30133 - Theory of Literature (LM)

Learning outcomes

Students possess a high awareness of the specificity of literary language as an expressive mode of the imaginary and a tool for interpreting reality. They possess in-depth knowledge of the general concepts of literature, the functioning of literary institutions, the relationship between text and context, the dynamics of literary communication, as well as stylistic traditions, genres, modes and forms of representation. They know and are able to use the interpretative tools and practical methodologies for the analysis of the literary text, in its rhetorical, formal, stylistic, thematic and ideological components. They are able to elaborate autonomous reflections and formulate judgements on theoretical and methodological questions.

Course contents

Theory of literary genres: the hybrid case of the lyric essay

The history of literary genres is as long as that of Western literature, since Aristotle's Poetics established an initial aesthetic of genres based on the tripartite division between epic, tragedy, and comedy.

From the classical Greek and Latin tradition to the eighteenth century, genres were progressively classified, diversified, defined, and placed within precise canonical hierarchies. Their function was generally prescriptive, i.e., to provide rules on style, tone, manner, and plot. Starting in the 19th century, the development of the publishing market and the popularity of the novel changed the very concept of the term: genres became primarily pragmatic constructs, capable of shaping the range of books on offer on the one hand and guiding the tastes of readers on the other. With the 20th century and the development of various critical currents within literary theory, the category of literary genre took on new importance, proving to be a structure of thought through which to organize the production, enjoyment, and interpretation of literary texts.

The aim of the course will be to reflect together on this theoretical concept, with a particular focus on modernity and contemporaneity. The first part of the course will focus on a theoretical and historical examination of the concept of literary genre. In the second part, we will pay attention to a contemporary case study that raises the issue of genre blurring: the so-called "lyric essay", a hybrid form of writing that mixes modes and stylistic features that refer to a variety of literary genres, including the essay and poetic discourse. Through the analysis of several works by contemporary authors from the English-speaking and Italian-speaking worlds, we will discuss, in theoretical but also editorial terms, the status of the lyric essay as a literary genre.

Readings/Bibliography

Students will read carefully the following literary texts:

Anne Carson, "The Glass Essay", in Glass, Irony and God, New Directions Publishing, 1995.

Anne Carson, Decreation, Knopf, 2005.

Antonella Anedda, La vita dei dettagli [2009] (Electa, 2025);

Maggie Nelson, Bluets, Wave Books, 2009.

Sabrina Ragucci, Miss G, Tic Edizioni, 2024.

 

Students will study the following essays on the theory of literary genres:

Paolo Bagni, Genere, Milano, Ledizioni, 2022;

Jurij Tynjanov, L’evoluzione letteraria (1965), in I formalisti russi, ed. by Tzvetan Todorov, Torino, Einaudi, 2003, pp. 125-144;

Heta Pyrhönen, Genre, in The Cambridge Companion to Narrative,
ed. by David Herman, Cambridge, Cambridge University Press,
2007, pp. 109-124 [accessible via almastart];

Vittorio Spinazzola, La democrazia letteraria. Sul rapporto tra scrittore e lettore, goWare, 2018, only the two essays: Generi letterari e successo editoriale; Letteratura, paraletteratura, arciletteratura;

Students will study the following essays on the literary texts and the lyric essay:  

Deborah Tall and John D’Agata, The Lyric Essay, in "Seneca Review" XXVII(2), 1997, pp. 7-8;

John D’Agata, We Might as well call it the Lyric Essay, in "Seneca Review", 45(1), 2014, pp. 6-10;

Ben Marcus, The Genre Artist, in "The Believer" (4). 1, July 2003, https://believermag.com/the-genre-artist;

Eugenia Nicolaci, Anne Carson e il ruolo della forma nel discorso poetico, in "L’Ulisse. Rivista di poesia, arti, scritture" (21), 2018: 203-13.https://rivistaulisse.files.wordpress.com/2021/12/lulisse-21.pdf

Andrea Cortellessa, Il coltello dello sguardo, in A. Anedda, La vita dei dettagli, Electa, 2025, pp. 177-199;

Jessica Hudson, Fragments of Influence from the Modernists to
Maggie Nelson: An Essay Experiment, in "South Dakota Review", 56.3, pp. 107-114 [accessible via almastart];

Beatrice Seligardi, Immagine postuma. Sulla foto-prosa di Sabrina Ragucci, in "Antinomie", https://antinomie.it/index.php/2024/12/20/immagine-postuma-sulla-foto-prosa-di-sabrina-ragucci/

Teaching methods

The course is based on 30 hours of lectures, during which students will be encouraged to participate and discuss.

Assessment methods

Oral examination.

Questions will focus both on the contents of critical texts and on the analysis of literary and visual works. The oral test aims to verify the following: knowledge of the course contents; appropriate linguistic register and the specific lexicon of literary studies; ability to re-elaborate and expand the acquired knowledge, as well as to propose new and individual interpretations.

An insufficient assessment is determined by the absence of a minimum level achieved in the above criteria. A sufficient assessment (18-23/30) is determined by an acceptable level achieved in the above criteria; an average assessment (24-27/30) is given to those who demonstrate a more than sufficient (24-25/30) or good (26-27/30) level achieved in the above criteria; an excellent assessment (from 28/30 to 30/30 cum laude) is assigned to those who demonstrate an excellent level in all the above criteria.

Students with SLD or temporary or permanent disabilities: any requests for adjustments must be  submitted to the professor at least 15 days before the exam by sending an email to the professor as well as disabilita@unibo.it (in case of disability) or dsa@unibo.it (for students with SLD).

Teaching tools

Additional materials as well as texts that are difficult to find will be indicated in class and made available on the Virtuale platform.

Office hours

See the website of Beatrice Seligardi