2024

Studies in Comparative Literature I

Name: Studies in Comparative Literature I
Code: LLT10824L
6 ECTS
Duration: 15 weeks/156 hours
Scientific Area: Literature

Teaching languages: Portuguese
Languages of tutoring support: Portuguese

Presentation

The Studies in Comparative Literature I aim to develop a competence that is based on the literary comparatist ability to relate, to cross several literary products, aesthetic and cultural, questioning what is meant by Comparative Literature.

Sustainable Development Goals

Learning Goals

Aims of the course 
- Develop a comparative literary competence;
- Make aware of the aesthetic function of literature and culture;
- Stimulate a critical sense and carry out research;
- Develop critical and comparative reading competences four the rereading of some 
novels and paintings, emphasizing their predominant processes;
- Give students the fundamental theoretical and stylistic knowledge of the comparative 
method;
- Encourage students to apply the acquired knowledge;
- Develop the scientific competences required to autonomous research.

Contents

I - Comparative Literature
1. Comparative Studies
- Brief historical and critical introduction to Comparative Literature;
- The Comparative Method;
- The Comparative Literature and its dynamic of interaction with Theory of Literature; The Interarts
Studies; The Cultural Studies; The Post-Colonial Studies and the Translation Studies.

II - Comparative (Re)readings
2. The Novel as a space of (re)reading
- The Library read and lived and its (re)reading;
- The problem of sense (the variety of voices, (re)reading and (re)writing);
- The ironic and parodic (re)reading of the intertext(s);
- The role of the reader (literary strategies and reading protocols);
- The role of the narrator.
Corpus to be defined annually (Selection of some works in original language or in their translation).

Teaching Methods

- Theoretical and practical sessions;
- Reading and interpretation of articles on art critic;
- Text analysis and artistic objects;
- Oral presentations.

Evaluation:
According to the Regulamento Académico da Universidade de Évora and the Regulamento de Avaliação de Conhecimentos – Critérios definidos pelo Departamento de Linguística e Literaturas.

a) Continuous assessment includes at least two assessment components, one of which a written test, whose grade cannot be less than 8 values.
A percentage of 50% is attributed to the written test, and an equal percentage to the evaluation elements proposed during the semester.
b) Final Exam Evaluation (1st and 2nd , special and extraordinary calls) consists of a written test (100%). Students who score between 8 and 9.4 on the written test need to do an oral exam.

Assessment

Evaluation methods


Assessment


According to the Regulamento Interno da Universidade de Évora and the Regulamento de Avaliação de Conhecimentos – Critérios definidos pelo Departamento de Linguística e Literaturas 2015/2016. Students may choose between three modes of assessment continuous, final or mixt.


Mandatory attendance - Continuous Assessment: 75% (Ordem de Serviço nº3 ECS/2012); Final Assessment: 30% (nº4, Artº. 17 e cap.VI do REI); Mixt Assessment: 50% Students under Regimes especiais (nº3, Artº. 6 e cap.VI do REI) are exempted from the above mentioned percentages.


 


1 - Continuous Assessment: 


. 1st frequency: Written test: 50% of the final note. 


. 2nd frequency: Written Test: 40% of the final note. 


In the class, written works and oral participation: 10% of the final note. 


 


2 – Final Assessment:  


. Final exam: Written test:  100% of the final note 


. Recurso Exam: Written test:  100% of the final note 


 


3 – Mixt Assessment:  


. Final exam: Written test:  80% of the final note 


. Oral presentation: 20%


 


Note: Continuous Assessment require achieving grade 08 in the writing test. The grades are only rounded off when registered in the pauta.

Recommended Reading

Bibliography


I. Corpus de leitura obrigatória:


     1. Saramago, José: 1995, Ensaio Sobre a Cegueira, Lisboa, Caminho.


     2. Diderot, Denis: 1970, Jacques le fataliste et son Maître, Paris, Garnier-Flammarion.


          Tradução: Diderot, Denis: 2009, Jacques, o Fatalista, e o seu amo, Lisboa, Tinta-da-China, Tradução de Pedro Tamen,


                             Prefácio de Eduardo Prado Coelho.


II. Filme, quadros e gravuras:


- Meirelles, Fernando: 2008, Ensaio sobre a Cegueira - um filme baseado na obra de José Saramago


- Cervantes, Miguel: s/d, El Ingenioso Hidalgo Don Quijote de la Mancha, (1978, O Engenhoso Fidalgo Dom Quixote da Mancha, Barcelos, Livraria Civilização Editora, colecção «Os Clássicos Espanhóis», Tradução de Daniel Augusto Gonçalves).     


- Quadros de Daumier, Portinari, Salvador Dali, Gustave Doré.


 


III – LITERATURA COMPARADA, TEORIA E CRÍTICA LITERÁRIA:


BAKHTINE, Mikhaïl:1970a), La Poétique de Dostoïevski, trad. Isabelle Kolitcheff, Paris, Seuil.


BAKHTINE, Mikhaïl:1970b), L’Oeuvre de François Rabelais et la culture populaire au Moyen Âge et sous la Renaissance, trad. Andrée Robel, Paris, Gallimard.


BAKHTINE, Mikhaïl:1978, Esthétique et théorie du roman, trad. Daria Olivier, Paris, Gallimard.


BASSNETT, Susan: 1993, Comparative Literature. A Critical Introduction, Oxford, Blackwell Publishers.


BLOOM, Harold: 2000, How to Read and Why, New York, Scribner.


BOOTH, Wayne C.:


1974, A Rhetoric of Irony, (1986, Retórica de la Ironía, Madrid, Taurus Humanidades, Tradução de Jesús Fernández Zulaica e Aurelio Martinez Benito).


1983, The Rhetoric of Fiction, Chicago/London, The University of Chicago Press.


BORGES, Jorge Luís:


1989 a), “Pierre Ménard, Autor do Quixote”, in Obras Completas, vol. I, Lisboa, Teorema, pp.460-467.


1989 b), “Sobre os Clássicos”, in Obras Completas, vol. II, Lisboa, Teorema, pp.146-147.


BROOKS, Peter: 1984, Reading for the Plot: Design and Intention in Narrative, Cambridge, MA: Harvard UP.


BRUNEL, Pierre e Yves Chevrel (Org.): Précis de Littérature Comparée, (2004, Compêndio de Literatura, Lisboa, Fundação Calouste Gulbenkian, tradução de Maria do Rosário Monteiro.


BUESCU, Helena:


1990, Incidências do olhar: percepção e representação, Lisboa, Caminho.


1998, «Comparação e Literatura», Leituras, nº 3, outono, pp. 109-115.


BUESCU, Helena Carvalhão, João Ferreira Duarte e Manuel Gusmão (org.): 2001, Floresta Encantada. Novos caminhos da Literatura Comparada, Lisboa: Dom Quixote. 


CALINESCU, Matei:


1993, Rereading, London, Yale University Press.


1998, “Reading and Rereading” in Second Thoughts: A Focus on Rereading, Wayne State UP., pp.51-74.


CALVINO, Italo: s/d, Perché Leggere i Classici, (1991, Porquê Ler os Clássicos?, Lisboa, Teorema, tradução de José Colaço Barreiros, pp.7-13).


CARVALHAL, Tânia Franco:


1992, Literatura Comparada, São Paulo, Editora Ática.


2003, O Próprio e o alheio - Ensaios de Literatura Comparada, São Leopoldo, Editora Unisinos.


CLÜVER, Claus:


2000, “Liaisons Incestueuses: The Sisters Arts in Contemporary Culture” in Act 2-Entre Artes e Culturas, Lisboa, Colibri/Centro de Estudos Comparatistas, pp.9-37.


2000, “Liaisons Incestueuses: The Sisters Arts in Contemporary Culture” in Act 2-Entre Artes e Culturas, Lisboa, Colibri/Centro de Estudos Comparatistas, pp.9-37.


2001, “Estudos Interartes: Introdução Crítica” in Floresta Encantada-Novos Caminhos da Literatura Comparada, Lisboa, Publicações Dom Quixote, pp.333-382.


COMPAGNON, Antoine:1970, Le Travail de la Citation ou la Seconde Main, Paris, Seuil.


CHARTIER, Pierre:1996, Introduction aux grandes théories du Roman, Paris, Dunod.


DÄLLENBACH, Lucien:1977, Le Récit Spéculaire. Essai sur la mise en abyme, Paris, Seuil.


ECO, Umberto:


1979, Lector in Fabula (1993, Leitura do Texto Literário, Presença, Lisboa, 2ª ed., tradução de Mário Brito).


1990, I Limiti dell’ Interpretazione (1990, Os Limites da Interpretação, Difel, Lisboa, 2ª ed., tradução de José Colaço Barreiros).


1994, Six Walks in the Fictional Woods (1995, Seis Passeios nos Bosques da Ficção, Difel, Lisboa, tradução de Wanda Ramos).


GARCÍA BERRIO, Antonio:1989, Teoría de la Literatura: La Construcción del Significado Poético, Madrid, Cátedra.


GALEF, D.: 1998, Second Thoughts: A Focus on Rereading, Wayne State UP.


GENETTE, Gérard: 1982, Palimpsestes La Littérature au Second Degré, Paris, Seuil.


HUTCHEON, Linda:


1985, A Theory of Parody. The teachings of Twientieh Century Art Forms, New York, Meuthen.


1985, A Theory of Parody, (1989, Uma Teoria da Paródia: Ensinamentos das Formas de Arte do Século XX, Lisboa, Edições 70, tradução de Teresa Louro Pérez).


1994, Irony's Edge-The Theory and Politics of Irony, London, New York and Routledge.


IRWIN, John T.: 1986, “Mysteries we Reread, Mysteries of Rereading: Poe, Borges, and the Analytic Detective Story; also Lacan, Derrida, and Johnson” in Modern Language Notes, nº101, pp.1168-1215.


JOUVE, Vincent: 1997, La Poétique du roman, Paris, Sedes.


LEFEVERE, André:1992,Translation, Rewriting and the Manipulation of Literary Fame, London, Routledge.


LENTRICCHIA, Frank e Thomas Mclaughin (eds):1990, Critical Terms for Literary Studies, Chicago, University of Chicago.


LYNTON, Norbert:1980, The Story of Modern Art, London, Phaidon Ltd.


MINER, Earl. 1995. «Estudos Comparados interculturais», in Mark Angenot et al. Teoria Literária. Problemas e perspectivas, trad. Ana Luísa Faria e Miguel Serras Pereira. Lisboa, D. Quixote, pp. 199-221. 


MUECK, D.C:1970, Irony The critical Idiom series «irony», London, Methuen.


REIS, C. e A. C. Lopes: 1987, Dicionário de narratologia. Coimbra, Livraria Almedina.


REYES, Graciela:1984, Polifonia textual La citación en el relato literário, Madrid, editorial Gredos.


SCHOLES, Robert:1989, Protocolos de Leitura, Lisboa, edições 70. - SEITZ, William Chapin:1983, Abstract Expressionist Painting in America, Harvard University Press, U.S.A.


SILVA, Vítor Manuel de Aguiar: 1992, Teoria da Literatura, Coimbra, Almedina.


SINOPOLI, Franca et al. :2002, Introducción a la Literatura Comparada,  al cuidado de Armando Gnisci,. Trad. de Luigi Guliani, Barcelona, Editorial Crítica.


SOLLERS, PHILIPPE : 1996, Picasso, le Héros, Paris, Cercles d’Art.


Waldman, Diane, 1988: De Kooning Willem, London, Thames and Hudson Ltd.   


 


SOBRE DENIS DIDEROT:


- COULET, Henri: 1967, Le Roman jusqu'à la Révolution, Paris, éd. Armand Colin.


- POMEAU , René: 1967, Une Présentation de l'Homme et de l'œuvre, Paris, PUF.


- PROUST, Jacques: 1974, Lectures de Diderot, Paris, Éd. Armand Colin, coll. U2.


- SMIETANSKI, Jean: 1965, Le Réalisme dans Jacques le Fataliste, éd. Minard.


 


SOBRE JOSÉ SARAMAGO:


BERRINI, Beatriz: 1998, Ler Saramago: o romance, Lisboa, Caminho, Colecção «Estudos de Literatura Portuguesa».


COSTA, Horácio:


1997, José Saramago – o Período Formativo, Lisboa, Caminho, Colecção Estudos de Literatura Portuguesa.


JUBILADO, Odete: 2000, Saramago e Sollers : Uma (Re)escrita Irónica?, Lisboa, Vega.


JUBILADO, Odete: 2010, Olhares Cruzados: A Problemática da Leitura em José Saramago e Philippe Sollers, Nova Vega. 


REIS, Carlos: 1998, Diálogos com José Saramago, Lisboa, Caminho.


SEIXO, Maria Alzira:


1987, O Essencial sobre José Saramago, Lisboa, Imprensa Nacional-Casa da Moeda.


1999, Lugares da Ficção, Lisboa, Imprensa Nacional-Casa da Moeda.


 


SOBRE MIGUEL CERVANTES:


- BENNASSAR, Bartolomé: 1989, Historia de los Españoles, Barcelona, Editorial, Grijaldo, 2v.


- BORGES, Jorge Luís: 1980, “Parábola de Cervantes y de Quijote”, in Prosa Completa, Barcelona, Editorial Burguera.


- CASTRO, Américo: 1987, El Pensamiento de Cervantes, Barcelona, Editorial Grijalbo.


- GASSET, José Ortega y: 1967, Meditações do Quixote, São Paulo, Livro Ibero-Americano Lda.


- JEANMAIRE, Frederico: 2004, Uma Lectura del Quijote, Buenos Aires, Barral.


- Leonard, Irving, A.:1993, Books of the Brave, Berkeley, University of Califórnia Press.


- MARTINS, Oliveira: 1973, História da Civilização Ibérica, Lisboa, Guimarães e CIA Editores.


- UNAMUNO, Miguel: 1998, La Vida de Don Quijote y Sancho, Madrid, Ediciones Cátedra. 

Teaching Staff (2023/2024 )