Literature and Other Arts
After a theoretical introduction, this curricular unit Literature and Other Arts proposes the analysis of motifs such as the double (ie the Doppelgänger). The presence of these motifs in poems, plays and novels of world literature at different times demonstrates their universality. From antiquity to their representation in cinematography and on the internet, these motifs played important roles, not only as an indispensable element in comedies and horror stories, but also as a figuration of alterity and in processes of (re)constitution of personality, whether in literature or cinema. The curricular unit aims to explore the transversality and aesthetic potential of these motifs in various literary genres and in other arts, highlighting their appearance in cinematography.
Texts of literary and cinematographic critique (in Portuguese and English) will enable the students to identify, define and contextualize the phenomenon in historical and aesthetic terms.
Inter-artistic Studies
Literature and Cinema
Comparative Literature
Literary Motifs
Develop critical reading skills, to summarize texts and to analyse literary and cinematographic works.
Develop the ability to expose content, contrasting and comparing ideas and critical comments.
Acquire historical and theoretical knowledge of literature and cinema, focusing on paradigmatic works in various genres.
Understand the function of a literary motif in different genres and its appearance in cinematography and other arts.
Distinguish different epochs, styles and approaches related to the motif in question.
Following a diachronic structure in three thematic blocks, the curricular unit aims to stimulate a debate on emblematic works of world literature and cinematography that develop the motif in question. This study also involves transdisciplinary approaches in the fields of music and painting, including works of various genres, by authors such as Plautus, Shakespeare, Chamisso, Poe, Stevenson, Wilde, Pessoa, Lang, Murnau and Woody Allen, among others.
Topic 1 — The relationship between literature and other arts: theoretical notions
Topic 2 — The motif of the double (Doppelgänger) in literature and other arts
Topic 3 — The motive of the double in cinema
Bär, Gerald (2006). “Perceptions of the Self as the Other: Double-Visions in Literature and Film”. In: Processes of Transposition: German Literature and Film. Schönfeld, Christiane with Rasche, Hermann, (eds.). Amsterdam, New Jersey: Rodopi, pp. 89-117.
- (2015) “Case Studies of Literary Multilingualism. Expressing Alterity in a Self-Referential Recourse to the Motif of the Double”. In Paradoxes du plurilinguisme littéraire 1900: réflexions théoriques et études de cas. Benert, Britta (ed.), Bruxelles: Peter Lang, coll. «Nouvelle poétique comparatiste», pp. 171-193.
Baudrillard, Jean (1991). Simulacros e Simulação. Lisboa: Relógio d'Água.
Brunel, Pierre, Chevrel, Yves (org.) (2004). Compêndio de Literatura Comparada, trad. M.R. Monteiro, Lisboa: Gulbenkian.
Buescu, H., Ferreira Duarte, J., Gusmão, M. (org.) (2001). Floresta Encantada, novos Caminhos da Literatura Comparada. Lisboa: Publicações Dom Quixote.
Chamisso, Adelbert von (2005). A História Fabulosa de Peter Schlemihl (tradução e ensaio de João Barrento). Assírio & Alvim.
Eisner, Lotte (s.d.). O Ecran Demoníaco. Lisboa: Editorial Aster.
Plauto (1993). Anfitrião. Tradução, introdução e notas: Carlos A.L. Fonseca, Lisboa: Edições 70.
Poe, Edgar Allen. “William Wilson”. The Works of Edgar Allan Poe.
Stevenson, Robert Louis. The Strange Case of Dr Jekyll and Mr Hyde. The Project Gutenberg eBook of The Strange Case Of Dr. Jekyll And Mr. Hyde.
Wilde, Oscar. The Picture of Dorian Gray. The Project Gutenberg eBook of The Picture of Dorian Gray.
E-learning
Evaluation is made on individual basis and it involves the coexistence of two modes: continuous assessment (60%) and final evaluation (40%). Further information is detailed in the Learning Agreement of the course unit.
Students' evaluation is made on individual basis and it involves the coexistence of two modes: continuous assessment (60%) and final evaluation (40%). Further information is detailed in the Learning Agreement of the course unit.