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Spring
2001 Graduate Courses |
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FALL 2003
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SPN 503 - Spanish
Linguistics. SPN 504 Contrastive
Analysis Spanish-English. SPN 509 Literary Theory:
Contemporary Critical Theory SPN 571 20th-C. Spanish-American
Literature
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SPN 500 - Reading
Spanish. Through an intensive
study of language structures and idiomatic usage, with extensive practices
in written translation of literary and scholarly texts, candidates for
advanced degrees are able to obtain the proficiency level of the graduate
Spanish reading requirements. Several programs grant exemption from further
examination for successful completion of this course (not for M.A.or Ph.D.
candidates in Spanish). 3 Credits
This process of globalization
that culminates in the notion of post modernity has been visible in Spain
for almost 40 years. That is to say, post modernity continues a process
of integration that was already a feature of the final phase of Francoism.
This course addresses the work of two Spanish writers: one, Manuel V<
zquez Montalb< n, is a prolific author of detective fiction, a genre
which has enjoyed immense popularity to postmodern culture; the other,
Javier Egea, a representative of a flourishing group of poets operative
in Granada in post-Franco Spain.
What does it mean
to posit a tradition of women’s cinema in the Spanish-speaking world?
In this course we will attempt to establish a critical, theoretical, and
historical framework for analyzing the works of a representative group
of women filmmakers from Spain and Latin America. We will work with a
broad range of critical and theoretical writings that discuss the position
of women (on-screen and off) in relation to the artistic, industrial,
and economic institution of cinema. Films to be studied include works
by the following directors: Maltilde Landeta, Suzana Amaral, Maria Luisa
Bemberg, Fina Torres, Sara Gomez, Maria Novaro, Josefina Molina, Pilar
Miro, Rosario Pi, and Iciar Bollain among others. This course presumes
no previous study of film or film analysis SPN582 - Hispanic
Tradition in the U.S.: The Melancholy Novel Informed by philosophical
and critical works on the relationship between melancholy and identity,
this course will focus on the construction of a melancholy subject built
on the loss of a linguistic, sexual, and racial identity. The course will
study novels by Latin American women writers and by Latinas as works of
mourning and re-membering of an abject maternal body. We will study the
work of Maria Luisa Bombal, Clarice Lispector, Elena Garro, Rosario Ferré,
Irene Vilar, and Julia Alvarez among others. We will also read philosophical
and critical works by Julia Kristeva, Hélene Cixous, Idelbe Avelar,
Alberto Moreira, Hommi Bhabha, and Gloria Anzaldúa. SPN 691 - Practicum
in the Teaching of Spanish Language Theory and practice
of language teaching. Applied methodology and linguistics in classroom
situations. A required course for teaching assistants.Prerequisite: Permission
of instructor, department chairperson, or graduate program director CEJ 533 - 20th-Century
Latin America Visual Culture: Painting and Film. The course is an introduction
to 20th-century Latin American visual culture. Our semester work will
focus on two areas of the visual arts. First, we will look at works created
by some of the key artistic moments of twentieth-century Latin America,
with special emphasis on the Mexican muralists (Diego Rivera, JosJ Clemente
Orozco, and David Alfaro Siqueiros) and the Modernist painters of the
Caribbean (Wilfredo Lam, RenJ Portocarrero, Carlos EnrR quez and others).
Our objective is to carry out formal analysis of these works while relating
artistic and aesthetic questions posed by these works to larger historical
and cultural issues. Second, we will view films from the three main Latin
American national film industries (Argentina, Mexico, and Cuba). The films
selected are intended to give a historical development of Latin American
cinema, and they include classics such as films by Cantinflas (Mario Moreno)
as well as recent pictures by directors such as GutR errez Alea, Mari<
Lusia Bemberg, and others. Besides viewing and discussing slides (paintings)
and films, students will read the following material.
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SPN
612 - Twentieth-Century Spanish Women Writers A reading and discussion of twentieth –century works by Spanish women novelists beginning with Carmen Laforet and ending with Lucía Etxeberría. In tandem with the readings, we will examine key issues and concepts of twentieth-century feminism: "images" criticism, writing and sexual difference, psychoanalysis and literature, feminine masquerade, the politics of gender identity, écriture féminine, women writers and the canon, gender and reader response, materialist feminism, and "gender trouble". All primary readings in Spanish, critical readings in English and Spanish.
SPN
509 - Contemporary Issues In Literary Cultural Studies This
course will focus on new critical issues as the basis for reading and
writing about literature and culture. The emphasis will be on clarifying
conceptual paradigms as much as possible, outlining their spheres of dissemination
and contradiction, and exemplifying how they can be deployed in analyzing
literary and cultural texts (short stories, novels, poems, films, videos,
music or other forms). The list of issues and questions will include the
following: The final list of writers, critics and theorists is still in progress. It will constitute a selection of authors such as Jorge Luis Borges, Tony Morrison, G. García Márquez, Junot Diaz, Richard Rodriguez, Gloria Anzaldúa, Antonio Negri, Slavoj Zizek, Judith Butler, Ernesto Laclau, Homi Bhabha, Gayatri Spivak, J. Derrida, R. Barthes, Walter Benjamin. A. Dirlik, R. Guha, S. Hall, L. Lowe, R. Chow, Yen Le Espiritu, T. T. Minh-ha, Stephen Greenblat, Theodor Adorno, Luisa Valenzuela, Clarice Lispector, H. L. Gates, Damiela Eltit, Mario Vargas Llosa, Wim Wenders. SPN
501 - History of Linguistics SPN
523 - Humor and Literature in Early Modern Spain Desde que Aristóteles afirmara que ningún animal ríe excepto el hombre, filósofos, médicos y teóricos de la literatura han divagado sobre el concepto del humor y los resortes tanto fisiológicos como intelectuales que producen la risa. Autores como Cicerón y Quintiliano definieron el humor literario y sus distintas clases. Son estos tratados los que inspiraron a los tratadistas, médicos y filósofos del Humanismo europeo. En el semestre nos internaremos en los distintos tipos de humor que produjeron las letras españolas de los siglos XVI y XVII. Analizaremos el humor carnavalesco, el bufonesco, el erótico, las sátiras sociales y políticas, relacionando todas sus manifestaciones "de la cultura oficial" tanto las literarias como las pictóricas, incluso con los textos capitales del Humanismo europeo (Boccaccio, Rabelais, entre otros) como las que se encuadran en la "cultura popular". Para ello estudiaremos textos poéticos, prosísticos y teatrales que reflejan los distintos tipos y la forma en que los presentan en los diferentes géneros. Textos: Poesía: Baltasar del Alcázar, Diego Hurtado de Mendoza, Lope de Vega, Góngora, Quevedo, Villamediana, Polo de Medina, Maluenda. Prosa: Melchor de Santa Cruz, Floresta Española; Cervantes, Don Quijote; Fernández de Avellaneda, Don Quijote; Quevedo, Buscón, Los Sueños, La Hora de Todos; Vida y Hechos de Estebanillo González. Teatro: Lope de Rueda, Pasos; Luis Quiñones de Benavente, Entremeses; Tres Ingenios, El Hamete de Toledo; Francisco de Monteser, El Caballero de Olmedo; Pedro Francisco Lanini, Darlo Todo y No Dar Nada; Pedro Calderón de la Barca, Céfalo y Pocris
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SPN
512 - Medieval Literature This course will be a graduate-level introduction to medieval Spanish literature, with all readings of primary texts in their version original (ie.,not in modernized version). We will begin with the origins of lyric genres in the vernacular, which we will also situate within the context of pan-European lyric tradition. We will study the epic, with particular attention to the Poema del Mio Cid, which will also serve as a corpus for analyzing the phonological and morphological structure of Old Spanish. Other major texts we will read include (but will not be limited to) the Milagros de Nuestra Señora, El Conde Lucanor, and El Libro de BUen Amor. We will pay particular attention to the interaction between these examples of canonized literary discourse and other subliterary and paraliterary discourses, such as folk hagiography, proverbs, riddles, and jokes.Other related theoretical issues we will discuss include the interplay of orality and textuality in a residually oral society, the cultural and social roots of literary, medieval diglossia and bilingualism, the process of textualization of subliterary genres into "literature", the role of visual narratives in a verbal society, the "alterity" of medieval literature, the Christian Middle Ages as a historiographical problem, and the concept of "carnivalesque" folk culture.
CEA
539 - The Meaning of Literary Modernism We will define literary modernism as a mode of writing that doubles back upon itself and turns the actual act of process of writing into the content of the art work. In order to better explore this phenomenon, we will unpack "literature" into a number of more manageable components: author, text/work, reader/critic, intertextuality and dynamic socio-historical context. We will then proceed to analyze how certain Spanish and Latin American writers explore the relationship between these components to subject the works in question to critical scrutiny.
Las novelas seleccionadas nos permitirán revisar algunas de las variantes novelísticas del siglo XX latinoamericano. Primero, la cartografia mundonovista como escritura de la tierra (varios de sus personajes-narradores son agrimensores). Paralela a la novela mundonovista está la novela de Arlt, una novela urbana, cercana al folletín periodístico, en la que figura el mundo de la imigración y la transculturación, a diferencia de la pureza étnica que marca de alguna forma a la novela mundonovista. Los lugares (varios de los relatos a leer son relatos de viaje) donde transcurren las novelas de Arlt adelantan la rareza ambiental, casi de laboratorio, donde transcurrirán varios relatos de Borges. En Rulfo no sólo está la novela del cacique como coletazo último de la novela mundonovista, sino que el relato desmonta, fantasmalmente, con un minimalismo gótico, las premisas narrativas del mundonovismo, abriendo una manera de novelar que explorada más tasde por el "Boom". En Plata Quemada Piglia se mueve en un tipo novelístico que rememora y se distingue de Rodolfo Walsh. Ahí están varios de los elementos centrales de la escritura de Walsh: la novela documental que es también un relato criminal duro, de aspecto político, elaborado con algunos elementos de la novela negra norteamericana. José Manuel Prieto es probablemente el escritor cubano del momento. Sus novelas no sólo abren una zona no transitada por la literatura cubana y posiblemente por la literatura de lengua española, sino que también se presentan como relatos que ensayan cómo narrar el mundo poscomunista. Es, por supuesto, un relato de viaje y una novela epistolar.
En
las últimas décadas el estudio de la literatura latinoamericana
ha estado guiado por el éxito académico de construcciones
teóricas pocas veces producidas desde racionalidades locales y
más bien tendientes a percibir lo local como un obstáculo
para el asentamiento de una ontología global. Los efectos distorsionantes
de esta nueva ontología han creado la necesidad de resituar tanto
el estatuto de la literatura como el objeto de su crítica. Una
manera de llevar a cabo este proyecto es produciendo "miradas"
que conozcan los procesos culturales latinoamericanos con pertinencias
distintas a las que propone el humanismo académico de sociedades
postindustrializadas.
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SPN
571 - Modernismo in Spanish America; theory and practice This
course is partly organized as an introduction to Spanish American Modernism,
known as Modernismo. We will read representative texts of this enigma
by letrados including Prosas Profanas by Rubén Darío, De
Sobremesa by José A. SIlva, Ariel by José E. Rodó,
and we will also study texts, including José Olivio Jiménez's
anthologies. We will focus on constitutive aspects of this event, such
as the perception of a change or of a cultural crisis, the inscription
of modernity, the spatial divide between an interior and a public sphere,
discursive heterogeneity (the exotic bric-a-brac), and the configuration
of a divided and histrionic subject.
A new literary genre was created with the first publishing in 1552-1553 of The Lazarillo de Tormes: the picaresque novel. In this novel the unknown author took from previous works such as Celestina and La Lozana Andaluza some characteristics to describe the social changes that took place in 16th-century Europe. This new genre was definitively established when Mateo Alemán wrote and published his masterwork Guzmán de Alfarache. Other works from this genre include: La Pícara Justina, El Buscón, the Segunda Parte del Lazarillo by Juan de Luna, among others. In this course dedicated to the Spanish picaresque novel we will try to establish the existence and main trends of this type of prose works in 16th and 17th century Spain.
SPN
503 - Meaning in Spanish Grammar Traditionally
grammatical differences (such as differences in mood, tense, etc.) have
been treated as following automatically from ("governed by")
the presence of some other item in the context. In this course we will
consider the possibility that the different alternatives (e.g. different
moods, etc) convey different meaning, and therefore that the use of one
or the other depends on what the user wants to communicate.
Readings
of selected novels of the realist and naturalist corpus with discussions
centered on literary representations or race, class, nation, gende and
other intersecting constructs of European subjectivity.
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SPN
543 - Celebrity & Cultural Memory in Spain & Latin America Recent attention within media and cultural studies to the construction and functioning of the celebrity star image reflects a fundamental shift in the study of popular culture from a focus on the people of production (where the film or media star is seen to exemplify the commodified product of a "culture industry" directed from above) toward an analysis of the uses of the star persona as it is appropriated and re-elaborated by spectators, listeners and readers. Where critics such as Richard Dyer, John Ellis, Christine Gledhill, and Rosemary Coombe have analysed the meanings of the media and cinema star, especially as they have been used by women, gays and lesbians, and other marginalized groups to renegotiate traditional boundaries of gender identity largely within contemporary Anglo-American societies and cultures, in this course we will seek to explore the phenomenon in a transnational, ethnically marked, and explicitly historicized context with the goal of understanding its role in the construction of cultural memory.
Despite the attention paid in recent years to the legacy of the Enlightenment, which is generally considered to be the basis of "modernity", Hispanists continue to dismiss the "Siglo de las Luces" as "insufficient" and unworthy of their interests. In the present course, we will be trying to explain this "insufficiency" and to consider its ramifications as regards Spain's belated entry into modernity. This will require that we consider closely the nature of Spanish Romanticism and the conflict between Positivism and the various forms of Neo-Idealism, as these unfold in the second half of the 19th century and at the beginning of the 20th century. We will conclude with a consideration of the meaning of "postmodernism" and the nature of this movement's impact in Spain.
The objective of this course is the presentation of the basic principles of learning and teaching a second language. In order, to reach this objective, equal emphasis will be put on theory and practice, especially in the following topics: universals of language, second language acquisition, second language vaca/ teaching and applied methodology in classroom situations.
This course is an introduction to 20th century LAtin American visual culture. We will look at some of the key pictorial movements of twentieth century Latin America, such as the muralist painters (in Mexico and beyond), Expressionism, Realism and Pop Art, in order to relate the artistic and aesthetic questions posed by these movements to larger historical and cultural issues. We will also view films from the three main Latin American mational film industries (Argentina, Mexico, and Cuba). The films selected are intended to give a historical developments og Latin American cinema, and they include classics such as films by Cantinflas (Mario Moreno) as well as recent pictures. Besides the viewing and commentary of slides (paintings) and films, students will complete required readings.
After an overview og the history of translation theory and practice, students will gain familiarity with contemporary theories of translation, with particular emphasis on the recent "cultural turn" in translation studies and on the connection between postcolonial theory and translation. We will deal with specific textual problems in a special section on poetic translation. We will deal with specific textual problems in a special section on poetic translation, which will include the analysis of the translation of selected works from a variety of non-Western languages. We will also devote two case studies to some of the major issues of translation theory and practice, such as Bible translation, translation from oral cultures, bilingual authors and bilingual works.
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SPN
504 - Contrative Spanish-English Phonology The focus of this course is the comparison between the speech-sounds used in major varieties of Spanish and of English, as to how they are produced (phonetics) and how they are organized to distinguish words (phonology). The main object is to understand the reason for difficulties learners typically experience with pronunciation, for teaching purposes.
This course will examine the writing of violence in sixteenth and seventeenth-century colonial historiography. By writing violence we will understand both violence as writing and violence as subject of writing. We will use the term "historiography" in the broad sense of writing the real (a meaning that dates back to Herodotus and has been recently adopted by Michel de Certeau in The Writing of History. Our main concern, then, will be the rhetorical and literary artifices that produce a sense of the real, and not which author provides a more adequate representation or truthful version of events. We will also take into consideration how the evolving body of laws that regulated conquest and colonization determined historical writing. Beyond written texts using the Latin alphabet, we will also study other cultural artifacts such as maps, icons, and Native American writing system. Topics for discussion will include: strategies of appropriation and millenarian ideology; the writing/ invention of cannibalism; aesthetics of colonial violence; the fetishism of the letter; the genealogy of historical objectivity; writing "woman". Primary sources will be paired with critical and theoretical texts.
SPN
571 - Ordering and Disrupting Fictions Modernity is no longer the threshold to progress. The very notion of historical progression that underlies the traditional understanding of literary movements (from Realism/Naturalism to Modernism, to the Autochthonous Novel for example) has been called into question, its ideological weight has been calibrated. Instead the cultural production at the end of the nineteenth century and at the beginning of this century in Spanish America has become understood as a set of fictions that is necessary in a tentative and contradictory process of nation-building and subject formation. This set of fictions is produced by a literate class or letrados involved in the process of imagining a collective identity to which it too will belong.
Our focus will be the examination of 20th century modes of cultural and historical representations, an area of study on which there is very little critical literature in spite of its importance in understanding contemporary Latin American culture. We will study the conflictive relations between different "Nation projects" (such as Liberalism, Modernization, Nationalism, Indigenism, Socialism, Neo-Liberalism) and the cultural responses (or supports) offered by official culture, popular culture, oral tradition, professional art, academic discourse, visual arts, film, and journalism. |
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