28923 - Theory of Literature (1) (LM) (M-Z)

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

TRANSMEDIAL NARRATOLOGY BETWEEN THEORY AND PRACTICE


Transmedial narratology refers to a methodology of analysis that is situated across media, i.e. it investigates ‘phenomena that synchronically or diachronically can be found similarly in various media or that the observer perceives or constructs by abstraction as similar and comparable’ (Rajewski). The aim of the course will be to reflect on this critical perspective. Firstly, we will insist on a theoretical examination of transmedia narratology through the contribution of numerous scholars, with a focus on the contribution of this critical-theoretical approach to literary studies.
Subsequently, the course will move from theory to the praxis of analysis by comparing the work of Francesca Woodman (photographer and visual artist who also reflected intensively on the relationship between image and literature) with a series of modern and contemporary literary works.

Readings/Bibliography

Students will study the following essays on transmedial narratology: 

• Mieke Bal, “Visual narrativity”, Routledge Encyclopedia of Narrative Theory. 2010. https://www.proquest.com/encyclopedias-reference-works/visual-narrativity/docview/2137949943/se-2;
  
• Mieke Bal, “Interdisciplinarity: Working with Concepts”, Filolog – časopis za јezik, kњiževnost i kulturu, 2011, pp. 11-28, https://www.ceeol.com/search/viewpdf?id=866595;
  
• Werner Wolf, “Pictorial Narrativity”, Routledge Encyclopedia of Narrative Theory. 2010. https://www.proquest.com/encyclopedias-reference-works/pictorial-narrativity/docview/2137948308/se-2;
  
• Michele Cometa, Letteratura e arti figurative: un catalogo, in «Contemporanea. Rivista di studi sulla letteratura e sulla comunicazione», III, 2005, pp. 15-29.
• Irina O. Rajewsky, Percorsi transmediali. Appunti sul potenziale euristico della transmedialità nel campo delle letterature comparate, in: «Between», 8.16 (2018), www.betweenjournal.com
• E. Bronfen, “Crossmapping: A Hermeneutic Practice”, in H. von Sass (a cura di), Beyond/Between/Hybrid: New Essays on Transdisciplinarity, Diaphanes, 2019, pp. 133-146. 
• M. Rizzarelli, “Cultura visuale”, in L. Neri, G. Carrara (a cura di), Teoria della letteratura. Campi, problemi, strumenti, Roma, Carocci, 2023, pp. 327-342.

Students will read carefully the following literary texts: 

• Charlotte Perkins Gilman, The Yellow Wallpaper, 1892 (trad. it. edizione Galaad 2020 oppure edizione Oscar Mondandori 2023 – limitatamente al racconto eponimo)
• André Breton, Nadja, 1928-1963 (trad. it. Nadja, Einaudi, 2007)
• Don DeLillo, The Body Artist, 2001 (trad. it. Body Art, Einaudi, 2021)
• Choose one novel between: Marcel Proust, da À la recherche du temps perdu: La prisonnière, vol. 5, 1923 (trad. it., La prigioniera, edizione Mondadori a cura di Giovanni Raboni) oppure Deborah Levy, The Cost of Living, 2018 (trad. it., Il costo della vita, NNE, 2024)

 

Students will study the following essays of the literary texts and Francesca Woodman's work: 

• Susan Sontag, Sulla fotografia, edizione Einaudi, only the essay “Oggetti melanconici”
• Andrea Cortellessa, “Bruges-la-Morte, Nadja, Vertigo. Psicologia di tre città”, in Dal nulla al sogno, Silvana Editoriale, 2018, pp. 334-343.
• John Berger, Ways of Seeing, limitatamente al saggio n.3 (trad. it: Questione di sguardi, edizione Il Saggiatore, saggio n. 3)
• Elisabeth Bronfen, “Leaving an Imprint. Francesca Woodman Tableaux Vivant”, In Bronfen, Elisabeth; Schor, Gabriele (ed.), Francesca Woodman. Works from the SAMMLUNG VERBUND, Köln, New York: Distributed Art Publishers, Inc. / Verlag der Buchhandlug Walther König, 11-31.
  
• Mieke Bal, “Marcel & Me: Woodman Through Proust”, in In Francesca Woodman Retrospective, ed. Isabel Tejeda, Murcia, Espacio AV, 2009, pp. 114-141.
  
• Deborah Levy, “Francesca Woodman. Vanishing Act”, https://www.tate.org.uk/tate-etc/issue-43-summer-2018/francesca-woodman-vanishing-act-deborah-levy
  
• Giulio Iacoli, “CorpoReality Show. Elegia e deformazione del mondo in Don DeLillo, The Body Artist”, in NUOVA CORRENTE, LII, 136, (2005), pp. 339-356.

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. It is necessary to contact the relevant University office (https://site.unibo.it/studenti-con-disabilita-e-dsa/en ) well in advance: the office will propose some adjustments, which must be strictly submitted to the professor at least 15 days before the exam. The appropriateness of these suggestions will be assessed on a case-by-case basis by the professor in relation to the leading objectives.

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