as a poetic and literary phenomenon, but also as a cultural constellation shaped by a dense network of relationships among poetry, theatre, cinema, music, the visual arts, and performance culture.The course will examine the formation and subsequent historiographical construction of the Generation of ’27, critically questioning the very notion of a “generation” and the mechanisms through which a heterogeneous group of writers and artists was transformed into a canon of Spanish modernity.
The course will also address the recovery of women writers, artists, and intellectuals who were long excluded from canonical narratives, with particular reference to the so-called Sinsombrero.
Upon completion of the course, students will have acquired knowledge of:
1. the historical and cultural context of Spain in the 1920s and 1930s;
2. the principal critical interpretations of the Generation of ’27 (Generación del 27);
3. the relationships between tradition, the avant-garde, and mass culture;
4. the major theatrical works of Federico García Lorca and other members of the group;
5. the role of cinema in the poetic and artistic imagination of the Generation of ’27;
6. the consequences of the Spanish Civil War, exile, and censorship;
7. the principal forms of theatrical, cinematic, and television reception of the Generation’s works;
8. the contribution of women writers and artists excluded from the traditional canon.
Students will be able to:
1. place literary texts and audiovisual works within their historical context;
2. analyse a dramatic text from both dramaturgical and performance perspectives;
3. identify the principal features of cinematic language;
4. compare a literary work with one or more stage or film adaptations;
5. analyse the role of directing, acting, performance space, music, and editing;
6. identify continuities, transformations, and divergences between a source text and its adaptation;
7. use archival materials and reception documents as tools for critical analysis and research.
Core Documentation
Federico García Lorca, Bodas de sangre, Madrid, CátedraAntologia di testi poetici fornita dal docente
María Teresa León, Memoria de la melancolía (estratti)
Rafael Alberti, Noche de guerra en el Museo del Prado
Concha Méndez, El personaje presentido
Altri testi messi a disposizione del docente.
Materiali audiovisivi:
Luis Buñuel e Salvador Dalí, Un chien andalou, 1929.
Carlos Saura, Bodas de sangre, 1981
Paula Ortiz, La novia, 2015.
Las Sinsombrero (documental): https://www.youtube.com/watch?v=DXwgReVkrtQ
Registrazioni delle messe in scena di Bodas de sangre e Noche de guerra en el Museo del Prado (https://teatroteca.teatro.es/)
Reference Bibliography
José-Carlos Mainer, La Edad de Plata, 1902-1939, Madrid, Cátedra: capitoli scelti. Anderson, Andrew A., El veintisiete en tela de juicio, Madrid, Gredos, 2005: parti scelte. Mangini, Shirley, Las modernas de Madrid. Las grandes intelectuales españolas de la vanguardia, Barcelona, Península, 2001: capitoli scelti. Emilio Peral Vega, «La poesía que se hace humana». El teatro de Federico García Lorca, Madrid, Cátedra, 2026 Tània Balló, Las Sinsombrero: sin ellas, la historia no está completa, Booket, 2019 (disponibile anche in ebook) Altri saggi critici forniti dal docente.Attendance
Students intending to take the examination as attending students are strongly advised to engage actively, consistently, and on a regular basis in the activities described under the “Course Delivery” section, thereby acquiring the knowledge and skills required for successful completion of the course. Non-attending students will be assigned a specific programme of study, to be agreed upon with the instructor during a mandatory preliminary consultation at least two months prior to the examination session in which they intend to sit the exam. This consultation is required to enable the instructor to register the student on the dedicated online learning platform.Type of evaluation
Students' fulfilment of the prerequisite requirements and their acquisition of the relevant cultural and academic competences will be monitored and assessed continuously during the course, which is structured as a seminar. Any gaps identified will be addressed through additional readings prescribed by the instructor. The acquisition of methodological skills and competences will be evaluated through: a) ongoing activities of textual and contextual analysis and interpretation of the materials included in the syllabus; b) the completion of projects and assigned tasks throughout the course. Any learning outcomes not assessed through seminar activities will be evaluated by means of a final oral examination. Students who do not attend classes must agree on a specific programme of study with the instructor at least two months before the examination session and will be assessed through an oral examination.