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Course Criteria
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4.00 Credits
Referred to as "the little thumb" of the hemisphere,"the sweet waist of America," or "thdubious strait," the Central American isthmus and its literature is the central focus of this course. Students read a selection of 20th-century authors from the region-one that is often marginalized in the Latin American canon-and explore aesthetic and ideological concerns within the violent political and historical context that often becomes a recurring theme in Central American fiction.Authors studied includeMiguel ángel Asturias, Gioconda Belli, Roque Dalton, Tatiana Lobo, and Sergio Ramírez. The course is conducted in Spanish. Prerequisites: Spanish 301 or 302 and permission of the instructor.
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4.00 Credits
What constitutes conformity and transgression in Early Modern Spain? Transvestites, nuns, visionaries, cross-dressers, clerics, wild men, neurotics, and poets are figures that receive a great deal of attention in a wide range of historical and literary discourses. This course considers the ways in which these figures were thought of as both ordinary and extraordinary. (Consider the case of a Spanish nun who escapes her convent, dresses as a man, travels to Peru, is later received by Philip IV, receives a pension from the Pope, and is made honorary citizen of Rome.) Students explore questions as to who and what constitutes a freak or monster, the values attached to these figures, and the way in which these texts call into question assumptions regarding conformity and transgression. Readings include texts from Spain and the New World. Students examine works by Fernando de Rojas, Cervantes, Lope de Vega, Calderón, St. Teresa, Catalina de Erauso, El Inca Garcilaso de la Vega, and Sor Juana Inés de la Cruz, among others. The course is conducted in Spanish.
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4.00 Credits
Stanley Cavell describes marriage as "a certain willingness for bickering" that strikes him as "alittle parable of philosophy or of philosophical criticism." How do Spanish playwrights reenact this "parable of philosophy" in their works? Inwhat ways does the Spanish drama confirm or subvert the social conventions governing the institution of marriage? Why do wooing and wedding tend to be funny, while being married inevitably leads to tragedy? Cuckolds, permanent bachelors ( galán suelto), Don Juans, educated women ( culta latiniparla), wife murderers, and defiant wives are some of the stock characters defined by their relationship to the conjugal bond. This course examines these characters and the questions raised by the institution of marriage in the works of Lope de Rueda, Lope de Vega, Tirso, Cervantes, Calderón, and Sor Juana, among others. The final project includes a student performance of a dramatic work by one of these authors.
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4.00 Credits
This course examines the role of difference in Miguel de Cervantes' masterpiece, El ingenioso hidalgo Don Quijote de la Mancha. In this "first modern novel," conflict erupts when an old man, moved by his readings of chivalric literature, pronounces himself a knight in shining armor. Believing in evil enchanters, Don Quijote and his rotund alter ego, Sancho Panza, set out to rectify the wrongs of the world. However, Don Quijote takes up this mission in 16th-century Spain, when knighthood has long ceased to be a social reality. Difference and conformity thus become critical issues at every turn of this novel. What are the ideological forces that compel conformity in Don Quijote? How are language and violence posited as instruments of change? How does literature change its readers and, alternatively, how do readers change literature? Apart from Don Quijote, readings include Lazarillo de Tormes, Amadis of Gaul, and El abencerraje, among others. Students may read the texts in English or in the original Spanish. The course is conducted in English.
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4.00 Credits
This course looks at a variety of travel writers, beginning with French and North American revolutionary hero Francisco de Miranda and continuing through El País (Madrid) columnist Maruja Torres's sentimental journey through Latin America. Special attention is paid to the transatlantic dialogue between Europe and America-Spanish visions of the New World (North and South) and Latin American visions of North America and Europe. Focus is also placed on the political and aesthetic debates behind the writing and political uses of the exotic. Texts range from travel diaries and fully conceived travel books to Juan Ramón Jiménez'innovative poetic notebook of his visit to the United States. Readings, class discussions, and assignments are in Spanish. Prerequisites: Spanish 301 or 302 and permission of the instructor.
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4.00 Credits
A number of works testify to the ways in which Spanish cinema has long stood in the vanguard. These works include Luis Bu?uel's surrealist experiments, Pedro Almodóvar's provocativemelodramas, and the recent explosion of short films ( cortos) by professional and amateur directors. This course examines a selection of films from 1929-the year in which Bu?uel made Un chien andalou- to the present. Special attention is given to the historical and cultural frameworks of these films, particularly to the period of the Spanish Civil War and Franco's subsequent dictatorship. These events had a dramatic impact on films produced both in and outside of Spain and resulted in censorship, propaganda (the NODO newsreels), and camp films known as españoladas. Despite these obstacles, Spanish film directors have consistently managed to create brilliant cinematic works. How have they achieved this success in the face of censorship, scant resources, and competition from Hollywood? Assignments include weekly essays and a final project. Attendance at weekly screenings is mandatory. The course is conducted in Spanish.
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4.00 Credits
In this course, students read several 20th-century Latin American texts that address the many tensions that arise in the process of modernization. Students pay close attention to considerations of centers and margins, inclusions and exclusions, feelings of alienation and, ultimately, a search for community. Students also explore how the danger of state violence enters domestic spaces, the role of mass media in shaping local culture, and the effects of globalization on identity formation. Among the authors read are Carlos Fuentes from Mexico, Roberto Arlt from Argentina, Fernando Vallejo from Colombia, Mario Vargas Llosa from Peru, and Diamela Eltit from Chile. The course is conducted in Spanish.
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4.00 Credits
The focus of this course, designed for students who have completed at least two years of college Spanish, is theoretical texts on translation. The first half of the semester is dedicated to translation of brief texts from genres selected by the instructor. Subsequently, students choose texts to translate. The goal is to encourage thoughtful examination of literary language across linguistic and cultural boundaries. The course is conducted primarily in Spanish. Prerequisites: thorough knowledge of Spanish grammar; broad vocabulary in Spanish; permission of the instructor.
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4.00 Credits
This course explores texts by indigenous and European writers during the first century of the Spanish Conquest. Issues covered include the ways in which Native Americans found a place in their mythologies for these often brutal strangers, how Europeans found a mode of expression adequate to the utterly new reality that confronted them, and the Europeans' motivation and ideological justification for their treatment of indigenous populations. Students are encouraged to establish links between the recorded experiences of the conquest and certain characteristics of present-day writers such as García Márquez and Octavio Paz.
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2.00 Credits
This two-semester course, designed for prospective theater majors, focuses on accessing the beginning actor's imagination and creative energy. Using theater games, movement work, and improvisational techniques, the course seeks to expand the boundaries of accepted logic and encourages risk taking in the actor. Course work includes intensive classroom sessions, individual projects, and group projects.
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