30125 - Comparative Literatures (LM) (A)

Course contents

TOPIC
Make it new!
Modernism/Modernisms: the adventures of a historical and critical category

Periodization is one of the most problematic issues in literary studies, for several reasons. Firstly, many historical categories we currently use (realism, symbolism…) also have a trans-historical meaning, that is, they refer to constant features or modes of literary texts, as Auerbach's book Mimesis testifies. Secondly, historical categories raise problems connected with temporal divisions, timelines, beginnings and ends; problems which become even harder if we remember that literature, rather than being an isolated phenomenon, interacts and has always interacted with other media and languages. Thirdly, the intertwining of historical categories and national traditions is often very complex, revealing significant dissimilarities, even when we tackle geographical areas which are considered homogeneous (i.d. “Europe” or “the West”).

The historical category of “modernism” raises some specific questions. On the one hand, its intersections with akin notions such as “modern”, “modernity” and “post-modern” are anything but undisputed and have caused an endless debate in literary studies (see, for example, Jameson's discussion of these issues in A Singular Modernity). On the other hand, the “modernism” most literary scholars talk about is a category which was born in an English-speaking context and has never completely freed itself from that original trademark; that is, when translated into other languages or applied to other contexts and national traditions, it gives rise to several ambiguities and misunderstandings. Then, what is modernism? A cluster of formal thematic and structural features which characterize some authors and/or works and gives them “a family resemblance”? A unitary artistic movement (that is, the avant-garde)? A time-span? And if this last is the case, when did it start and end?. Starting form the analysis of a few more or less exemplary literary texts, the course will develop a reflection on the intersection between history and geography in the new global context, highlighting some of the ambiguities which define modernism as a historical and critical category.

Readings/Bibliography

Literary texts

► I. Svevo, La coscienza di Zeno, Torino, Einaudi

► V. Woolf, Al faro, Milano, Feltrinelli

► W. Faulkner, Mentre morivo, Milano, Adelphi

► L.-F. Céline, Viaggio al termine della notte, Milano, Corbaccio

 

 Critical texts

►P. Nicholls, La forma e la scrittura: una lettura critica del modernismo, Roma, Armando

► G. Cianci, “Modernismo/Modernismi”, in Id. (a cura di), Modernismo/Modernismi, Milano, Principato, pp. 15-45

► G. Mazzoni, “La transizione al modernismo”, in Id., Teoria del romanzo, Bologna, il Mulino, 2011, pp. 291-353

►E. Auerbach, "Il calzerotto marrone", in Id., Mimesis. Il realismo nella letteratura occidentale, Torino, Einaudi, II vol., pp. 305-338.

► M. Lavagetto, "Svevo e la crisi del romanzo europeo", in A. Asor Rosa (a cura di), Letteratura italiana del Novecento. Bilancio di un secolo, Torino, Einaudi, pp. 245-267.

 Students not attending classes, will be also requested to read G. Debenedetti, “Italo Svevo”, in Id., Il romanzo del Novecento, Milano, Garzanti, pp. 516-616.

In class, reference will be also made to R. Krauss, Y.-A. Bois, L'informe istruzioni per l'uso, Milano, Bruno Mondadori: the reading this essay is not compulsory but it is highly recommended.

Assessment methods

Oral examination based on the list of recommended readings.

Evaluation methods

 

The abilities acquired during the course will be evaluated through an oral test aimed at ascertaining a deep knowledge of all the topics covered during the course. The oral test consists in an interview aimed at evaluating the students' critical and methodological skills. Students will be invited to discuss the texts in the reading list and comment on them. Therefore students must demonstrate an appropriate knowledge of the recommended reading list.

Students who are able to demonstrate a wide and systematic understanding of the issues covered during the course, to tackle them critically, and who master the critical jargon of the discipline will be given a mark of excellence. Students who demonstrate a mere mnemonic knowledge of the subject together with a more superficial analytical ability to synthesize, a correct command of the critical jargon but not always appropriate, will be given a ‘fair' mark. A superficial knowledge and understanding of the course topics, a scarce analytical and expressive ability will be rewarded with a pass mark or just above a pass mark. Students who demonstrate gaps in their knowledge of the main topics, inappropriate language skills, lack of familiarity with the syllabus reading list will not be given a pass mark.

Teaching tools

Office hours

See the website of Donata Meneghelli