99037 - SPANISH LITERATURE

Learning outcomes

The course provides students with historical and literary knowledge of 20th and 21st century Spanish literature and teaches them how to critically analyze literary texts. By the end of the course, students will acquire the basic elements (content and methodology) for an analysis of Spanish culture and literature, with particular reference to the relationship between literary texts and history, language and the arts. They will know and be able to use critical methodologies to read and analyze literary texts and will be able to independently elaborate further cultural and literary notions and apply them to a wide range of other literary texts.

Course contents

La literatura de viajes. El viaje de la literatura en la cultura hispánica. [Travel literature. The journey of literature in Hispanic culture].

The course aims to contribute to a deeper understanding of the Spanish language and culture in different historical contexts. To this end, students will read and analyse texts focusing on the theme of travel as a literary topos, or founding myth of writing.

Students will be required to analyse texts of different genres (poetry, fiction, non-fiction, theatre) from different periods and different territories (Spain, Argentina, Cuba, Mexico, Chile), always seeking the relationship between biographical experience and the cross-cutting search for an identity born from the discovery of the “other”.

Analysis of texts by the following authors: Pablo Neruda, Gabriel García Márquez, Julio Cortázar, Abilio Estévez, Leonardo Padura, Silvina Ocampo, Victoria Ocampo, Antonio Muñoz Molina, José Ovejero, Carme Riera, Rafael Argullol, Miguel Delibes, Patricia Almarcegui, Andrés Neuman.

Readings/Bibliography

Argullol, Rafael (2008). Aventura: Una filosofía nómada. Barcelona: Acantilado.

Alburquerque-García, Luis (2011). “El ‘relato de viajes': hitos y formas en la evolución del género”. Revista de Literatura, enero-junio, vol. LXXIII, n.o 145, págs. 15-34.

Franco, Jean (1970). “El viaje frustrado en la literatura hispanoamericana contemporánea”. Actas del III Congreso de la Asociación Internacional de Hispanistas (1968), edición de Carlos H. Magis. México: El Colegio de México.

Giovannini, Maria Alessandra e Germana Volpe (eds.) (2013). Italia desde fuera. La percezione dell'Italia nella cultura ispanica. Napoli: Tullio Pironti Editore.

Rubio Martín, María. “En los límites del libro de viajes: seducción, canonicidad y transgresión de un género“. Revista de Literatura, 2011, enero-junio, vol. LXXIII, nº 145, pp.. 65-90.

Santayana, Jorge (1964). Filosofía del viaje. Revista de Occidente nº 2, 2ª época, Diciembre.

Percorsi di lettura (a scelta):

1. El viaje a Europa de los escritores latinoamericanos. Sobre las cosas extrañas que les suceden a los latinoamericanos en Europa:

a. Gabriel García Márquez (2014). Doce cuentos peregrinos. Barcelona: DEBOLSILLO.

b. Julio Cortázar: Los autonautas de la cosmopista o Un viaje atemporal París-Marsella. Muchnik Editores, Barcelona, 1984.

c. Sergio Pitol, El viaje, Anagrama, Barcelona, 2001, 168.

d. Pablo Neruda (2001). Confieso que he vivido. Barcelona Seix Barral.

e. Victoria Ocampo (2010). La viajera y sus sombras. Crónica de un aprendizaje. Buenos Aires: Fondo de Cultura Económica.

2. El viaje por América de los escritores latinoamericanos. Amor América.

a. Ernesto Che Guevara (2005). Diarios de motocicleta. Notas de un viaje por América Latina. Buenos Aires : Planeta.

b. Andrés Neuman (2010). Cómo viajar sin ver (Latinoamérica en tránsito). Madrid: Alfaguara.

3. Cartografías de los escritores españoles:

a. Rafael Argullol (2008). Lampedusa. Una historia mediterránea. Barcelona: Acantilado.

b. Eduardo Mendoza (1991). La isla inaudita. Barcelona: Seix Barral.

c. Eduardo Mendoza (1978). El misterio de la cripta embrujada. Barcelona: Booket (2016).

d. Enrique Vila-Matas (2003). París no se acaba nunca. Barcelona: Anagrama.

e. Fernando Fernán Gómez (2008). El viaje a ninguna parte. Madrid: Cátedra.

4.Cartografías de las escritoras españolas:

a. Carmen Laforet (1944). Nada. Barcelona: Planeta (19 agosto 2010)

b. Josefina Aldecoa (1990). Historia de una maestra. Madrid: Punto de lectura (2007)

c. Carmen Martín Gaite (1958). Entre visillos. Barcelona: Planeta (2012)

5. La ciudad viajera en los poetas españoles. Antología seleccionada.

a. Rafael Alberti. Roma peligro para caminantes.

b. Federico García Lorca. Poeta en Nueva York.

6. El escenario viajero, el viaje del teatro:

a. José Luis Alonso de Santos (2007). El Álbum familiar. Firenze: Alinea Editrice.

b. José Luis Alonso de Santos (1988). Bajarse al moro. Madrid: Cátedra (2017 última edición).

c. Jordi Galcerán (2014). Cancún. Madrid: Ediciones Antígona.

d. Juan Mayorga (2017). El cartógrafo. Segovia: La uÑa RoTa.

e. Pablo Messiez (2017). “Los ojos”. Las palabras de las obras. Madrid: Continta Me Tienes.

6. El viaje del peregrino inmóvil por la isla de Cuba: Abilio Estévez.

a. El horizonte y otros regresos, Abilio Estévez

Editorial: Tusquets Editores S.A. 1998

7. Del viaje al pasado o de la busca de la verdad. Leonardo Padura y su detective, Mario Conde

a. Adiós, Hemingway de Leonardo Padura. Editorial: Tusquets, 2014

8. Sobre el “Relato de estancia”. Ventanas de Manhattan de Antonio Muñoz Molina. Barcelona: Seix Barral. 2004.

9. “Relatos de hotel”: entre el humor, el amor y el desamor. El hotel de los cuentos y otros relatos de Carme Riera. Barcelona: Anagrama (2008).

10. Viajes a paraísos artificiales. Mujeres que viajan solas de José Ovejero. Barcelona: Parramón (2010).

11. Un castellano de Castilla descubre América: Diario de un emigrante de Miguel Delibes. Barcelona: Destino (2010).

12. De los viajes a futuros posibles. La razón del mal de Rafael Argullol. Barcelona: Acantilado (2015).

13. De los viajes olvidados: Viaje olvidado de Silvina Ocampo. Buenos Aires: Emecé (2005).

14. Ensayos:

a. El sentido del viaje de Patricia Almarcegui. Junta de Castilla y León (2013).

b. Aventura. Una filosofía nómada de Rafael Argullol. Barcelona: Acantilado (2008).

Teaching methods

The teaching approach chosen meets the criteria of cooperative learning in a Smart Classroom environment, so lessons and different types of exercises require the active participation of students engaged in acquiring the content and processes necessary for linguistic and literary analysis.

Development of literary creativity through creative writing tasks: students learn to apply complex literary techniques, produce texts in a specific style, find solutions and make creative choices. Therefore, participation and collaboration as an editor on the blog el viaje inmóvil [https://www.elviajeinmovil.org/] and on the podcast channel VOCI DEL DIT / VOCI DAL DIT [https://open.spotify.com/show/6EjKEc9tHqqvcJ4f8GflUz?si=417d5e987ace4f82] podcast channel.

Some examples of podcasts produced by students:

Invitación a la lectura_José Ovejero [https://open.spotify.com/episode/1LPz5a0WqQSlHWtEuR0PrM?si=91b6a73b95bb4968]

Invitación a la lectura_García Márquez [https://open.spotify.com/episode/16sFF9LkHehk5Glz9vxvFP?si=193db22b0a284ea0]

Assessment methods

Oral exam in Spanish based on knowledge of the material covered during the course and reading of the assigned texts. The exam will begin with the student's presentation of a previously agreed reading list accompanied by editorial notes.

Assessment of literary creativity: submission of the creative writing tasks assigned during the course and published on the blog el viaje inmóvil [https://www.elviajeinmovil.org/]

Assessment

30-30L: Very broad, complete and in-depth knowledge of the content, well-established ability to apply theoretical concepts and excellent presentation skills, as well as excellent analytical, summarising and interdisciplinary skills.

27–29: Accurate and complete knowledge of the content, good ability to apply theoretical concepts, analytical and summarising skills, confident and correct presentation.

24-26: Appropriate knowledge of the subject matter, reasonable ability to apply theoretical concepts, well-structured presentation of the subject matter.

21-23: Appropriate but not in-depth knowledge of the subject matter, ability to apply theoretical concepts only partially, acceptable presentation of the subject matter.

18-20: Sufficient but general knowledge of the content, simple presentation, uncertainty in the application of theoretical concepts.

< 18 Insufficient: Fragmentary and superficial knowledge of the content, errors in applying concepts, poor presentation.

Students with specific learning difficulties (SpLD) or with disabilities that can affect their ability to attend courses are invited to contact the University service for students with disabilities and SLD at the earliest opportunity -- ideally before the start of the course: https://site.unibo.it/studenti-con-disabilita-e-dsa/en/for-students. The University service will suggest possible adjustments to the course work and/or exam, which must then be submitted to the course leader so they can assess their feasibility, in line with the learning objectives of the course.

Please note that adjustments to the exam must be requested at least two weeks in advance.

Teaching tools

Materials provided by the teacher via VIRTUALE, audiovisual materials.

Office hours

See the website of Maria Isabel Fernandez Garcia