HISTORY OF HISPANIC-AMERICAN CULTURES

The teaching is part of the degree program of Languages, Civilizations and Language Sciences" and it is inserted within the three curricula present in the course of study, namely literary philology, international politics and language sciences. The course aims to provide students with methodological tools in the Spanish-American literary and cultural field, as well as to deepen their knowledge of cultural themes and dynamics that characterize Spanish-American literature of the twentieth and twenty-first centuries.
The objectives of the teaching are: to deepen the specific knowledge of cultural themes and dynamics of the Hispanic-American subcontinent; provide methodological tools aimed at analyzing the Argentine literary and comics productions of the twentieth and twenty-first centuries, develop the ability to reflect on the proposed literary texts and carry out comparative analyzes.

The course aims to deepen the study of the most important Hispanic-American cultural phenomena of the twentieth and twenty-first centuries using the comic transpositions of some emblematic Hispanic-American stories and novels as a privileged instrument of analysis. The objectives of the teaching are:
1. deepen the specific knowledge of cultural and political themes and dynamics of the Hispano-American subcontinent;
2. provide methodological tools aimed at analyzing the most significant Hispanic-American literary productions of the twentieth and twenty-first century intended, on the one hand, as cultural documents and, on the other, as aesthetic creations;
3. develop the ability to reflect on the proposed literary texts and carry out comparative analyzes between the hypotest and the hypertext;
4. provide the theoretical tools for transposition and adaptation analysis;
5. Finally, the course aims to develop the ability to learn the themes and tools offered during the course, as well as communication skills.

Students must have an adequate level of written and oral Spanish (level B1) that allows them to read and understand the texts proposed in the original language, as well as have adequate ability to express themselves in Italian.
The learning assessment method consists of an oral interview mainly in Spanish which will verify the contents of the module, the knowledge of the works studied with the support of critical texts, as well as the historical-literary knowledge of the centuries addressed (themes, evolutionary lines, main authors).

The course intends to provide an overview of the productions concerning contemporary Spanish-American literature with a comparative look at the relative transpositions to comics. By carrying out a comparative analysis between literary productions and comic book transpositions, it is possible to note the commonalities and differences between the two languages. Through the study of transposition it is in fact possible to analyze how the two media dialogue and interact with each other, the ways in which latent contents emerge, what the hypertext adds to the hypotest and how the perception of the source text changes by the reader. , after reading the transposition.
The course will be divided into two main parts:
At first, students will be provided with a historical-cultural picture of comics in Argentina and its indissoluble link with Italian comics, associated with the migration phenomenon. Subsequently, the general theoretical elements concerning the theory of transposition and the semiotics of comics will be offered.
2. In the second part we will analyze a selection of texts by Argentine authors belonging to the 20th and 21st centuries and the relative transpositions to comics.

BIBLIOGRAFIA MINIMA:
Echeverría, Esteban [1871] (2010). “El matadero”, en Seymour Menton, El cuento hispanoamericano, Ciudad de México, FCE.
Breccia, Enrique (1984), "El matadero”, en Piglia, Ricardo (1993), La Argentina en pedazos, Buenos Aires, De la Urraca.
Di Benedetto, Antonio (2010), Aballay, Buenos Aires, Adriana Hidalgo.
Spiner, Fernando — Diment, Javier — Hadida, Santiago — Mallea, Cristian (dibujos) (2010), “Aballay”, Buenos Aires, Adriana Hidalgo.
Spiner, Fernando (2010). Aballay. El hombre sin miedo, 100 min (film).
Borges, Jorge Luis (2009), “Historia del guerrero y de la cautiva”, en El Aleph, Obras completas I, Buenos Aires, Emecé.
Buscaglia, Norberto — Flores, Alberto (dibujos), (1986), “Historia del guerrero y de la cautiva”, en Piglia, Ricardo (1993), La Argentina en pedazos, Buenos Aires, De la Urraca.
Rozenmacher, Germán [1961] (2013), “Cabecita negra”, en Obras completas, Buenos Aires, Biblioteca Nacional.
Mandrini, Eugenio — Francisco Solano López (dibujos) (1985) “Cabecita negra”, en Piglia, Ricardo (1993), La Argentina en pedazos, Buenos Aires, De la Urraca.
Quiroga, Horacio (1907). “El almohadón de plumas”, en Cuentos de amor, de locura y de muerte (2007), Buenos Aires, Guada.
Saracino, Luciano — Luty, Nelson (2011). “El almohadón de plumas”, en De amor, de locura y de muerte. Buenos Aires: Pictus.
Quiroga, Horacio (1907). “La gallina degollada”, en Cuentos de amor, de locura y de muerte (2007), Buenos Aires, Guada.
Breccia, Alberto - Trillo, Carlos (1985). “La gallina degollada”, en Piglia, Ricardo (1993). La Argentina en pedazos. Buenos Aires: De la Urraca.
Saracino, Luciano — Ortega, Manu (2011). “La gallina degollada”, en De amor, de locura y de muerte. Buenos Aires: Pictus.
Cortázar, Julio (2008), “Las puertas del cielo”, en Bestiario, en Cuentos completos I. Buenos Aires: Punto de Lectura.
Buscaglia Norberto — Nine, Carlos (1985). “Las puertas del cielo”, en Piglia, Ricardo (1993). La Argentina en pedazos. Buenos Aires: De la Urraca.
Cabezón Cámara, Gabriela (2011). Le viste la cara a Dios. La bella durmiente. Sigueleyendo.
Cabezón Cámara, Gabriela — Iñaki Echeverría (2013), Beya. Le viste la cara a Dios. Buenos Aires: Eterna Cadencia.

To view the complete bibliography (Minimum, Critical and Support) please refer to the Moodle page of the course.

Knowledges about the cultural contexts and the different literary poetics of Hispanic America in the considered periods, as well as the ability to understand literary texts, will be verified through an oral final examination.

The lessons will be carried out according to the conventional method (frontal lessons) and will be held in Italian. The exam will consist of an oral interview in Italian on the authors and texts considered in the classroom.

More critical information will be offer during the classes. Moreover, every student is recommended to follow additional lessons and round-table conferences that may be held between September and December 2024.

oral

This subject deals with topics related to the macro-area "Poverty and inequalities" and contributes to the achievement of one or more goals of U. N. Agenda for Sustainable Development