Ateneo - UPO

Through the analysis of some poetic and dramatic works (El Burlador de Sevilla, El estudiante de Salamanca (IVth Part), Don Juan Tenorio, El hombre de mundo, Las galas del difunto) don Juan’s myth in Spain will be illustrated from the Baroque to the beginning of the XXth century; the theme analysed will be usefull also for some reflections about identity-otherness in literature.

Primary texts:
-Tirso de Molina, El burlador de Sevilla, Madrid, Alianza.
-José de Espronceda, El estudiante de Salamanca, part IV, ed. Robert Marrast, Madrid, Castalia, 1989, pp. 122-156
-José de Espronceda, Don Juan Tenorio, Madrid, Cátedra.
-Ventura de la Vega, El hombre de mundo, Madrid, ed. Academia Española, 1845.
-Ramón del Valle-Inclán, Las galas del difunto, in Martes de Carnaval, Ed. Ricardo Senabre, Madrid, Espasa-Calpe, 1990, pp. 39-106

Secondary texts:
AA.VV., «Don Giovanni», in Miti e personaggi della modernità, Milano, Bruno Mondadori, 1998, pp. 106-116.
Casalduero, Joaquín, Contribución al estudio del tema de Don Juan en el teatro español, Madrid, José Porrúa Turanzas, 1975.
Brioso, Héctor, «Introducción», ed. El burlador de Sevilla, Madrid, Alianza Editorial, 1999, pp. 7-46.
Rico, Francisco, «Tirso de Molina. Il beffatore di Siviglia», in Biblioteca Spagnola, Torino, Piccola Biblioteca Einaudi, 1990, pp. 235-265.
Egido, Aurora, “Sobre la demonología de los burladores (De Tirso a Zorrilla)”, Iberoromania, 26, 1987, pp. 19-40.
Dowling, John, “El anti-don Juan de Ventura de la Vega”, in Actas del Sexto Congreso Internacional de Hispanistas, U. of Toronto, 1980, pp.215-218.
Yáñez, María-Paz, “Lo que va de ayer (1844) a hoy (1845)”: el donjuanismo en El hombre de mundo de Ventura de la Vega”.
Yáñez, María-Paz, “El cambio de valorización del satanismo en la cosmovisión romántica: El estudiante de Salamanca de Espronceda”, Salina, Revista de Lletres, n. 10, 1996, pp. 116-126.
Avalle-Arce, Juan Bautista, «La esperpentización de don Juan Tenorio», Hispanófila, III, sett. 1959, n. 7, pp. 29-38.
García Lorenzo, Luciano, “Valle-Inclán y Las galas del difunto (1926): parodia y tradición clásica”, in Don Juan Tenorio en la España del siglo XX, literatura y cine, a cura di Ana Sofía Pérez-Bustamante, Madrid, Cátedra, 1998, pp. 173-188.

Students will be required to evaluate until which point a text or an author belongs to a specific movement or genre (baroc theater, romantic theater, romantic narrative poetry and theater of the avangarde). Don Juan myth elaborates a universal theme able to illustrate social-.cultural aspects of different ages. In order to achieve a more structured level of cultural background students must show to be able to recognize and analyse the different level of style and interpretation of a text; 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.

General knowledge of the history of Spanish literature and theater from the Baroque to the 20th century.

Lectures and Textual analysis

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The oral examination consists in a discussion about the themes and subjects illustrated in class. 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 and the specific textual analyses. 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 (without the help of AI) about a subject chosen by the student her/himself; this will constitute the starting point of the oral examination.

Through the analysis of some poetic and dramatic works (El Burlador de Sevilla, El estudiante de Salamanca (IVth Part), Don Juan Tenorio, El hombre de mundo, Las galas del difunto) don Juan’s myth in Spain will be illustrated from the Baroque to the beginning of the XXth century; the theme analysed will be usefull also for some reflections about identity-otherness in literature.Primary texts:-Tirso de Molina, El burlador de Sevilla, Madrid, Alianza.-José de Espronceda, El estudiante de Salamanca, parte IV, ed. Robert Marrast, Madrid, Castalia, 1989, pp. 122-156-José de Espronceda, Don Juan Tenorio, Madrid, Cátedra.-Ventura de la Vega, El hombre de mundo, Madrid, ed. Academia Española, 1845.-Ramón del Valle-Inclán, Las galas del difunto, en Martes de Carnaval, Ed. Ricardo Senabre, Madrid, Espasa-Calpe, 1990, pp. 39-106Secondary Texts:AA.VV., «Don Giovanni», in Miti e personaggi della modernità, Milano, Bruno Mondadori, 1998, pp. 106-116.Casalduero, Joaquín, Contribución al estudio del tema de Don Juan en el teatro español, Madrid, José Porrúa Turanzas, 1975.Brioso, Héctor, «Introducción», ed. El burlador de Sevilla, Madrid, Alianza Editorial, 1999, pp. 7-46.Rico, Francisco, «Tirso de Molina. Il beffatore di Siviglia», in Biblioteca Spagnola, Torino, Piccola Biblioteca Einaudi, 1990, pp. 235-265.Egido, Aurora, “Sobre la demonología de los burladores (De Tirso a Zorrilla)”, Iberoromania, 26, 1987, pp. 19-40.Dowling, John, “El anti-don Juan de Ventura de la Vega”, in Actas del Sexto Congreso Internacional de Hispanistas, U. of Toronto, 1980, pp.215-218.Yáñez, María-Paz, “Lo que va de ayer (1844) a hoy (1845)”: el donjuanismo en El hombre de mundo de Ventura de la Vega”.Yáñez, María-Paz, “El cambio de valorización del satanismo en la cosmovisión romántica: El estudiante de Salamanca de Espronceda”, Salina, Revista de Lletres, n. 10, 1996, pp. 116-126.Avalle-Arce, Juan Bautista, «La esperpentización de don Juan Tenorio», Hispanófila, III, sett. 1959, n. 7, pp. 29-38.García Lorenzo, Luciano, “Valle-Inclán y Las galas del difunto (1926): parodia y tradición clásica”, in Don Juan Tenorio en la España del siglo XX, literatura y cine, ed. Ana Sofía Pérez-Bustamante, Madrid, Cátedra, 1998, pp. 173-188.

Students must acquire the ability to identify Baroque, Romantic, and Avant-garde literary genres and subgenres. Furthermore, they must demonstrate transversal skills, such as the ability to establish connections between different versions of the Don Juan myth across various epochs, autonomously identifying themes, motifs, stylistic features, language use, aesthetic characteristics, and ideological, historical, and cultural implications.