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. “Texto, memoria cultural y didáctica de la literatura española / Text, cultural memory and didactics of Spanish literature” is one of the characterising modules of the programme. Students will be introduced to both practical and theoretical reflexion on the problems of the transmission of the Spanish cultural memory, with the aim of further consolidating written and oral communication skills in Spanish language and the capacity for autonomous analysis of Spanish literary texts from different periods, also from the perspective of didactic techniques and methodologies for the acquisition of literary skills in different learning contexts. Particular attention will be paid to the concept of the literary canon and its problematisation, with special regard to the cultural dynamics of reference and with the aim of developing specific skills of critical analysis of the aforementioned phenomena, also from a didactic perspective.
Requirements: Literatura española y patrimonio cultural: tradiciones, confluencias, manipulaciones.
Requirements: Literatura española y patrimonio cultural: tradiciones, confluencias, manipulaciones.
Curriculum
teacher profile teaching materials
The course examines processes of cultural memory as dynamics of reception and rewriting of classical theatre on the contemporary stage, understood as an active and continually evolving heritage. Its aim is to develop students’ ability to analyse texts independently, foster critical awareness of the mechanisms underlying the formation and transmission of the canon, and provide methodological tools for interpreting literary phenomena and reworking them in a pedagogical context.
The syllabus is structured along two main strands. The first is devoted to the dramaturgical analysis of a selection of Golden Age texts, approached through specific stage productions available in Teatroteca: particular attention will be paid to the relationship between text and performance, to adaptation strategies, and to the ways in which the classical repertoire is reinterpreted for contemporary audiences. In this respect, the course maintains thematic continuity with La literatura española en la era digital.
The second strand focuses on the use of theatre as a teaching tool in the instruction of Spanish as a second language (L2). Theatre will be considered as a privileged medium for developing literary competence through active practices such as expressive reading and the design of teaching activities. From this perspective, the course is linked to Didáctica del español como lengua extranjera, with a focus on the design of learning units.
Lope de Vega, Fuente Ovejuna, ed. J. M. Marín, Madrid, Cátedra;
Lope de Vega, El perro del hortelano (text provided by the lecturer);
Pedro Calderón de la Barca, La vida es sueño, ed. F. Antonucci, Madrid, Cátedra.
NB The stage productions to be analysed are available on Teatroteca (https://teatroteca.teatro.es/?locale=es
):
Fuente Ovejuna, 2001 (dir. and adaptation Ángel Facio);
Fuente Ovejuna, 2009 (dir. Laurence Boswell, adaptation Rakatá);
El perro del hortelano, 2002 (dir. Magüi Mira, adaptation Emilio Hernández);
El perro del hortelano, 2016 (dir. Helena Pimenta, adaptation Álvaro Tato);
La vida es sueño, 1996 (dir. Ariel García Valdés, adaptation José Sanchis Sinisterra);
La vida es sueño, 2012 (dir. Helena Pimenta; adaptation Juan Mayorga).
Programme
“The Classic Returns: Contemporary Reception of Golden Age Theatre and Teaching Practices”The course examines processes of cultural memory as dynamics of reception and rewriting of classical theatre on the contemporary stage, understood as an active and continually evolving heritage. Its aim is to develop students’ ability to analyse texts independently, foster critical awareness of the mechanisms underlying the formation and transmission of the canon, and provide methodological tools for interpreting literary phenomena and reworking them in a pedagogical context.
The syllabus is structured along two main strands. The first is devoted to the dramaturgical analysis of a selection of Golden Age texts, approached through specific stage productions available in Teatroteca: particular attention will be paid to the relationship between text and performance, to adaptation strategies, and to the ways in which the classical repertoire is reinterpreted for contemporary audiences. In this respect, the course maintains thematic continuity with La literatura española en la era digital.
The second strand focuses on the use of theatre as a teaching tool in the instruction of Spanish as a second language (L2). Theatre will be considered as a privileged medium for developing literary competence through active practices such as expressive reading and the design of teaching activities. From this perspective, the course is linked to Didáctica del español como lengua extranjera, with a focus on the design of learning units.
Core Documentation
1) TEXTS:Lope de Vega, Fuente Ovejuna, ed. J. M. Marín, Madrid, Cátedra;
Lope de Vega, El perro del hortelano (text provided by the lecturer);
Pedro Calderón de la Barca, La vida es sueño, ed. F. Antonucci, Madrid, Cátedra.
NB The stage productions to be analysed are available on Teatroteca (https://teatroteca.teatro.es/?locale=es
):
Fuente Ovejuna, 2001 (dir. and adaptation Ángel Facio);
Fuente Ovejuna, 2009 (dir. Laurence Boswell, adaptation Rakatá);
El perro del hortelano, 2002 (dir. Magüi Mira, adaptation Emilio Hernández);
El perro del hortelano, 2016 (dir. Helena Pimenta, adaptation Álvaro Tato);
La vida es sueño, 1996 (dir. Ariel García Valdés, adaptation José Sanchis Sinisterra);
La vida es sueño, 2012 (dir. Helena Pimenta; adaptation Juan Mayorga).
Reference Bibliography
2) CRITICAL TOOLS a) J. L. García Barrientos, Cómo se comenta una obra de teatro, Madrid, Síntesis (only the specified chapters, provided by the lecturer); b) all supporting critical materials that will be indicated and/or provided by the lecturer during the course.Type of delivery of the course
The course will be conducted according to different types of assisted teaching. For the theoretical part, the lectures given by the lecturer will be flanked by lectures from the cycle of didactic seminars "El teatro de los Siglos de Oro: patrimonio y nuevas perspectivas". There will also be a purely laboratory section with various activities and exercises on the ecdotical aspects dealt with, assessed for the purposes of the final examination.Attendance
Regular and active attendance is strongly recommended for adequate preparation for the examination and for the completion of ongoing assessments required to achieve the expected critical-philological knowledge and skills. Students will be considered as attending if they actively participate in more than 75% of the classes, completing all assigned exercises, activities, and seminars as specified in the section “Course structure”. Non-attending students are required to contact the lecturer at least two months before the examination session they intend to sit. During this meeting, a tailored programme will be agreed upon, including additional critical-literary readings and written exercises to be submitted in Spanish prior to the oral examination. Students who do not follow this procedure will not be permitted to take the final examination.Type of evaluation
For attending students, ongoing assessment is предусмотрed through exercises carried out in class, which will account for 70% of the final mark; the remaining 30% of the acquired competencies will be assessed through an analytical presentation of a stage production and/or the design and development of a learning unit (UDA). For non-attending students, the final assessment will consist of the results of the written exercises referred to in the section “Attendance requirements – non-attending students” and an oral examination conducted in Spanish. teacher profile teaching materials
The course examines processes of cultural memory as dynamics of reception and rewriting of classical theatre on the contemporary stage, understood as an active and continually evolving heritage. Its aim is to develop students’ ability to analyse texts independently, foster critical awareness of the mechanisms underlying the formation and transmission of the canon, and provide methodological tools for interpreting literary phenomena and reworking them in a pedagogical context.
The syllabus is structured along two main strands. The first is devoted to the dramaturgical analysis of a selection of Golden Age texts, approached through specific stage productions available in Teatroteca: particular attention will be paid to the relationship between text and performance, to adaptation strategies, and to the ways in which the classical repertoire is reinterpreted for contemporary audiences. In this respect, the course maintains thematic continuity with La literatura española en la era digital.
The second strand focuses on the use of theatre as a teaching tool in the instruction of Spanish as a second language (L2). Theatre will be considered as a privileged medium for developing literary competence through active practices such as expressive reading and the design of teaching activities. From this perspective, the course is linked to Didáctica del español como lengua extranjera, with a focus on the design of learning units.
Lope de Vega, Fuente Ovejuna, ed. J. M. Marín, Madrid, Cátedra;
Lope de Vega, El perro del hortelano (text provided by the lecturer);
Pedro Calderón de la Barca, La vida es sueño, ed. F. Antonucci, Madrid, Cátedra.
NB The stage productions to be analysed are available on Teatroteca (https://teatroteca.teatro.es/?locale=es
):
Fuente Ovejuna, 2001 (dir. and adaptation Ángel Facio);
Fuente Ovejuna, 2009 (dir. Laurence Boswell, adaptation Rakatá);
El perro del hortelano, 2002 (dir. Magüi Mira, adaptation Emilio Hernández);
El perro del hortelano, 2016 (dir. Helena Pimenta, adaptation Álvaro Tato);
La vida es sueño, 1996 (dir. Ariel García Valdés, adaptation José Sanchis Sinisterra);
La vida es sueño, 2012 (dir. Helena Pimenta; adaptation Juan Mayorga).
Programme
“The Classic Returns: Contemporary Reception of Golden Age Theatre and Teaching Practices”The course examines processes of cultural memory as dynamics of reception and rewriting of classical theatre on the contemporary stage, understood as an active and continually evolving heritage. Its aim is to develop students’ ability to analyse texts independently, foster critical awareness of the mechanisms underlying the formation and transmission of the canon, and provide methodological tools for interpreting literary phenomena and reworking them in a pedagogical context.
The syllabus is structured along two main strands. The first is devoted to the dramaturgical analysis of a selection of Golden Age texts, approached through specific stage productions available in Teatroteca: particular attention will be paid to the relationship between text and performance, to adaptation strategies, and to the ways in which the classical repertoire is reinterpreted for contemporary audiences. In this respect, the course maintains thematic continuity with La literatura española en la era digital.
The second strand focuses on the use of theatre as a teaching tool in the instruction of Spanish as a second language (L2). Theatre will be considered as a privileged medium for developing literary competence through active practices such as expressive reading and the design of teaching activities. From this perspective, the course is linked to Didáctica del español como lengua extranjera, with a focus on the design of learning units.
Core Documentation
1) TEXTS:Lope de Vega, Fuente Ovejuna, ed. J. M. Marín, Madrid, Cátedra;
Lope de Vega, El perro del hortelano (text provided by the lecturer);
Pedro Calderón de la Barca, La vida es sueño, ed. F. Antonucci, Madrid, Cátedra.
NB The stage productions to be analysed are available on Teatroteca (https://teatroteca.teatro.es/?locale=es
):
Fuente Ovejuna, 2001 (dir. and adaptation Ángel Facio);
Fuente Ovejuna, 2009 (dir. Laurence Boswell, adaptation Rakatá);
El perro del hortelano, 2002 (dir. Magüi Mira, adaptation Emilio Hernández);
El perro del hortelano, 2016 (dir. Helena Pimenta, adaptation Álvaro Tato);
La vida es sueño, 1996 (dir. Ariel García Valdés, adaptation José Sanchis Sinisterra);
La vida es sueño, 2012 (dir. Helena Pimenta; adaptation Juan Mayorga).
Reference Bibliography
2) CRITICAL TOOLS a) J. L. García Barrientos, Cómo se comenta una obra de teatro, Madrid, Síntesis (only the specified chapters, provided by the lecturer); b) all supporting critical materials that will be indicated and/or provided by the lecturer during the course.Type of delivery of the course
The course will be conducted according to different types of assisted teaching. For the theoretical part, the lectures given by the lecturer will be flanked by lectures from the cycle of didactic seminars "El teatro de los Siglos de Oro: patrimonio y nuevas perspectivas". There will also be a purely laboratory section with various activities and exercises on the ecdotical aspects dealt with, assessed for the purposes of the final examination.Attendance
Regular and active attendance is strongly recommended for adequate preparation for the examination and for the completion of ongoing assessments required to achieve the expected critical-philological knowledge and skills. Students will be considered as attending if they actively participate in more than 75% of the classes, completing all assigned exercises, activities, and seminars as specified in the section “Course structure”. Non-attending students are required to contact the lecturer at least two months before the examination session they intend to sit. During this meeting, a tailored programme will be agreed upon, including additional critical-literary readings and written exercises to be submitted in Spanish prior to the oral examination. Students who do not follow this procedure will not be permitted to take the final examination.Type of evaluation
For attending students, ongoing assessment is предусмотрed through exercises carried out in class, which will account for 70% of the final mark; the remaining 30% of the acquired competencies will be assessed through an analytical presentation of a stage production and/or the design and development of a learning unit (UDA). For non-attending students, the final assessment will consist of the results of the written exercises referred to in the section “Attendance requirements – non-attending students” and an oral examination conducted in Spanish.