CODE 64901 ACADEMIC YEAR 2020/2021 CREDITS 12 cfu anno 1 LETTERE 8457 (L-10) - GENOVA SCIENTIFIC DISCIPLINARY SECTOR L-FIL-LET/10 LANGUAGE Italian TEACHING LOCATION GENOVA SEMESTER Annual TEACHING MATERIALS AULAWEB OVERVIEW The course (which falls under the core Arts course activities and consists of 80 hours of lectures, equivalent to 12 credits) introduces the student to the study of the main authors and the most important written works, poetics and cultural movements in the history of Italian literature. AIMS AND CONTENT LEARNING OUTCOMES The general objective is to reinforce students’ basic preparation and ability to write correctly; learning historiographical outlines of Italian literature; knowledge of introductory philological-textual elements to the study of texts; understanding and analysis-commenting of literary texts with particular reference to genres. Particular attention will be paid to the methods of teaching. AIMS AND LEARNING OUTCOMES The course aims to impart the following knowledge, skills and competencies: - knowledge of the evolution of Italian literature, its authors and fundamental written works with particular attention to relations with national and international history and culture; - reading methods and critical-scientific interpretation of Italian literature, knowing how to use fundamental bibliographical tools and the most common on-line supports; - ability to recognise, in a personal way, the value of an Italian literary text in the context of the author’s poetics and within a historical, artistic and cultural context; - ability to clearly explain the contents learned and the texts analysed employing critical language. PREREQUISITES Basic upper high school knowledge of the history and authors of Italian literature. TEACHING METHODS The didactics, as a consequence of the health regulations for COVID-19, will be of mixed type. Since the course is annual, in the first part, from autumn to December, (after introductory lessons in presence 29th and 30th September 2020 ) it will take place remotely on a Microsoft Teams digital platform (access code: 0kxlmcl); in the second part, which will start on 16 February 2021, with the same timetable as the first part, classes will again be held remotely on the same Microsoft Teams platform (access code: 0kxlmcl). In both the first and the second phase it is strongly recommended to follow the lessons with the texts indicated by the teacher in the biobliography. During the lessons, both remotely and in presence, the active participation of the students will be solicited, with questions, interventions and proposals for discussions and in-depth analysis. The teacher will make available to the students, in a special section of the e-learning portal of the University (AulaWeb, to which it is recommended to enroll at the beginning of the course), various teaching materials (specific bibliographical indications, supplementary texts, critical essay files, various supports for the study). At the beginning of the course there will be preparatory lessons for the study of Italian literature to illustrate the main working tools (books, magazines, on-line sites), libraries, spaces and equipment available to students. Basic notions will also be provided for the interpretation, commentary, summary of a literary text, the fundamental editorial rules and the criteria for quoting texts. AVVISO INSERITO il 16 novembre 2020 – Colloqui pre-esame Poiché, alla luce dell’attuale situazione pandemica, con ogni probabilità non sarà possibile effettuare prove in presenza né scritte né orali, per consentire agli studenti del corso 2020-2021 una migliore organizzazione del lavoro e un’adeguata preparazione del programma, verranno organizzati dei colloqui pre-esame facoltativi nelle seguenti date: 12 gennaio 2021 (ed eventuale continuazione 13 gennaio) 4 marzo 2021 (ed eventuale continuazione 5 marzo) I colloqui verteranno sulla prima metà della parte istituzionale del programma, a seconda dei curricula: Curriculum moderno: letteratura italiana dal ’200 al ’400 (fino a Sannazaro compreso), i primi 15 canti dell’Inferno Curriculum classico: letteratura italiana dal ’200 al ’600 (fino al 1690, Acc. Arcadia), 10 canti a scelta dell’Inferno Curriculum di musica e spettacolo: letteratura italiana dal ’200 al ’600 (fino al 1690, Acc. Arcadia), 10 canti a scelta dell’Inferno Il colloquio verrà valutato con un giudizio di cui si terrà conto nell’esame e permetterà di non dover sostenere più la prima metà della parte istituzionale all’esame finale. L’esame finale verterà quindi sulla letteratura italiana dal ‘500 al ‘600 e sui rimanenti canti dell’Inferno per il curriculum moderno, e sulla letteratura italiana dal ‘700 al ‘900 più 10 canti a scelta tra Purgatorio e Paradiso per i curricula classico e di musica e spettacolo. La parte monografica dovrà essere sostenuta interamente nell’esame finale. L’iscrizione è possibile tramite AulaWeb fino a 10 giorni prima del colloquio. SYLLABUS/CONTENT Monographic part (for the three course options) How it ends: the explicit in the masterpieces of Italian literature 1. Dante, La Divina Commedia, Paradiso, c. XXXIII 2. Petrarca, Canzoniere, canzone 366 (Vergine bella, che, di sol vestita) 3. Boccaccio, Decameron, the last novel (X, 10) and the conclusion of the author 4. Ariosto, Orlando furioso, c. XLVI 5. Tasso, La Gerusalemme liberata, c. XX 6. Manzoni, I promessi sposi, chap. XXXVIII 7. Verga, Mastro-don Gesualdo, Part IV, chap. V General part History and texts of Italian literature divided by curricula (this part will be tackled in lectures in summaries and interpretations and will be analysed by students). Modern curriculum For the general part of the course first year students are required to acquire a good knowledge of Italian literature from the origins to the end of the 17th century (a good secondary school textbook can be used), and to read Dante’s Inferno in its entirety. Students will analyse the following historical-critical topics: the religious poetry of the 13th century, the Sicilian school, Sicilian-Tuscan rhymers, the Dolce Stilnovo literary movement, comic-realistic Tuscan poetry, Latin and vernacular Humanism, 15th century courts (Florence, Naples, Ferrara), the 16th century language question, 16th century Petrarchism, 16th century genres (epic poetry, tragedy, comedy, pastoral, novella), 16th century courts (Ferrara, Mantova, Urbino, Rome), Mannerism and Baroque, new 17th century genres (mock-heroic, tragicomedy, melodrama, novel), 17th century science and literature. Particular attention will be given to the following authors, and students must be familiar with their biographical-literary profile and they must read a suitable anthology of texts (see reading list): Francesco d’Assisi, Jacopone da Todi, Guido Guinizzelli, Guido Cavalcanti, Dante Alighieri, Francesco Petrarca, Giovanni Boccaccio, Lorenzo de' Medici, Angelo Poliziano, Luigi Pulci, Matteo Maria Boiardo, Jacopo Sannazaro, Niccolò Machiavelli, Francesco Guicciardini, Ludovico Ariosto, Baldassarre Castiglione, Pietro Bembo, Giovanni della Casa, Michelangelo Buonarroti, Aretino, Ruzante, Folengo, Torquato Tasso, Battista Guarini, Tommaso Campanella, Giordano Bruno, Giovan Battista Marino, Alessandro Tassoni, Gabriello Chiabrera, Paolo Sarpi, Galileo Galilei. READING LIST N.B. – Students must study the passages indicated in the works listed below as well as be familiar with the general plot and main themes. - Francesco d’Assisi, Cantico delle creature (or Cantico di frate sole) - Jacopone da Todi, Donna de paradiso - Guido Guinizzelli, Al cor gentil rempaira sempre amore - Guido Cavalcanti, three poems of choice - Dante Alighieri, Vita nova: chapters 1 ed. Gorni [I ed. Barbi], 10 [XVIII-XIX] with reading of the song Donne ch’avete intelletto d’amore; 17 [XXVI] with reading of the sonnet Tanto gentile e tanto onesta pare; 30-31 [XLI-XLII] with reading of the sonnet Oltre la spera che più larga gira); Rime: Guido, i’ vorrei che tu Lapo ed io; Tre donne intorno al cor mi son venute; Convivio: prologo (I 1, 1-15); De Vulgari Eloquentia: a passage of choice; Divina Commedia, Inferno: unabridged reading - Francesco Petrarca, Rerum vulgarium fragmenta (Canzoniere): 20 rhymes of choice from Voi ch’ascoltate in rime sparse il suono (I), Era il giorno ch’al sol si scoloraro (III), Solo et pensoso i più deserti campi (XXXV), Chiare, fresche e dolci acque (CXXVI), Italia mia, benché ’l parlar sia indarno (CXXVIII), Fiamma del ciel su le tue trecce piova (CXXXVI), L'avara Babilonia à colmo il sacco (CXXXVII), O cameretta che già fosti un porto (CCXXXIV), La vita fugge, et non s’arresta una hora (CCLXXII), Levommi il mio penser in parte ov'era (CCCII), Zephiro torna, e ’l bel tempo rimena (CCCX), Vergine bella, che di sol vestita (CCCLXVI); Trionfi: a passage of choice; Secretum: a passage of choice; Lettere (Familiares): ascension to Monte Ventoso - Giovanni Boccaccio, Decameron: proem and introduction to the first day, a full day of choice and ten novellas of choice from the other days (twenty novellas in all) - Lorenzo de' Medici, Canzona di Bacco - Luigi Pulci, Morgante: a passage of choice - Angelo Poliziano, Stanze: a passage of choice; Fabula di Orfeo: a passage of choice - Matteo Maria Boiardo, Orlando innamorato: a passage of choice - Jacopo Sannazaro, Arcadia: a passage of choice - Niccolò Machiavelli, Principe: unabridged reqading; Discorsi sopra la prima deca di Tito Livio: a passage of choice; Mandragola: three passages of choice; Lettere: letter to Francesco Vettori 10th of December 1513 - Francesco Guicciardini, Ricordi: ten passages of choice; Storia d’Italia, a passage of choice - Ludovico Ariosto, Orlando Furioso: proem and the flight of Angelica (canto I), Orlando on Ebuda island (XI 22-55), Atlante’s palace (XII 4-22), the madness of Orlando (XXIII 100-136; XXIV 1-13), Astolfo on the Moon (XXXIV e XXXV 1-30), the conclusion of the poem (XLVI); Satire: one of choice; Lena: a passage of choice - Pietro Bembo, Prose della volgar lingua: a passage of choice; Rime: a sonnet of choice - Baldassarre Castiglione, Il Cortegiano: a passage of choice - Giovanni Della Casa, Rime: three poems of choice; Galateo: a passage of choice - Michelangelo Buonarroti, Rime: three poems of choice - Pietro Aretino: two passages of choice - Ruzante: two passages of choice - Teofilo Folengo, Baldus: a passage of choice - Torquato Tasso, Rime: the canzone al Metauro (O del grand’Appennino) and two other poems of choice; Aminta: chorus from act I (O bella età de l’oro) and two altri passages of choice; Gerusalemme liberata: proem (I 1-5), the council of the demons e the speech of Plutone (IV 1-2, 6-10, 13-17), the flight of Erminia (VI 62-114), Erminia among shepherds (VII 1-22), the fight of Tancredi and Clorinda (XII 48-99), the forest of Saron (XIII), the garden of Armida (XVI 9-35, 2), the conclusion of the poem (XX); - Battista Guarini, Pastor fido: a passage of choice - Tommaso Campanella, La città del sole: a passage of choice - Giordano Bruno: a passage of choice - Giovan Battista Marino, Adone: two passages of choice; Lira: two poems of choice - Alessandro Tassoni, La secchia rapita: a passage of choice - Gabriello Chiabrera: three poems of choice - Paolo Sarpi, Istoria del concilio tridentino: a passage of choice - Galileo Galilei, Dialogo sopra i due massimi sistemi del mondo: a passage of choice Classical curriculum Students will analyse the following historical-critical topics: the Sicilian school, Sicilian-Tuscan rhymers, the Dolce Stilnovo literary movement, Latin and vernacular Humanism, 15th century courts (Florence, Naples, Ferrara), the 16th century language question, 16th century Petrarchism, 16th century genres (epic poetry, tragedy, comedy, pastoral, novella), 16th century courts (Ferrara, Mantova, Urbino, Rome), Mannerism and Baroque, new 17th century genres (mock-heroic, tragicomedy, melodrama, novel), 17th century science and literature, the Arcadia Academy, Illuminism, 18th century theatre, Neoclassicism, early Romanticism, the historical novel, 19th century lyric poetry, Scapigliatura, Verism, Decadentism and Symbolism, Crepuscolarists and Futurists, the main reviews of the 20th century, 20th century poetry (turning points and main outlines), the 20th century novel (turning points and main outlines) Particular attention will be given to the following authors and students must be familiar with their biographical-literary profile and they must read a suitable anthology of texts (see reading list): Guido Guinizzelli, Guido Cavalcanti, Dante Alighieri, Francesco Petrarca, Giovanni Boccaccio, Angelo Poliziano, Matteo Maria Boiardo, Niccolò Machiavelli, Francesco Guicciardini, Ludovico Ariosto, Baldassarre Castiglione, Pietro Bembo, Giovanni della Casa, Teofilo Folengo, Torquato Tasso, Giovan Battista Marino, Alessandro Tassoni, Gabriello Chiabrera, Paolo Sarpi, Galileo Galilei, Pietro Metastasio, Carlo Goldoni, Vittorio Alfieri, Giuseppe Parini, Vincenzo Monti, Ugo Foscolo, Alessandro Manzoni, Giacomo Leopardi, Ippolito Nievo, Giosuè Carducci, Giovanni Verga, Giovanni Pascoli, Gabriele D'Annunzio, Italo Svevo, Luigi Pirandello, Guido Gozzano, Camillo Sbarbaro, Umberto Saba, Giuseppe Ungaretti, Eugenio Montale, Carlo Emilio Gadda, Vittorio Sereni, Giorgio Caproni, Mario Luzi, Andrea Zanzotto, Edoardo Sanguineti, Cesare Pavese, Beppe Fenoglio, Italo Calvino, Primo Levi, Alberto Moravia, Elsa Morante, Pier Paolo Pasolini, Leonardo Sciascia, Giuseppe Tomasi di Lampedusa. READING LIST N.B. – Students must study the passages indicated in the works listed below as well as be familiar with the general plot and main themes. - Guido Guinizzelli, Al cor gentil rempaira sempre amore - Guido Cavalcanti, three poems of choice - Dante Alighieri, Vita nova: chapter 1 ed. Gorni [I ed. Barbi], 10 [XVIII-XIX] with reading of the song Donne ch’avete intelletto d’amore; 17 [XXVI] with reading of the sonnet Tanto gentile e tanto onesta pare; 30-31 [XLI-XLII] with reading of the sonnet Oltre la spera che più larga gira); Rime: Guido, i’ vorrei che tu Lapo ed io; Tre donne intorno al cor mi son venute; Convivio: prologo (I 1, 1-15); De Vulgari Eloquentia: a passage of choice; Divina Commedia: Inferno (canti I, V-VI, X, XIII, XV, XIX, XXVI-XXVII, XXXIII), Purgatorio (I, III, V-VI, XVI, XIX, XXII, XXIV, XXVI, XXX), Paradiso (I, III, VI, XI-XII, XV, XVII, XIX, XXVII, XXXIII). - Francesco Petrarca, Rerum vulgarium fragmenta (Canzoniere): Voi ch’ascoltate in rime sparse il suono (I), Era il giorno ch’al sol si scoloraro (III), Solo et pensoso i più deserti campi (XXXV), Chiare, fresche e dolci acque (CXXVI), Italia mia, benché ’l parlar sia indarno (CXXVIII), Fiamma del ciel su le tue trecce piova (CXXXVI), L'avara Babilonia à colmo il sacco (CXXXVII), O cameretta che già fosti un porto (CCXXXIV), La vita fugge, et non s’arresta una hora (CCLXXII), Levommi il mio penser in parte ov'era (CCCII), Zephiro torna, e ’l bel tempo rimena (CCCX), Vergine bella, che di sol vestita (CCCLXVI); Trionfi: a passage of choice; Secretum: a passage of choice; Lettere (Familiares): ascension to Monte Ventoso - Giovanni Boccaccio, Decameron: proem and introduction to the first day, a complete day of choice OR ten novellas of choice - Angelo Poliziano, Stanze: a passage of choice; Fabula di Orfeo: a passage of choice - Matteo Maria Boiardo, Orlando innamorato: a passage of choice - Niccolò Machiavelli, Principe: dedication, chapters I-III, VII, XV, XVIII, XXV-XXVI; Discorsi sopra la prima deca di Tito Livio: a passage of choice; Mandragola: three passages of choice; Lettere: letter to Francesco Vettori 10th December 1513 - Francesco Guicciardini, Ricordi: three passages of choice; Storia d’Italia, a passage of choice Ludovico Ariosto, Orlando Furioso: proem and the flight of Angelica (canto I), Atlante’s palace (XII 4-22), the madness of Orlando (XXIII 100-136; XXIV 1-13), Astolfo on the moon (XXXIV e XXXV 1-30); Satire: one of choice - Pietro Bembo, Prose della volgar lingua: a passage of choice - Baldassarre Castiglione, Il Cortegiano: a passage of choice - Giovanni Della Casa, Rime: tre poems of choice - Teofilo Folengo, Baldus: a passage of choice - Torquato Tasso, Rime: the canzone al Metauro (O del grand’Appennino); Aminta: coro dell’atto I (O bella età de l’oro); Gerusalemme liberata: proemio (I 1-5), the council of the demons e the speech of Plutone (IV 1-2, 6-10, 13-17),, the fight of Tancredi and Clorinda (XII 48-99), the forest of Saron (XIII), the garden of Armida (XVI 9-35, 2) - Giovan Battista Marino, Adone: two passages of choice; Lira: due poems of choice - Alessandro Tassoni, La secchia rapita: a passage of choice - Gabriello Chiabrera, a poem of choice - Paolo Sarpi, Istoria del concilio tridentino: a passage of choice - Galileo Galilei, Dialogo sopra i due massimi sistemi del mondo: a passage of choice - Pietro Metastasio, Olimpiade: a passage of choice - Pietro Verri, Il Caffè programme (Cos’è questo «Caffé»?) - Carlo Goldoni, three passages of choice from commedie - Vittorio Alfieri, Rime: Sublime specchio di veraci detti; Vita: two passages of choice; Le tragedie: an act of choice from Saul or from Mirra - Giuseppe Parini, Il Giorno: a passage of choice; Le Odi: a poem of choice - Vincenzo Monti, a passage of choice - Ugo Foscolo, Ultime lettere di Jacopo Ortis: three passages of choice; Poesie: Alla sera, A Zacinto, In morte del fratello Giovanni; Dei Sepolcri (in its entirety); Le Grazie: il velo delle Grazie (III 85-125; 150-212) - Alessandro Manzoni, Inni sacri: La Pentecoste; Odi civili: a poem of choice; Il Conte di Carmagnola: a passage of choice; Adelchi: a passage of choice; I promessi sposi (in its entirety) - Giacomo Leopardi, Canti: Ultimo canto di Saffo, L’infinito, La sera del dì di festa, Alla luna, A Silvia, Canto notturno di un pastore errante dell’Asia, La quiete dopo la tempesta, Il sabato del villaggio, A se stesso, La ginestra o il fiore del deserto; Operette morali: three operette of choice. - Ippolito Nievo, Le confessioni d’un italiano: a passage of choice - Giosué Carducci, Odi barbare: a poem of choice; Rime nuove: a poem of choice - Giovanni Verga, Vita dei campi: a novella of choice; Novelle rusticane: a novella of choice; I Malavoglia: a passage of choice; Mastro don Gesualdo: a passage of choice - Giovanni Pascoli, Myricae e Canti di Castelvecchio: five poems of choice - Gabriele D'Annunzio, Il piacere: a passage of choice; Alcyone: two poems of choice - Italo Svevo, La coscienza di Zeno: two passages of choice - Luigi Pirandello, Novelle per un anno: two novellas of choice; two passages of choice from novels (I vecchi e i giovani, Il fu Mattia Pascal, Uno nessuno centomila, Quaderni di Serafino Gubbio operatore) - Guido Gozzano, a poem of choice - Camillo Sbarbaro, two poems of choice - Umberto Saba, Il Canzoniere: four poems of choice - Giuseppe Ungaretti, Vita d'un uomo: seven poems of choice - Eugenio Montale, ten poems of choice from Ossi di seppia, Le occasioni, La bufera e altro, Satura, Diario del ’71 e del ’72 - Carlo Emilio Gadda, Quer pasticciaccio brutto de Via Merulana: a passage of choice - Vittorio Sereni, Diario d’Algeria: a poem of choice; Gli strumenti umani: two poems of choice - Giorgio Caproni, three poems of choice - Mario Luzi, three poems of choice - Andrea Zanzotto, two poems of choice - Edoardo Sanguineti, a poem of choice - Cesare Pavese: three passages of choice from Paesi tuoi, La casa in collina, La luna e i falò, Dialoghi con Leucò - Beppe Fenoglio: three passages of choice from La Malora, Il Partigiano Johnny, Una questione privata - Italo Calvino: three passages of choice from Il Sentiero dei nidi di ragno, Il barone rampante, Il visconte dimezzato, La speculazione edilizia, Se una notte d’inverno un viaggiatore, Lezioni americane - Primo Levi, Se questo è un uomo: two passages of choice - Alberto Moravia, Gli indifferenti: a passage of choice - Elsa Morante: a passage of choice - Pier Paolo Pasolini: Ragazzi di Vita: a passage of choice; Le ceneri di Gramsci: a passage of choice - Leonardo Sciascia: three passages of choice from Il giorno della civetta, A ciascuno il suo, Todo modo - Giuseppe Tomasi di Lampedusa: a passage of choice from Il Gattopardo Music and performance curriculum Students will analyse the following historical-critical topics: the Sicilian school, Sicilian-Tuscan rhymers, the Dolce Stilnovo literary movement, Latin and vernacular Humanism, 15th century courts (Florence, Naples, Ferrara), the 16th century language question, 16th century Petrarchism, 16th century genres (epic poetry, tragedy, comedy, pastoral, novella), 16th century courts (Ferrara, Mantova, Urbino, Rome), Mannerism and Baroque, new 17th century genres (mock-heroic, tragicomedy, melodrama, novel), 17th century science and literature, the Arcadia Academy, Illuminism, 18th century theatre, Neoclassicism, early Romanticism, the historical novel, 19th century lyric poetry, Scapigliatura, Verism, Decadentism and Symbolism, Crepuscolarists and Futurists, the main reviews of the 20th century, 20th century poetry (crucial moments and main outlines), the 20th century novel (turning points and main outlines). Particular attention will be given to the following authors, and students must be familiar with their biographical-literary profile and they must read a suitable anthology of texts (see reading list): Guido Guinizzelli, Guido Cavalcanti, Dante Alighieri, Francesco Petrarca, Giovanni Boccaccio, Angelo Poliziano, Matteo Maria Boiardo, Niccolò Machiavelli, Francesco Guicciardini, Ludovico Ariosto, Baldassarre Castiglione, Pietro Bembo, Giovanni della Casa, Ruzante, Teofilo Folengo, Torquato Tasso, Giovan Battista Marino, Alessandro Tassoni, Gabriello Chiabrera, Paolo Sarpi, Galileo Galilei, Pietro Metastasio, Carlo Goldoni, Vittorio Alfieri, Giuseppe Parini, Vincenzo Monti, Ugo Foscolo, Alessandro Manzoni, Giacomo Leopardi, Ippolito Nievo, Giosuè Carducci, Giovanni Verga, Giovanni Pascoli, Gabriele D'Annunzio, Italo Svevo, Luigi Pirandello, Guido Gozzano, Camillo Sbarbaro, Umberto Saba, Giuseppe Ungaretti, Eugenio Montale, Carlo Emilio Gadda, Vittorio Sereni, Giorgio Caproni, Mario Luzi, Andrea Zanzotto, Edoardo Sanguineti, Cesare Pavese, Beppe Fenoglio, Italo Calvino, Primo Levi, Alberto Moravia, Elsa Morante, Pier Paolo Pasolini, Leonardo Sciascia, Giuseppe Tomasi di Lampedusa. READING LIST N.B. – Students must study the passages indicated in the works listed below as well as be familiar with the general plot and main themes. - Guido Guinizzelli, Al cor gentil rempaira sempre amore - Guido Cavalcanti, tre poems of choice - Dante Alighieri, Vita nova: chapter 1 ed. Gorni [I ed. Barbi], 10 [XVIII-XIX] with reading of the song Donne ch’avete intelletto d’amore; 17 [XXVI] with reading of the sonnet Tanto gentile e tanto onesta pare; 30-31 [XLI-XLII] with reading of the sonnet Oltre la spera che più larga gira); Rime: Guido, i’ vorrei che tu Lapo ed io; Tre donne intorno al cor mi son venute; Convivio: prologo (I 1, 1-15); De Vulgari Eloquentia: a passage of choice; Divina Commedia: Inferno (canti I, V-VI, X, XIII, XV, XIX, XXVI-XXVII, XXXIII), Purgatorio (I, III, V-VI, XVI, XIX, XXII, XXIV, XXVI, XXX), Paradiso (I, III, VI, XI-XII, XV, XVII, XIX, XXVII, XXXIII). - Francesco Petrarca, Rerum vulgarium fragmenta (Canzoniere): Voi ch’ascoltate in rime sparse il suono (I), Era il giorno ch’al sol si scoloraro (III), Solo et pensoso i più deserti campi (XXXV), Chiare, fresche e dolci acque (CXXVI), Italia mia, benché ’l parlar sia indarno (CXXVIII), Fiamma del ciel su le tue trecce piova (CXXXVI), L'avara Babilonia à colmo il sacco (CXXXVII), O cameretta che già fosti un porto (CCXXXIV), La vita fugge, et non s’arresta una hora (CCLXXII), Levommi il mio penser in parte ov'era (CCCII), Zephiro torna, e ’l bel tempo rimena (CCCX), Vergine bella, che di sol vestita (CCCLXVI); Trionfi: a passage of choice; Secretum: a passage of choice; Lettere (Familiares): ascension to Monte Ventoso - Giovanni Boccaccio, Decameron: proem and introduction to the first day, a complete day of choice or ten novellas of choice - Angelo Poliziano, Stanze: a passage of choice; Fabula di Orfeo: a passage of choice - Matteo Maria Boiardo, Orlando innamorato: a passage of choice - Niccolò Machiavelli, Principe: dedication, chapters I-III, VII, XV, XVIII, XXV-XXVI; Discorsi sopra la prima deca di Tito Livio: a passage of choice; Mandragola: three passages of choice; Lettere: letter to Francesco Vettori 10th December 1513 - Francesco Guicciardini, Ricordi: three passages of choice; Storia d’Italia, a passage of choice - Ludovico Ariosto, Orlando Furioso: proem and the flight of Angelica (canto I), Atlante’s palace (XII 4-22), the madness of Orlando (XXIII 100-136; XXIV 1-13), Astolfo on the Moon (XXXIV e XXXV 1-30); Satire: one of choice; Lena: a passage of choice - Pietro Bembo, Prose della volgar lingua: a passage of choice - Baldassarre Castiglione, Il Cortegiano: a passage of choice - Giovanni Della Casa, Rime: tre poems of choice - Ruzante: a passage of choice - Torquato Tasso, Rime: the canzone al Metauro (O del grand’Appennino); Aminta: coro dell’atto I (O bella età de l’oro); Gerusalemme liberata: proemio (I 1-5), the fight of Tancredi and Clorinda (XII 48-99), the forest of Saron (XIII), the garden of Armida (XVI 9-35, 2) - Giovan Battista Marino, Adone: two passages of choice; Lira: due poems of choice - Alessandro Tassoni, La secchia rapita: a passage of choice - Gabriello Chiabrera, a poem of choice - Paolo Sarpi, Istoria del concilio tridentino: a passage of choice - Galileo Galilei, Dialogo sopra i due massimi sistemi del mondo: a passage of choice - Pietro Metastasio, Olimpiade: a passage of choice - Pietro Verri, Il Caffè programme (Cos’è questo «Caffé»?) - Carlo Goldoni, unabridged reading of a comedy of choice - Vittorio Alfieri, Rime: Sublime specchio di veraci detti; Vita: two passages of choice; Saul: an act of choice; Mirra: an act of choice from - Giuseppe Parini, Il Giorno: a passage of choice - Vincenzo Monti, a passage of choice - Ugo Foscolo, Ultime lettere di Jacopo Ortis: three passages of choice; Poesie: Alla sera, A Zacinto, In morte del fratello Giovanni; Dei Sepolcri (in its entirety); Le Grazie: il velo delle Grazie (III 85-125; 150-212) - Alessandro Manzoni, Odi civili: a poem of choice; Il Conte di Carmagnola: a passage of choice; Adelchi: a passage of choice; I promessi sposi (in its entirety) - Giacomo Leopardi, Canti: Ultimo canto di Saffo, L’infinito, La sera del dì di festa, Alla luna, A Silvia, Canto notturno di un pastore errante dell’Asia, La quiete dopo la tempesta, Il sabato del villaggio, A se stesso, La ginestra o il fiore del deserto; Operette morali: three operette of choice. - Ippolito Nievo, Le confessioni d’un italiano: a passage of choice - Giovanni Verga, Vita dei campi: a novella of choice; Novelle rusticane: a novella of choice; I Malavoglia: a passage of choice; Mastro don Gesualdo: a passage of choice - Giovanni Pascoli, Myricae e Canti di Castelvecchio: five poems of choice - Gabriele D'Annunzio, Il piacere: a passage of choice; Alcyone: two poems of choice - Italo Svevo, La coscienza di Zeno: two passages of choice - Luigi Pirandello, Maschere nude: two passages of choice; two passages of choice from novels (I vecchi e i giovani, Il fu Mattia Pascal, Uno nessuno centomila, Quaderni di Serafino Gubbio operatore) - Guido Gozzano, a poem of choice - Camillo Sbarbaro, two poems of choice - Umberto Saba, Il Canzoniere: four poems of choice - Giuseppe Ungaretti, Vita d'un uomo: seven poems of choice - Eugenio Montale, ten poems of choice from Ossi di seppia, Le occasioni, La bufera e altro, Satura, Diario del ’71 e del ’72 - Carlo Emilio Gadda, Quer pasticciaccio brutto de Via Merulana: a passage of choice - Vittorio Sereni, Diario d’Algeria: a poem of choice; Gli strumenti umani: two poems of choice - Giorgio Caproni, three poems of choice - Mario Luzi, three poems of choice - Andrea Zanzotto, two poems of choice - Edoardo Sanguineti, a poem of choice - Cesare Pavese: three passages of choice from Paesi tuoi, La casa in collina, La luna e i falò, Dialoghi con Leucò - Beppe Fenoglio: three passages of choice from La Malora, Il Partigiano Johnny, Una questione privata - Italo Calvino: three passages of choice from Il Sentiero dei nidi di ragno, Il barone rampante, Il visconte dimezzato, La speculazione edilizia, Se una notte d’inverno un viaggiatore, Lezioni americane - Primo Levi, Se questo è un uomo: two passages of choice - Alberto Moravia, Gli indifferenti: a passage of choice - Elsa Morante: a passage of choice - Pier Paolo Pasolini: Ragazzi di Vita: a passage of choice; Le ceneri di Gramsci: a passage of choice - Leonardo Sciascia: three passages of choice from Il giorno della civetta, A ciascuno il suo, Todo modo - Giuseppe Tomasi di Lampedusa: a passage of choice from Il Gattopardo RECOMMENDED READING/BIBLIOGRAPHY Bibliography for the monographic part N.B. The bibliography is to be used for the initial passages of the programme. 1. Dante Alighieri, La Divina Commedia: Inferno, Purgatorio, Paradiso, in a recent edition. (e.g. edited by Giorgio Inglese, Roma, Carocci, 2007; edited by S. Bellomo, Torino, Einaudi, 2013) or a school edition (e.g. ed. Le Monnier, edited by U. Bosco e G. Reggio, or Ed. Zanichelli, edited by A.M. Chiavacci Leonardi) 2. F. Petrarca, Canzoniere, edited by M. Santagata, Milano, Mondadori, 2005, or inexpensive annotated edition (Classici BUR edited by P. Vecchi Galli, 2012; Einaudi Tascabili edited by S. Stroppa, 2011; Grandi libri Garzanti, edited by P. Cudini, 2008) 3. G. Boccaccio, Decameron, edited by Quondam A., M. Fiorilla, G. Alfano, 2013, BUR, Milano, 2013; or edited by V. Branca, Einaudi Tascabili, Torino, 2014 [1992]. 4. L. Ariosto, Orlando Furioso, edited by L. Caretti, Einaudi Tascabili, Torino, 1992 (or editions edited by M. Turchi, Grandi libri Garzanti, Milano, 2005; edited by E. Bigi e C. Zampese, Bur classici, Milano, 2013) 5. T. Tasso, Gerusalemme liberata, edited by F. Tomasi, Milano, Rizzoli, 2009 (or editions edited by M. Guglielminetti, Milano, Garzanti, 2007; edited by L. Caretti, Milano, Mondadori, 2006) 6. A. Manzoni, I promessi sposi, edited by S.S. Nigro - E. Paccagnini, Milano, Mondadori, 2002 (or annotated school editions, or paperback: edited by. F. De Cristofaro, Milano, BUR, 2014; edited by V. Spinazzola, Milano, Grandi libri Garzanti, 2008) 7. G. Verga, Mastro-don Gesualdo, edited by G. Mazzacurati, Einaudi tascabili, Torino, 2010 Bibliography for the General part To study the institutional part, an up-to-date high school literary history and anthology textbook can be used (e.g. G. Ferroni, Storia della letteratura italiana, Mondadori; C. Segre - C. Martignoni, Testi nella Storia. La letteratura italiana dalle origini al Novecento, Ed. Scolastiche Bruno Mondadori; R. Luperini, P. Cataldi, L. Marchiani, F. Marchese, Il nuovo La scrittura e l'interpretazione - Edizione Rossa, Palumbo editore; G. Bàrberi Squarotti, G. Balbis, G. Genghini, La letteratura, Atlas). The Divina Commedia can be studied on an up-to-date school edition (Dante Alighieri, La Divina Commedia. Inferno, Purgatorio, Paradiso, edited by A.M. Chiavacci Leonardi, Bologna, Zanichelli; edited by U. Bosco e G. Reggio, Firenze, Le Monnier; edited by G. Inglese, Roma, Carocci are recommended ). For an unabridged reading of The Prince (modern curriculum), N. Machiavelli, Il principe, edited by G. Inglese, Torino, Einaudi tascabili is recommended. TEACHERS AND EXAM BOARD QUINTO MARINI Ricevimento: Tuesday, h. 16-17, and Wednesday, h. 10-11, at the studio in Via Balbi 2, floor IV. From January 12 to February 16, 2021, with the suspension of the teaching activity, the reception will be Wednesday, h. 10-12. Exam Board QUINTO MARINI (President) GIORDANO RODDA ANDREA FERRANDO (Substitute) ISABELLE CLARA GIGLI CERVI (Substitute) QUINTO MARINI (President) GIORDANO RODDA MARTINA CATERINO (Substitute) ANDREA FERRANDO (Substitute) ISABELLE CLARA GIGLI CERVI (Substitute) LESSONS LESSONS START 6th October 2020 (introductory lessons 29th and 30th September 2020) Class schedule ITALIAN LITERATURE EXAMS EXAM DESCRIPTION The exam is oral and assesses basic competencies, specific knowledge of the programme, as well as presentation, critical analysis and organic arguing skills in relation to texts studied. It is made up of two parts relative to the monographic and general part. Evaluation will take account of the results of the pre-exam interviews and the written exam. During the course on a date indicated by the lecturer and published on AulaWeb, if health regulations will allow it, students must take a written exam in which they comment on a literary text chosen from a wide selection of texts dating from between the 14th century and the 20th century (after correction, exam papers will be commented on and discussed in lectures or individually). There is only one chance to take the test and the mark will be given out of 30. It will not be used to calculate the oral test mark but it will contribute to the final evaluation. There will be no pre-exam interviews. ASSESSMENT METHODS Analysis of the texts will assess students skills in relation to the following: contextualising in historical-cultural terms, specific exegesis, illustration of stylistic and metric characteristics, critical interpretation using specialised language. Interviews will assess historical-critical knowledge of Italian literature according to the different programmes of the three courses, the ability to make links and question literary phenomena, with a clear articulated explanation supported by suitable arguments. If health regulations allow it, the methods of verification will not be entrusted only to the oral test of the final exam, but will also make use of a written test, carried out in the second part of the course (commentary on a literary text), aimed at verifying the student's expressive and critical-interpretative skills. Exam schedule Data appello Orario Luogo Degree type Note 19/01/2021 09:00 GENOVA Orale 09/02/2021 09:00 GENOVA Orale 11/05/2021 09:00 GENOVA Orale 08/06/2021 09:00 GENOVA Orale 22/06/2021 09:00 GENOVA Orale 13/07/2021 09:00 GENOVA Orale 14/09/2021 09:00 GENOVA Orale FURTHER INFORMATION Given the conditions of particular difficulty in carrying out the teaching, it is essential that students at the beginning of the course are enrolled in Aulaweb, which will remain the official digital platform and the only channel of information and provision of documents between teacher and students. Students who are not attending, for whom an alternative program is not foreseen, are requested to contact the teacher at the beginning of the course and to enroll in Aulaweb. For clarifications on the program, work methodology, bibliography, etc., students should confer with the teacher or his collaborators, Prof. Giordano Rodda (giordano.rodda@edu.unige.it), Isabelle Gigli Cervi (isabelleclara.giglicervi@edu.unige.it ), Andrea Ferrando (ferrando.andre@gmail.com), during the reception hours or according to the instructions given in the Aulaweb.
