Course Details

SPANISH LITERATURE THIRD YEAR A

L0476

Course
SPANISH LITERATURE THIRD YEAR A
Code
L0476
Academic Year
2026/2027
Curriculum Year
2024/2025
Degree Programme
MODERN FOREIGN LANGUAGES
Curriculum
000 - CORSO GENERICO
Course coordinator
Marcella TRAMBAIOLI
Lecturers
Marcella TRAMBAIOLI
Credits
6
Lecture Hours
30
Scientific Disciplinary Sector (SSD)
L-LIN/05 - Spanish Literature
Course Type
Single-subject learning activity
Course Delivery
OPZ - Opzionale
Year
3
Teaching period
Secondo Semestre
Campus
VERCELLI
Teaching language
Spanish; Castilian
Course Contents
Lope de Vega and the Golden Age Theater. Through the study of three plays by Lope de Vega the aim is to identify the principal features of
characters and dramatic genres of Golden Age theater through the analysis of a rural drama, a legendary play and a tragedy.
Reference Texts

Primary texts:

Lope de Vega, Fuenteovejuna, Madrid, Cátedra; Lope de Vega, El perro del hortelano, ed. Mauro Armiño, Madrid, Cátedra; Lope de Vega, El caballero de Olmedo, ed. Francisco Rico, Madrid, Cátedra

Secondary texts (pdf on DIR):

Francisco Ruiz Ramón, «El teatro nacional del Siglo de Oro», in Historia del teatro español (desde sus orígenes hasta 1900), Madrid, Cátedra, pp. 127-174.- Maria Grazia Profeti, Introduzione allo studio del teatro spagnolo, Firenze, La casa Usher, 1994, pp. 73-230.-Lope de Vega, El Arte Nuevo de hacer comedias en este tiempo, Madrid, CSIC, 1971.-Jesús Cañas Murillo, «El tema de la jerarquización social y su tratamiento dramático en Fuente Ovejuna de Lope de Vega», Anuario Lope de Vega, III, 1996, pp. 25-35.-María Grazia Profeti, «Prólogo», Lope de Vega, Fuenteovejuna, in Parte XII, vol. II, Barcelona, PROLOPE, 2013, pp. 831-852.-Frida Weber de Kurlat, «El perro del hortelano, comedia palatina», NRFH, XXIV, 1975, pp. 339-363.-Milagros Torres, «Paradojas de Diana», Studia Aurea. Actas del III Congreso de la AISO, II, Teatro, ed. I. Arellano, M.C. Pinillos, F. Serralta, M. Vitse, GRISO-LEMSO, 1996, pp. 395-404.-Pilar Nieva de la Paz, «Pilar Miró ante el teatro clásico», ALEC, 26.1, 2001, pp. 255-275. - Esther Fernández, Cristina Martínez-Carazo, «Mirar y desear: la construcción del personaje femenino en El perro del hortelano de Lope de Vega y de Pilar Miró», Bulletin of Spanish Studies, vol. LXXXIII, n. 3, 2006, pp. 315-328.-Ignacio Arellano, Historia del teatro español del siglo XVII, Madrid, Cátedra: «Dos tragedias excepcionales, Lope» (pp. 199-208).- Joaquín Casalduero, «Sentido y forma de El caballero de Olmedo», NRFH, XXIV, 1975, pp. 318-328.-Ignacio Arellano, «Estructura dramática y responsabilidad. De Nuevo sobre la interpretación de El caballero de Olmedo, de Lope de Vega. (Notas para una síntesis», in En torno al teatro del Siglo de Oro. XV Jornadas de teatro del Siglo de Oro, ed. I. Pardo Molina e A. Serrano, Almería, Instituto de Estudios Almerienses, Diputación de Almería, 2001, pp. 95-113.-Marcella Trambaioli, «Un esempio di tragedia “a la española” di Lope de Vega: El caballero de Olmedo», in Testi, tradizioni, attraversamenti. Prospettive comparatistiche sulla drammaturgia europea tra Cinque e Settecento, ed. Alessandra Munari, Elisabetta Selmi, Enrico Zucchi, Padova, Padova University Press, 2019, pp. 107-121.

Learning Outcomes
By means of face-to-face teaching (1,2CFU) and self-study (4,8CFU), the course aims to enable students to show to be able to recognize and analyse the different level of style and interpretation of a dramatic text belonging to the Golden Age production; to be able to illustrate and support one's judgment in a literary discussion, together with the risults of the literary analysis with an appropriate terminology.
Prerequisites
A good Knowledge of the Spanish Language. Basic Knowledge of the history of Spanish and European Literatures and theater of the XVIth and XVIIth centuries

Teaching Methods
Lectures Textual analysis
Additional Information
Students with physical disabilities, Learning Disabilities or Special Education Needs can request specific services and tools via the Staff Sviluppo e Coordinamento Carriere e Servizi alle Studentesse e agli Studenti, consulting the University webpage: https://www.uniupo.it/en/services/services-students-physical-or-learning-disabilities
Students with disabilities, learning disabilities or special education needs, once they have contacted the University Staff, can refer to the tutor in charge of the course to define the examination modalities, concerning academic aspects.
Assessment Methods
The exam consists of an oral examination in Spanish with the dual purpose of verifying both the level of knowledge and understanding of the course contents—also through reference to the critical bibliography indicated by the professor —and evaluating independent judgment, learning capacity, and communication skills in Spanish. The questions will focus on the main points corresponding to the knowledge and skills expected from the learning outcomes. The first question is about the general contextualization of authors and works from an historical and literary perspective; the following questions are about the specific works that have been analyzed in class. The examination takes about 20 minutes and the number of questions isn’t quantifiable, because the maieutic method implies a constante dialogue between student and professor. In order to pass the examination it’s necessary to reach a basic level for
boths aspects: the contextualization (50% of the exam grade weight) and the specific textual analyses (50% of the exam grade weight). Obviously, the evaluation depends on the capacity of illustrate, explain, analyze the general matters as well as the single texts. A prerequirement for the examination is a short paper written in Spanish language (with no AI help) about a subject chosen by the student her/himself; this will constitute the starting point of the oral examination.
Detailed Syllabus

Lope de Vega and the Golden Age Theater. Through the study of three plays by Lope de Vega the aim is to identify the principal features of characters and dramatic genres of Golden Age theater through the analysis of a rural drama, a legendary play and a tragedy.

Dramas:-Lope de Vega, Fuenteovejuna, Madrid, Cátedra-Lope de Vega, El perro del hortelano, by Mauro Armiño, Madrid, Cátedra-Lope de Vega, El caballero de Olmedo, by Francisco Rico, Madrid, 

Secondary texts: (pdf su DIR)

-Francisco Ruiz Ramón, «El teatro nacional del Siglo de Oro», in Historia del teatro español (desde sus orígenes hasta 1900), Madrid, Cátedra, pp. 127-174.- Maria Grazia Profeti, Introduzione allo studio del teatro spagnolo, Firenze, La casa Usher, 1994, pp. 73-230.-Lope de Vega, El Arte Nuevo de hacer comedias en este tiempo, Madrid, CSIC, 1971.-Jesús Cañas Murillo, «El tema de la jerarquización social y su tratamiento dramático en Fuente Ovejuna de Lope de Vega», Anuario Lope de Vega, III, 1996, pp. 25-35.-María Grazia Profeti, «Prólogo», Lope de Vega, Fuenteovejuna, in Parte XII, vol. II, Barcelona, PROLOPE, 2013, pp. 831-852.-Frida Weber de Kurlat, «El perro del hortelano, comedia palatina», NRFH, XXIV, 1975, pp. 339-363.-Milagros Torres, «Paradojas de Diana», Studia Aurea. Actas del III Congreso de la AISO, II, Teatro, ed. I. Arellano, M.C. Pinillos, F. Serralta, M. Vitse, GRISO-LEMSO, 1996, pp. 395-404.-Pilar Nieva de la Paz, «Pilar Miró ante el teatro clásico», ALEC, 26.1, 2001, pp. 255-275. - Esther Fernández, Cristina Martínez-Carazo, «Mirar y desear: la construcción del personaje femenino en El perro del hortelano de Lope de Vega y de Pilar Miró», Bulletin of Spanish Studies, vol. LXXXIII, n. 3, 2006, pp. 315-328.-Ignacio Arellano, Historia del teatro español del siglo XVII, Madrid, Cátedra: «Dos tragedias excepcionales, Lope» (pp. 199-208).- Joaquín Casalduero, «Sentido y forma de El caballero de Olmedo», NRFH, XXIV, 1975, pp. 318-328.-Ignacio Arellano, «Estructura dramática y responsabilidad. De Nuevo sobre la interpretación de El caballero de Olmedo, de Lope de Vega. (Notas para una síntesis», in En torno al teatro del Siglo de Oro. XV Jornadas de teatro del Siglo de Oro, ed. I. Pardo Molina e A. Serrano, Almería, Instituto de Estudios Almerienses, Diputación de Almería, 2001, pp. 95-113.-Marcella Trambaioli, «Un esempio di tragedia “a la española” di Lope de Vega: El caballero de Olmedo», in Testi, tradizioni, attraversamenti. Prospettive comparatistiche sulla drammaturgia europea tra Cinque e Settecento, ed. Alessandra Munari, Elisabetta Selmi, Enrico Zucchi, Padova, Padova University Press, 2019, pp. 107-121.


Expected Learning Outcomes
The expected learning outcomes are consistent with those specific to the degree programme. In order to achieve the minimum pass mark (60%), students must acquire the ability to identify the main characters and dramatic subgenres of the Baroque Spanish theater. The student must show as well transversal competencies such as the ability of establish links between Baroque theater and the concrete literary creations of Lope de Vega, and the autonomy of judgment in analyzing themes, motives, stilistic and esthetic characteristics, language uses, ideological, historical and cultural implications. The advanced level is achieved through more in-depth knowledge and skills, a greater level of critical depth, and appropriate expository proficiency in the Spanish language. The maximum grade is reached with an excellent level of knowledge and skills.
Last update:21-10-2026 00:13:19