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  • a.a.2018/2019 PROGRAMMA LM 37 e L 11 per NON FREQUENTANTI PREVIO COLLOQUIO CON DOCENTE (almeno 6 settimane prima dell’esame)

    L M 37, a.a. 2018/19

    L-LIN 11 Lingua e Letterature angloamericane, 12 CFU

    Laurea magistrale I e II

    The Notion of “classic” in Twentieth-Century American Drama: O’Neill, Arthur Miller, and Bob Dylan

     

    -Greek Tragedy (Medea, The Bacchae, Hyperion); and satyr play (The Cyclops)

    vs.

    Eugene O’Neill, Desire under the Elms

     

    -Miller and Classicism: Arthur Miller, Death of a Salesman

    -Bob Dylan and  Music: Bob Dylan, Lyrics (“Jokermann”, “When the Ships Comes In”, “Love Minus Zero” plus a choice of three lyrics among the following: “Desolation Row”, “A-Hard Rain’s A-gonna Fall”, “All Along the Watchtower”, “Positevely Van Gogh”, “Blowin’ in the Wind”, “Song to Woody”, “Talkin’ World War III Blues”, “Masters of War”, “Shelter From the Storm”, “The Changing of the Guards”, etc.)

    Bibliography:

     

    -Aristotle, Poetics (limited to the section of Greek theatre)

     

    -T.S. Eliot, The Music of Poetry (1942) and “What is a Classic?”, in T. S. Eliot, Frank Kermode, Selected Prose of T.S. Eliot, Orlando, FL: Harcourt, 1975, pp, 107-132.

     

    -Carl A. Shaw, Satyric Play. The Evolution of Greek Comedy and Satyr Drama, Oxford, Oxford U.P., 2014.

     

    -Arthur Miller, “Tragedy and the Common Man”, “The nature of Tragedy”, “The Salesman has a Birthday”, and “An Interview with Arthur Miller”, in The Theater Essays of Arthur Miller, New York, Da Capo Press, pp. 3-15, 419-435.

     

    -Alessandro Carrera, “Ut pictura carmen”, in Materiali di estetica, n. 6, maggio 2002, numero a cura di Stefano Raimondi, Milano, CUEM Edizioni, pp. 145-153: http://www.maggiesfarm.it/utpictura.htm.

     

    -Fabio Fantuzzi, “I dieci comandamenti dell’arte: Bob Dylan e l’eterno dilemma tra genio e plagio”. Musica/Realtà, 105, nov. 2014.

     

    For English-only speakers:

     

    -Alessandro Carrera, “On the Edge of the Abyss, with Dylan”, interview by Chiara Zamin. December 10, 2007. http://www.iitaly.org/magazine/focus/art-culture/article/alessandro-carrera-edge-abyss-dylan

    – Sean Wilentz, “Chapter 5”, in  Bob Dylan in America, London, Random, 2001 (check google books and the library catalogue of Center for American Studies.

     

     

     

    Poesia e Teatro nel Nordamerica III

    L 11:    Laurea triennale 12 cfu

    L Lin 11: Lingua e letterature angloamericane III

    Program

    Poetry and Drama

    Bibliography:

    Walt Whitman, Leaves of Grass: a choice of two sections from “Song of Myself”, plus “We two boys together clinging”

    Kenneth Patchen, From Before the Brave: “Let us Have Madness Openly”, “The Orange Bears”.

    —, A selection of three Picture Poems.

    Edward Albee, Who’s Afraid of Virginia Woolf?

    Kenneth Tynan and Jacques Levy, Oh! Calcutta!: a choice of three sketches among the following: “Breath”, “Jack and Gill”, “Will Answer All Sincere Replies”, “Who: Whom”, “The Empress’ New Clothes”.

    Bob Dylan, Lyrics (a choice of three lyrics among the following: “Desolation Row”, “A-Hard Rain’s A-gonna Fall”, “All Along the Watchtower”, “Positevely Van Gogh”, “Blowin’ in the Wind”, “Song to Woody”, “Talkin’ World War III Blues”, “Masters of War”, “Shelter From the Storm”, “The Changing of the Guards”, etc.)

    Derek Walcott, passages from: Omeros and The Odyssey.

    Criticism:

    Mario Corona, “Introduzione” a Foglie d’erba. Testo inglese a fronte. Ediz. Bilingue, Milano: Mondadori, Meridiano: 2017.

    Larry Smith, Kenneth Patchen: Rebel Poet in America. Huron, OH: Bottom Dog Press, 2000 (limited to the criticism on Before the Brave and the Picture Poems).

    Henry Miller, Patchen Man of Anger and Light. New York (NY): Padell, 1946 (the essay is downloadable from the internet or on Jstor).

    Eby, C. (2008). “Fun and Games with George and Nick: Competitive Masculinity in Who’s Afraid of Virginia Woolf?”. Modern Drama, 50(4), 601-619 (full text available on Discovery).

    Alessandro Carrera, “Ut pictura carmen”, in Materiali di estetica, n. 6, maggio 2002, numero a cura di Stefano Raimondi, Milano, CUEM Edizioni, pp. 145-153: http://www.maggiesfarm.it/utpictura.htm.

    Fabio Fantuzzi, “I dieci comandamenti dell’arte: Bob Dylan e l’eterno dilemma tra genio e plagio”. Musica/Realtà, 105, nov. 2014.

    For English-only speakers:

    Alessandro Carrera, “On the Edge of the Abyss, with Dylan”, interview by Chiara Zamin. December 10, 2007. http://www.iitaly.org/magazine/focus/art-culture/article/alessandro-carrera-edge-abyss-dylan

    Bert Cartwright, The Mysterious Norman Raeben: http://www.oocities.org/steve_lescure/raeben.htm

    Judith Hanna, “Dance and Sexuality: Many Moves”. The Journal of Sex Research, 47:2, March 2010: https://judithhanna.files.wordpress.com/2014/12/dance-sexuality-many-moves.pdf.

    Maria Anita Stefanelli, “Frock and Bracelet in Omeros”, in P. Rabinowitz and C. Giorcelli, Extravagances. Habits of Being 4. Minneapolis: University of Minnesota Press, 2015.

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    Pre-messa al programma che sarà formalizzato in seguito.

    Il programma avrà il medesimo titolo del precedente a.a., con l’aggiunta di II:

    Poesia e Teatro nel Nordamerica III

    Generi che si avvicinano per impregnare il teatro di lirismo e la poesia di  carica performativa, la letteratura in versi e quella drammatica hanno ispirato lavori originali a scrittori e scrittrici inclini più alla sperimentazione che alla tradizione. Nel Novecento si pensi ai grandi drammaturghi, alla generazione dei posti beat, agli autori della post-modernità. Testi scelti dalle opere di alcuni di loro saranno analizzati da vicino.

    Il corso verterà, però, su autori diversi, tra cui: il teatro di Eugene O’Neill, W.C.Williams, Susan Sontag, Erin Shields, Carolyn Gage, Toni Morrison; le ecfrasi di W.C.Williams, la poesia visiva di KennethPatchen, la protesta di Neal Hall, la canzone americana.

     

     

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