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Literatura En Italiano IV (Barroco) 2019-1 Dra Facultad de Filosofía y Letras Colegio de Letras Modernas-Departamento de Letras Italianas Literatura en Italiano IV (Barroco) 2019-1 Dra. Mariapia Zanardi Lamberti PRESENTACIÓN Después de los grandes cambios culturales surgidos a raíz del Renacimiento italiano, el siglo XVII mantuvo un fuerte interés por la recuperación de los autores clásicos y por exaltar las capacidades creativas del ser humano. Sin embargo, la Reforma Católica impuso límites y cauces que modificaron las posibilidades expresivas de artistas plásticos y escritores. OBJETIVO Adquirir conocimientos generales sobre las características de la estética barroca italiana, sus motivaciones políticas y religiosas, así como sus presupuestos teóricos. CONTENIDOS DEL CURSO Torquato Tasso y la Contrarreforma. Giambattista Marino y la estética de la maravilla. Giordano Bruno y Tommaso Campanella: el pensamiento barroco Galileo Galilei y el desarrollo científico ante la Inquisición. El desarrollo del teatro y el melodrama. Goldoni y Alfieri: comedia y tragedia Pintura y música del Barroco y del neoclasicismo. EVALUACIÓN La evaluación consiste en la participación activa dentro del aula y en la entrega puntual y satisfactoria de pequeñas investigaciones y reportes de lectura, además de un ensayo de mayores alcances a finales del semestre. Para tener derecho a calificación final es indispensable haber asistido por lo menos al 80% de las sesiones y haber cumplido con el 90% de las actividades a realizarse fuera del aula. BIBLIOGRAFÍA BALDERAS VEGA, Gonzalo. La Reforma y la Contrarreforma. Dos expresiones del ser cristiano en la modernidad. México: Universidad Iberoamericana, 2017. BATTISTINI, Andrea. Galileo. Bologna: Il Mulino, 2011. BATTISTINI, Andrea. Il Barocco: Cultura, miti, immagini. Roma: Salerno, 2002. BIANCONI, Lorenzo. Historia de la música: El siglo XVII. México: Turner Libros- CONACULTA, 1999: 151-187. BUXÓ, José Pascual. El resplandor intelectual de las imágenes. Estudios de emblemática y literatura novohispana. México: UNAM, 2002. CROCE, Benedetto. Lirici marinisti. Roma-Bari: Laterza, 1910. GRONDA, Giovanna (a c. di). Poesia italiana del Settecento. Milano: Garzanti, 1978. LEE, Rensselaer Wright. Ut pictura poesis. La teoria umanistica della pittura. Milano: SE, 2011. LUPERINI, Romano et al. La scrittura e l’interpretazione, vol. 3, Il Manierismo, il Barocco, l’Arcadia (1545-1748). Palermo: Palumbo, 1997. MARAVALL, José Antonio. La cultura del Barroco. Análisis de una estructura histórica. Barcelona: Ariel, 2002. MARINO, Giambattista. Adone, a cura di Emilio Russo. Milano: Rizzoli, 2013. MARINO, Giambattista. Amori, a cura di Alessandro Martini. Milano: Rizzoli, 2008. NICOLOSI, Fabio. “Teatro e spettacolo nel Seicento. Le Maschere italiane dalla tradizione popolare alla consacrazione di ‘caratteri’ nella Commedia dell’Arte”, in G. Feliciani et al., Il Seicento. Roma: Bibliosofica, 2008 (Tempora, 2): 87-109. SEGRE, Cesare e Carlo OSSOLA (dir.). Antologia della poesia italiana. Seicento e Settecento. Torino: Einaudi, 1999. SNYDER, John, R. L’estetica del Barocco. Bologna: Il Mulino, 2005. TASSO, Torquato. Aminta, trad. Fabio Morabito. México: UNAM, 2001. TASSO, Torquato. Gerusalemme liberata, a cura di Marta Savini. Roma: Newton Compton, 2008. TESAURO, Emanuele. Il cannocchiale aristotelico, in Ezio Raimondi (a c. di), Trattatisti e narratori del Seicento, Milano-Napoli: Riccardo Ricciardi, 1960. VENTURI, Gianni e Monica Fartnetti. Ecfrasi. Modelli ed esempi tra Medioevo e Rinascimento. Roma: Bulzoni, 2004. 2 tom. .
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