2. Provide, through this systematic introduction to the discipline, research tools in general and comparative literature, as well as instruction for the preparation of written work relevant to the comparative demonstration (comparative comment of reading notes, etc.).
3. Studies of specific subjects according to comparative methodology and within the broader and theoretical perspective of general literature. The content of the courses offered to students will allow them to come to a clear understanding - through an immediate application consisting of an in-depth study of certain subjects - of the fundamental principles that define this discipline.
At the end of this learning unit, the student is able to : | |
| 1 |
Understand whether and how cultures and literatures of different periods and linguistic traditions, European and international, interact, according to different phenomena and modalities (readings, translations, travels, loans, adjustments, etc.) within a literary, unitary, constant and simultaneous comprehension of the world. |
The contribution of this Teaching Unit to the development and command of the skills and learning outcomes of the programme(s) can be accessed at the end of this sheet, in the section entitled “Programmes/courses offering this Teaching Unit”.
(1) overview of the methodologies and the issues related to Comparative Literature, with a special focus on the relationships between literature and other arts, mostly cinema;
(2) historical and intermedial path of melodrama from the French Revolution. This second part will consist of several comparisons between various artistic media and discourses (theater, novel, short story, serial, silent and talking film, political discourse), fictional genres, texts and films from various geographical and linguistic areas (France, USA, Mexico, Spain).
- Required readings (see « Bibliography »)
- Pixerécourt, Coelina ou l'enfant du mystère (pdf en ligne : http://gallica.bnf.fr/ark:/12148/bpt6k133873r/f1.image)
- Eugène Sue, Les Mystères de Paris (première partie)
- Honoré de Balzac, Adieu (n'importe quelle édition) ;
- Henry James, Le Tour d'écrou (The Turn of the Screw) (traduit par Monique Nemer par ex. dans la récente réédition du Livre de poche)
- Salman Rushdie, Les Enfants de minuit (Midnight's Children) (livre premier)
- extraits de textes théoriques (e.a., L'Imagination mélodramatique de Peter Brooks) qui seront disponibles sur Moodle
Les titres des films à voir obligatoirement seront communiqués au début du cours.
