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20702931 SPANISH LITERATURE I MASTER'S LEVEL COURSE in Literatures and Intercultural Translation LM-37 N0 ANTONUCCI FAUSTA
(syllabus)
The course will present an overview of the theatrical genres of the Siglo de Oro dramatic production for commercial theaters and religious festivities. We will analyze some important texts from different points of view: formal, structural, historic and cultural, anthropological. Basic information about criticism on this issue will be provided. The course will be carried out entirely in Spanish.
Foreign students may take the final exam in spanish, subject to professor’s agreement.
We strongly recommend to reserve titles (syllabus item: “texts”) at the bookshops BEFORE the beginning of the lessons. We will read and comment on texts during the lessons, so it’s essential for the students to get them in time.
Attendance, although not compulsory, is strongly recommended. Non-attendant students have to contact professor F. Antonucci at least two months before the final exam.
(reference books)
TEXTS
• Lope de Vega, El acero de Madrid, ed. S. Arata, Madrid, Castalia;
• Lope de Vega, Peribáñez y el comendador de Ocaña, ed. bilingue a cura di F. Antonucci, Milano, BUR;
• Lope de Vega, El caballero de Olmedo, ed. F. Rico, Madrid, Cátedra;
• Pedro Calderón de la Barca, La dama duende, ed. F. Antonucci, Barcelona, Crítica;
• Pedro Calderón de la Barca, El médico de su honra, ed. J. Pérez Magallón, Madrid, Cátedra;
• Pedro Calderón de la Barca, El verdadero dios Pan, ed. F. Antonucci, Kassel, Reichenberger;
• Tirso de Molina, El condenado por desconfiado, ed. C. Morón Arroyo, Madrid, Cátedra;
• Miguel de Cervantes, El retablo de las maravillas; El juez de los divorcios (in Ocho comedias y ocho entremeses nuevos nunca representados);
• Luis Quiñones de Benavente, Los coches (in Entremeses, ed. C. Andrés, Madrid, Cátedra).
CRITICAL ESSAYS AND ESSENTIALS OF LITERARY HISTORY
a) I. Arellano, Historia del teatro español del siglo XVII, Madrid, Cátedra (caps. 1, 2, 6, 9 and 10);
b) Introductions and prologues to the recommended editions (see above, item Texts);
c) J. L. García-Barrientos, Cómo se comenta una obra de teatro, Madrid, Síntesis;
d) other critical essays that will be indicated during the lessons and, before the beginning of the course, on the professor’s web site.
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Università Roma Tre