Spanish and Latin American Studies Content Modules 2019/20

Level 4 Modules:

Full Module Title: Studying the Hispanic, Luso-Brazilian and Native American Worlds

Module Code: LNLN016S4

Credits/Level 30 / Level 4

Convenor: Dr Luis Trindade and Prof Luciana Martins (Term 1); Dr Fernando Sdrigotti (Term 2)

Lecturer(s): Dr Luis Trindade and Prof Luciana Martins (Term 1); Dr Fernando Sdrigotti (Term 2)

Entrance Requirements:

None. This module will be taught in English.

Day/Time: Mondays, 7.40-9.00 pm (Terms 1 and 2)

Module Description:

This module will equip you with key study skills to enable you to perform independent critical and scholarly work in your subsequent years of study. Areas of skills addressed include class preparation and note taking, using the library and other subject-specific resources, as well as building up academic writing skills through a variety of assessments such as an annotated bibliography and a critical review. These skills are implemented through the study of a range of key cultural concepts and artefacts, which this year will focus on militant cinema in the 1960s, Portuguese cinema novo, the visual arts in nineteenth-century Brazil, and, in the second term, the writing of the Mexican author, Juan Rulfo, and key examples of contemporary Mexican cinema.

Syllabus: Term 1 Topic Lecturer

30.09.19 Introduction to the course and term 1

Skills: note taking, class preparation (FR) (8.30-9.00pm) - LT / FR

07.10.19 Topic: Anti-Imperialism and Third Cinema: La Hora de

Los Hornos, Fernando Solanas and Octavio Getino

Readings: “Towards a Third Cinema”, by Fernando Solanas and Octavio

Getino; “One, Two… Third Cinemas”, by Jonathan Buchsbaum; “Third

Cinema / Militant Cinema”, by Mariano Mestman - LT

14.10.19 Skills: avoiding plagiarism

Topic: Cinema and Revolution: Red Line, José Filipe Costa

Readings: “When Cinema Forges the Event”, by José Filipe Costa - LT

21.10.19 Skills: how to do the first task

Topic: Cinema and the Nation: Kuxa Kanema, Margarida Cardoso

Readings/Viewings: “In the Name of Cinema Action and Third World”, by

Mahomed Bamba; and “Film Production in Lusophone África”, M. Diawara

LT

28.10.19 Short presentations on specific topics introduced in class.

LT

04.11.19 Reading week

Skills: Referencing and Plagiarism/Essay writing (6.00-9.00pm)

(TBC) FR

11.11.19 Skills: Library visit (students to meet Librarian at the

Library Seminar Room) LM

18.11.19 Imperial Rio de Janeiro

Martins, Luciana and Abreu, Mauricio, ‘Paradoxes of modernity: imperial

Rio de Janeiro, 1808-1821’ LM

25.11.19 European visions of Brazil: Jean-Baptiste Debret

Sadlier, Darlene, ‘Regal Brazil’ LM

2.12.19 Skills: how to write a CRITICAL REVIEW

• Analytical skills: developing close reading skills

• Reminder of plagiarism issues LM

9.12.19 Academia Imperial de Belas Artes: art and nationhood

Denis, Rafael Cardoso, ‘Academicism, imperialism and national identity:

the case of Brazil’s Academia Imperial de Belas Artes’ LM

Term 2 Reading Juan Rulfo’s Pedro Páramo (Literature and

Criticism)

13.01.20 Introduction to Pedro Páramo

Critical reading: Victor Shklovsky, ‘Art as Technique’ FS

20.01.20 Critical reading: Carlos Monsiváis, ‘Yes, Nor Do the Dead

Speak, Unfortunatley: Juan Rulfo’

Julio Ortega, ‘ Pedro Páramo: A Metaphor for the End of the World’

Skills: how to write an annotated bibliography + reminder of

plagiarism issues FS

27.01.20 Critical reading: Jean Franco, ‘Journey to the Land of the

Dead: Rulfo’s Pedro Páramo’

Joseph Sommers, ‘Through the Window of the Grave: Juan Rulfo’ FS

03.02.20 Critical reading: Patrick Dove, ‘Exígele lo nuestro:

Deconstruction, Restitution and the Demand of Speech in Pedro Páramo’

FS

10.02.20 Critical reading: Benedict Anderson: Imagined

Communities: The Origins and Spread of Nationalism (Introduction and

1st part of Chapter 1) FS

17.02.20 Reading week

Skills: Close reading and writing commentaries (Also, Preparation

for language exams) (6.00-9.00pm) (TBC) FR

24.02.20 Introduction to Contemporary Mexican Cinema

Guillermo del Toro, Cronos (1992) FS

2.03.20 Alejandro González Iñárritu, Amores perros (2000) FS

9.03.20 Gerardo Naranjo, Miss Bala (2013) FS

16.03.20 Alfonso Cuarón, Roma (2018) FS

23.03.20 Final revision

Skills: how to write an ANNOTATED BIBLIOGRAPHY

• Analytical skills: engaging with academic voices

• Reminder of plagiarism issues FS

Assessment Table:

Assignment Description Weighting Presentation and Individual first writing task 1000 words 20% Critical review 1200 words 40% Theme specific annotated bibliography 2000 words 40%

Essential and recommended texts:

TERM 1: Primary materials La hora de los hornos, Getino and Solanas, 1969 Linha Vermelha, José Filipe Costa, 2012 Kuxa Kanema, Margarida Cardoso, 2003 Artwork by Jean-Baptiste Debret, Augustus Earle and Artur Timóteo da Costa Secondary sources Part 1

Bamba, Mahomed. “In the name of ‘cinema action’ and Third World”, in Journal of African Cinemas, 2, 2011

Costa, José Filipe. “When Cinema Forges the Event”, in Third Text, January 2011

Gray, Ros. “Cinema on the Cultural Front: Film-Making and the Mozambican Revolution”, in Journal of African Cinemas, Volume 3, Number 2, 1 March 2012

Loftus, Maria. “Kuxa Kanema: the rise and fall of an experimental documentary series in Mozambique”, in Journal of African Cinemas, Volume 3, Number 2, 1 March 2012

Martin, Michael T. New Latin American Cinema. Theory, Practices and Transcontinental Articulations, Detroit: Wayne State University Press, 1997 Part 2

Denis, R. C., ‘Academicism, imperialism and national identity: the case of Brazil’s Academia Imperial de Belas Artes’, in R. C. Denis and C. Trodd (eds), Art and the Academy in the Nineteenth Century (Manchester University Press, 2000)

Martins, L. and Abreu, M., ‘Paradoxes of modernity: imperial Rio de Janeiro, 1808-1821’, Geoforum 32 (2001) 533-550

Philippou, S., ‘Modernism and National Identity in Brazil, or How to Brew a Brazilian Stew’, National Identities 7: 3 (2005) 245-264

Sadlier, D. J., ‘Brazil Regal’, in Brazil Imagined: 1500 to the Present (University of Texas Press, 2008) Recommended Reading

L. M. Schwarcz and H. M. Starling, Brazil: A Biography (London: Penguin, 2018)

TERM 2: Primary Texts Juan Rulfo, Pedro Páramo (Serpent’s Tail) + films to be discussed above Secondary Reading Copies of key readings will be provided.

Level 5 Modules:

Full Module Title: Approaches to Spanish Culture and Society

Module Code: LNLN020S5

Credits/Level: 30 / Level 5

Convenor: Dr Mari Paz Balibrea

Lecturer(s): Dr Mari Paz Balibrea

Entrance Requirements:

Should have completed Spanish 2. Texts taught in the target language.

Day/Time: Mondays, 6-9pm (Term 3)

Module Description:

This course is a survey of Spanish culture and society from the late 18th century to the present, conceived as a reflection on the development of modernity in the country. The course will make students familiar with cultural movements and phenomena such as the Enlightenment, Romanticism, Realism, the Avant-garde, popular and mass culture, “la Movida” or postmodernity; political forms and actors such as the Catholic Church, liberalism, Republic, monarchy, dictatorship and democracy; and historical events such as the crisis of 1898, the civil war, the transition. The material studied on this course will be diverse, ranging from literature to visual culture.

Syllabus: WEEK 1 Introduction to the module. Enlightened beginnings: Benito Jerónimo Feijoo “Defensa de las mujeres” (excerpts) and “Amor de la Patria y pasión nacional” (1726) WEEK 2 Enduring Spain (1): Mariano José de Larra “Vuelva usted mañana” (1833) WEEK 3 The view from outside: Orientalising Spain Merimée, Prosper. Carmen (1845) WEEK 4 Constructing a National Literature Pérez Galdós, Benito. Doña Perfecta (1876). WEEK 5 From Empire to Nation Ortega y Gasset, José. España invertebrada. (1921) WEEK 6 The Civil War: Posters from the War from the Republican and Fascist sides. WEEK 7 Francoism as reaction: Iconography of the early Francoist state. WEEK 8 Francoism as modernity: Palacios, Fernando La gran familia (1962) WEEK 9 Imagining democratic Spain Saura, Carlos. Cría cuervos (1975)

WEEK 10 Beyond modernity Almodóvar, Pedro. Carne trémula (1997)

Assessment Table:

Assignment Description Weighting Presentation 10 minutes presentation 30% Critical review In-class exercise 30% Essay 2500 words 40%

Essential Texts: Almodóvar, Pedro, Carne trémula (1997) Film Feijoo, Benito Jerónimo. “Defensa de las mujeres” (1726). Accessible on-

line: http://www.filosofia.org/bjf/bjft116.htm “Amor de la patria y pasión nacional” (1726): Accssible on-line:

http://www.filosofia.org/bjf/bjft310.htm (both articles part of Teatro Crítico Universal) Larra, Mariano José de. “Vuelva usted mañana” (1833) Articles available

on-line: http://www.gutenberg.org/files/31541/31541-h/31541-h.htm

Merimée, Prosper. Carmen (1845) (copies in English translation will be provided in class) Palacios, Fernando. La gran familia, (1962) Film Pérez Galdós, Benito. Doña Perfecta (1876). Novel Available on-line:

http://bib.cervantesvirtual.com/servlet/SirveObras/12709411925695940210435/index.htm

Ortega y Gasset, José. España invertebrada. (1921) Available on-line: http://www.unifi.it/offertaformativa/allegati/uploaded_files/2011/200011/B000159/ORTEGA.pdf

Saura, Carlos. Cría cuervos (1975)

Full Module Title: Power and Control in Spanish Golden Age Art

Module Code: ARCL010S5

Credits/Level: 30 / Level 5

Convenor: Dr Carmen Fracchia

Lecturer(s): Dr Carmen Fracchia

Entrance requirements:

None. Taught in English.

Day/Time: Fridays, 6.00-7.20 pm (Terms 1 and 2)

Module Description:

The central theme of this course will be the ways in which works of art respond to issues of power and control – including patronage, censorship, class, race and gender – from the sixteenth to the seventeenth century in Imperial Spain. We will explore the effects that a series of crucial events had in the articulation of the visual form, such as (a) the formation of the Hapsburg empire; (b) the relationship between popular and official religion and the imperial policies of purity of blood and religious art; (c) the relationship between the Catholic Reformation, the workings of the Inquisition, humanistic thought and mythological paintings; and (d) the links between questions of gender, class and race and the genre of portraiture. The course will also be structured around a series of key places where the visual form of the baroque period was most complex: Toledo, Madrid and Seville, the centre of the transatlantic slave trade. Primary texts to be examined will include works by painters and sculptors such as Sofonisba Anguissola, El Greco, Bartolomé Murillo, La Roldana, José Ribera, Diego Velázquez, Francisco de Zurbarán, and Juan de Valdés Leal.

Syllabus: TERM 1 4 Oct. Introduction to the course 11 Oct. Empire and the production of the visual form (1) 18 Oct. Empire and the production of the visual form (2) 25 Oct. Empire, Visual Culture and the Counter-Reformation (1): Philip II and the Spanish Court at El Escorial. 1 Nov. Empire, Visual Culture and the Counter-Reformation (2): El Greco at El Escorial and Toledo 8 Nov. Reading Week 15 Nov. Empire, Visual Culture and the Counter-Reformation (3): El Greco and Toledo 22 Nov. Empire, Visual Culture and the Counter-Reformation (4): the Christian body and popular devotion 6 Dec. Empire, Visual Culture and Counter-Reformation (5): the Christian body and popular devotion 13 Dec. Revision TERM 2 17 Jan. Empire, Visual Culture and the Counter-Reformation (6): La Roldana and popular devotion 24 Jan. Empire, Visual Culture and the Counter-Reformation (7): La Roldana and popular devotion 31 Jan. Counter-Reformation and Catholic Orthodox Humanism (1):

works by Velázquez 7 Feb. Counter-Reformation and Catholic Orthodox Humanism (2): works by Ribera 14 Feb. Empire, Portraiture and Gender: Fashioning the Self (1): Sofonisba Anguissola 21 Feb. Reading week 28 Feb. Empire, Portraiture and Gender: Fashioning the Self (2): Bartolomé Murillo, Francisco Zurbarán y Diego Velázquez 6 March Empire, Portraiture and Gender: Fashioning the ‘Other’: ’monsters’ and ‘dwarfs’: Velázquez and Ribera 13 March Empire, Portraiture and Gender and Human Diversity (1): Enslaved subjects 20 March Empire, Portraiture and Gender and Human Diversity (2): Enslaved subjects 27 March Revision

Assessment:

Assignment Description Weighting Written commentary To be submitted by 6 December 2019 1,500 words 30% Critical review To be submitted by 17 January 2020 1,500 words 30% Essay To be submitted by 22 May 2020 2,500 words 40% Total 100%

Essential Texts: -Brown, Jonathan, Painting in Spain 1500-1700 (New Haven, 1998) OR

by the same author, The Golden Age of Painting in Spain (1991).

-Brown, Jonathan, Images and Ideas in Seventeenth-Century Spanish

Painting (1978).

-Brown, Jonathan and Robert Engass, Italian and Spanish Art 1600-1750.

Sources and Documents (Evanston, Illinois, 1992), pp.161-167.

-Brooke, Xanthe and Peter Cherry (eds.), Murillo: Scenes of Childhood,

Exhibition Cat. (London, 2001).

-Earle, T. F. and K. J. P. Lowe (eds.), Black Africans in Renaissance

Europe (2005), chapters Introduction ,11 and 15.

-Ferino-Pagden, S. and M. Kusche, Sofonisba Anguissola: A

Renaissance Woman (1995).

-Fracchia, Carmen, ‘Constructing the Black Slave in Early Modern

Spanish Painting’ in Tom Nichols (ed.), Others and Outcasts in Early

Modern Europe: Picturing the Social Margins (2007), pp. 179-195.

-Fracchia, Carmen,‘Women’s Artistic Production and their Visual

Representation in Early Modern Spain’, in Geraldine Hazbun and Xon de

Ros (eds.), A Companion to Spanish Women’s Studies (Woodbridge:

Tamesis Boydell & Brewer, 2011), pp. 129-42.

-Fracchia, Carmen, ‘The Urban Slave in Spain and New Spain’, in

Elizabeth McGrath and Jean Michel Massing (eds.), The Slave in

European Art: From Renaissance Trophy to Abolitionist Emblem.

(London, 2012), pp. 195-216.

-Foucault, M., ‘Las Meninas’ in The Order of Things (1966).

-Greenblatt, Stephen, ‘Mutilation and Meaning’ in David Hillman and Carla

Mazzio (eds.), The Body in Parts: Fantasies of Corporeality in Early

Modern Europe (London, 1997).

-Laqueur, Thomas Making Sex: Body and Gender from the Greeks to

Freud (Cambridge, Mass, 1990).

-Maravall, José Antonio, Culture of the Baroque: Analysis of Historical

Structure, first edition 1975 (Manchester, 1986).

-Mulcahy, Rosemary,’ A matter of iconography’ in Ibid., Philip II of Spain:

Patron of the Arts (Dublin, 2004), pp. 54-67.

-Mulcahy, Rosemary, Philip II of Spain: Patron of the Arts (2004).

-Museo del Prado (Exh. Cat.), The Spanish Portrait from El Greco to

Picasso (2004).

-Pacheco, Francisco, Arte de la Pintura (1649) from Harrison, Charles,

Paul Wood and Jason Gaiger (eds.), Art in Theory: 1648-1815: An

Anthology of Changing Ideas (Oxford, 2000), pp.29-38 and pp.267-270.

-Palomino, Antonio, Lives of the eminent Spanish painters and sculptors

(1724), in Enriqueta Harris, Velázquez, (Oxford, 1982).

-Portús, Javier, The Sala Reservada and the Nude in the Prado Museum

(2002).

-Ravenscroft, Janet, ‘Dwarfs- and a Loca- as Ladies ‘Maids at the

Spanish Habsburg Courts’, in Nadine Akkerman and B Houben (eds.),

The Politics of Female Households (Leiden, 2014), pp. 147-77.

-Seznec, J. The Survival of the Pagan Gods (1972).

-Trapier, E. Du Gué, Valdés Leal (1960).

-Verdi Webster, S, Art and Ritual in Golden-Age Spain. Sevillian

Confraternities and the Processional Sculptures of Holy Week (1998).

-West, S.,Portraiture (Oxford, 2004)

-Wind, Barry, A Foul and Pestilent Congregation: Images of ‘Freaks’ in

Baroque Art (Aldershot, 1998).

-Wittkower, Rudolf, Art and Architecture in Italy: 1600-1750

(Harmondsworth, 1990), pp. 21-22.

Full Module Title: The Latin American Novel

Module Code: ARIB019S5

Credits/Level 30 / Level 5

Convenor: Dr Fernando Sdrigotti

Lecturer(s): Dr Fernando Sdrigotti

Entrance Requirements:

None. All texts are taught in English translation.

Day/Time: Monday, 6.00-7.30pm (Terms 1 and 2)

Module Description:

In this course you will be introduced to a wide variety of modern Latin American novels (mostly quite short), beginning with key writers such as Adolfo Bioy Casares, Alejo Carpentier, Gabriel García Márquez, Juan Rulfo and Julio Cortázar – usually considered to be at the origins of Latin American so-called ‘magical realism’ and modernism more generally – as well as such contemporary writers as Martín Felipe Castagnet, Pedro Lemebel, Yuri Herrera, Samanta Schweblin, and Alia Trabucco Zerán. Central to the course will be a discussion of novelists associated with what became known as the ‘boom’ in Latin American literature that emerged to world-wide celebration during the 1960s and 1970s, as well as the literature of dictatorship and post-dictatorship. Critically and theoretically, the course will engage with such issues as the idea of ‘world literature’, the relation between the novel and other media (from oral traditions to the internet via cinema and comics), as well as interrogate such widely disseminated notions as ‘magical realism’, ‘hybridity’ and ‘transculturation’. Some texts are available in Kindle editions.

Syllabus: Term 1: The 1940s to mid-1960s Week 1: Introduction to the course — The history of Latin American literature — Why the novel? Week 2: Adolfo Bioy Casares, The Invention of Morel (1940) — Argentina Week 3: Alejo Carpentier, The Kingdom of this World (1949) — Cuba Week 4: Norah Lange, People in the Room (1950) — Argentina Week 5: Juan Rulfo, Pedro Páramo (1955) — Mexico Week 6: READING WEEK Week 7-8: Gabriel García Márquez, One Hundred Years of Solitude (1967) — Colombia Weeks 9-11: Julio Cortázar, 62: A Model Kit (1968) — Argentina Term 2: The 1980s to 1990s and 2000s Weeks 1-2: Manuel Puig, Kiss of the Spider Woman (1976) — Argentina Week 3: Clarice Lispector, The Hour of the Star (1977) — Brazil Week 4: Pedro Lemebel, My Tender Matador (2001) — Chile Week 5: Horacio Castellanos Moya, Senselessness (2004) — El Salvador Week 6: READING WEEK Week 7: Yuri Herrera, The Transmigration of Bodies (2013) — Mexico Week 8: Samanta Schweblin, Fever Dream (2014) — Argentina Week 9: Martín Felipe Castagnet, The Bodies of Summer (2017) — Argentina Week 10: Alia Trabucco Zerán, The Remainder (2018) — Chile Week 11: REVISION

Assessment:

Term 1: Commentary (1500 words) – 30% Term 1: Critical Review (1500 words) – 30% Term 2: Final Essay (2500 words) – 40%

Essential Texts: All texts included in the syllabus above.

Level 5/6 Modules:

Full Module Title: Spanish Discourse Analysis

Module Code ARCL009S5 (L5) / ARIB132S6 (L6)

Credits/Level 30 Credits / Levels 5 & 6

Convenor: Dr María Elena Placencia

Lecturer(s): Dr María Elena Placencia

Entrance Requirements:

Pre-requisite: Spanish 3 or equivalent [for 1st year students, A-level or equivalent)

Day/Time: Thursdays, 6.00-9.00 pm (Term 2)

Module Description:

This course, aimed at advanced learners or native speakers of Spanish, focuses on the study of language use in context. Drawing on different linguistic theories and concepts within the broad field of (Spanish) Discourse Analysis, we will examine features of language use in different text types and contexts, including, for example, social media and advertising. We will look at both structural aspects in the construction of texts as well as social and functional ones. The course will help you gain a better understanding of how social interaction is (re)created through language, and a more advanced knowledge of linguistic mechanisms and strategies used by speakers of Spanish in their pursuit of different social and interpersonal goals.

Syllabus: Sample topics: El discurso oral: Datos empleados y aspectos metodológicos en su estudio El español coloquial: recursos de intensificación y atenuación El habla de conflicto El discurso mediado por ordenador El discurso publicitario

Assessment:

Level 5: -Linguistic analysis 2000 words (35%) -Transcription (or short questionnaire) + commentary 250 words (15%) -Essay 2500 words (50%) Level 6: -Linguistic analysis 2000 words (35%) -Transcription (or short questionnaire) + commentary 350 words (15%) -Essay 3000 words (50%)

Indicative Reading:

Selected chapters from the following (amongst other books): -Bou-Franch, Patricia y Garcés-Conejos Blitvich, Pilar (2018) Analyzing digital discourse. New insights and future directions. Basingstoke, Hampshire: Palgrave Macmillan. -Fuentes Rodríguez, Catalina (2010). La gramática de la cortesía en español/LE. Madrid: Arco/Libros. -Placencia, Maria Elena y Padilla, Xose (eds) (2019). Guía práctica de pragmática del español. London: Routledge. (ej. Capítulos sobre publicidad, discurso digital, empleo de emojis, atenuación e intensificación, etc.). -Poch, Dolors & Alcoba, Santiago (2011). Cortesía y publicidad. Barcelona: Planeta. -Yus, Francisco (2010). Ciberpragmática 2.0: nuevos usos del lenguaje en Internet. Barcelona: Planeta. Relevant articles from the following journals (amongst other journals): Oralia – Revista de Análisis del Discurso Oral, Journal of Pragmatics, Revista Estudios Discurso Digital, Language@Internet, E.L.U.A, Sociocultural Pragmátics.

Full Module Title: The Urban Experience in Brazil

Module Code: L5 code tbc / LNLN041S6

Credits/Level: 30 credits / Level 5 or Level 6

Convenor: Prof Luciana Martins

Lecturer(s): Prof Luciana Martins

Entrance Requirements:

No language requirement other than English

Day/Time: Mondays, 6-9pm (Term 2)

Module Description:

This course focuses on the spatial imaginations of the urban world in Brazil from the late nineteenth century to the present. Emphasis is on the dynamism of Brazilian cities, exploring the extent to which different worlds have been brought into close proximity within particular urban environments. It furthermore draws upon major strands of theorization of urban spaces and their representations within geography, history, anthropology, architecture, design and art history. We will also work with visual materials, principally photography and film. Addressing some of the ambiguities and complexities of cities such as Rio de Janeiro, São Paulo and Brasília, topics to be discussed include the legacy of slavery and colonialism; urban modernities; planning and power; buildings, monuments and myth; spaces of inequality, marginalisation and fear; and the city as an aesthetic and political act.

Syllabus: Introduction: urban imaginaries Week 1 – Worlds within cities: views from São Paulo; envisioning the Olympic city Boundaries and transgressions Week 2 – Geographies of exclusion; spatial segregation Week 3 – Geographies of fear; spaces of contestation Week 4 – Dystopian visions Week 5 – Group work Week 6 – Reading week Urban modernities Week 7 – Modernism and the city; modernity on display Week 8 – Urban politics; resisting modernity Week 9 – Gendered spaces; race, place and politics Week 10 – Spaces of utopia Week 11 – Concrete and imaginary spaces

Assessment:

Level 5: two essays of 2500 words each from a list of topics. Essay one should relate to material taught in the first term; essay two should relate to material taught in term two. Level 6: one essay of 2500 words from a list of topics and one independently researched essay of 3500 words, topic to be agreed with relevant tutor. Essay one should relate to material taught in the first term; essay two can relate to material taught in either term or both and should focus on two or more of the texts studied. The deadline for essay one is: Friday 6 March 2020 The deadline for essay two is: Friday 22 May 2020

Essential Texts: K. C. Bezerra, Postcards from Rio: Favelas and the Contested

Geographies of Citizenship (New York : Fordham University Press, 2017)

T P.R. Caldeira, City of Walls: Crime, Segregation and Citizenship in São

Paulo (Berkeley, CA: University of California Press, 2000)

M. Glenny, Nemesis: One Man and the Battle for Rio (London : Penguin,

2015)

D. Harvey, The Urban Experience (Oxford: Blackwell, 1989)

J. Holston, The Modernist City: An Anthropological Critique of Brasília

(Chicago: University of Chicago Press, 1989)

A. Kertzer, Favelization : The Imaginary Brazil in Contemporary Film,

Fashion, and Design (New York : Cooper Hewitt, National Design

Museum, 2014)

C. Lindner (ed), Globalization, Violence and the Visual Culture of Cities

(Oxford: Routledge, 2010)

H. Lefebvre, Writings on Cities (Oxford: Blackwell, 1996)

L. Martins, Photography and Documentary Film in the Making of Modern

Brazil (Manchester: Manchester University Press, 2013)

T. Meade, ‘Civilizing’ Rio: Reform and resistance in a Brazilian City, 1889-

1930 (University Park, PA: Pennsylvania State University Press, 1996)

M. Miles, T. Hall, I. Borden (eds), The City Cultures Reader, 2nd edition

(London: Routledge, 2004)

P. Oosterbaan, Transmitting the Spirit Religious Conversion, Media, and

Urban Violence in Brazil (Pennsylvania: Penn State University Press,

2017)

S. Pile & N. Thrift (eds), City A-Z (London: Routledge, 2000)

J. Robinson, Ordinary Cities: Between Modernity and Development

(London: Routledge, 2006)

L. Sá, Life in the Megalopolis: Mexico City and São Paulo (Oxford:

Routledge, 2007)

A. Silva (ed), Urban Imaginaries from Latin America (Ostfielden-Ruit:

Hatje Cantz, 2003)

R. J. Williams, Brazil (London: Reaktion, 2009)

Films

Alice (Karim Aïnouz and Sergio Machado, 2008)

Babilônia 2000 (Eduardo Coutinho, 2002)

Brasília, Contradições de uma Cidade Nova (Brasilia, Contraditions of a

New City, Joaquim Pedro de Andrade, 1968)

Doméstica (Housemaids, Gabriel Mascaró, 2012)

O Invasor (The Trespasser, Beto Brant, 2002)

Ônibus 174 (Bus 174, José Padilha and Felipe Lacerda, 2002)

Que horas ela volta? (The Second Mother, Anna Muylaert, 2015)

Um Lugar ao Sol (High Rise, Gabriel Mascaró, 2009)

Other Important Information:

The course will be conducted in a colloquium format. All students will be

expected to attend every session and to participate actively in class

discussion.

Level 6 Modules:

Full Module Title: Advanced Portuguese Seminar: ‘Vanguardas’

Module Code: TBC

Credits/Level: 30 credits / Level 6

Convenor: Prof Luciana Martins

Lecturer(s): Prof Luciana Martins

Entrance Requirements:

Post A-level Portuguese or equivalent.

Day/Time: Tuesdays, 6-9pm (Term 2)

Module Description:

Advanced Portuguese Seminar is intended for students with a high level of Portuguese, and to take the module you must have reached a level equivalent to that of Post A-level, or higher. It is usually taken in the final year of your studies. The course approaches the theme of ‘Vanguardas’ through the study and close reading of a number of core texts. This year, the focus will be on Mário de Andrade (1893-1945), one of the leading intellectuals of his generation in Brazil. We will focus on Paulicéia Desvairada (1922), O Turista Aprendiz (1926; 1928) and Macunaíma (1928), as well as personal correspondence, newspaper articles and other texts. We will analyse Mário de Andrade’s views on urban modernity, visual arts, photography, cinema, architecture, ethnography, music, folklore and cultural heritage, including his project of critical nationalism. In particular, we will consider his complex relationship with the European avant-garde, as well as his legacy to Brazilian culture and society. The course is also intended to help you to develop your Portuguese language skills, and to this end is entirely taught and assessed in Portuguese. The main assessment is a 5000-word research essay, written in Portuguese, related to one of the topic areas you have covered in the course. Some classes will take the form of research skills workshops to help you with the research essay; and a personal tutorial will also be provided.

Syllabus: Introdução / Introduction Week 1 – A Semana de Arte Moderna de 22; Paulicéia Desvairada (1922) Conhecendo o Brasil / Knowing Brazil Weeks 2 and 3 – O Turista Aprendiz: Viagens pelo Amazonas até o Peru, pelo Madeira até a Bolivia e por Marajó até dizer chega (1927) Week 4 – O Turista Aprendiz: Dois fragmentos do diário (1928) Week 5 – Câmara Cascudo e Mário de Andrade. Cartas (1924-1944) Week 6 – Reading Week Week 7 – Sociedade de Etnografia e Folclore (1937-1938): ‘O Samba Rural Paulista’ (1936); Missão de Pesquisas Folclóricas (1938) Repensando o Brasil / Re-thinking Brazil Week 8 – Macunaíma: O herói sem nenhum caráter (1928)

Film: Macunaíma (Joaquim Pedro de Andrade, 1969) Week 9 – ‘Anteprojeto para a criação do Serviço do Patrimônio Artístico Nacional’ (1936) Week 10 – Mário de Andrade: cartas de trabalho. Correspondência com Rodrigo Mello Franco de Andrade (1936-1945) Week 11 – Students’ presentations

Assessment: 1. Literature review, in Portuguese, 2000 words, 20%, due 28 February 2020 2. Students’ presentations, in Portuguese. Each student will present their work in progress (20 minutes plus written summary of the entirely Research Essay 500 words), 20%, due 24 March 2020 3. Research Essay, in Portuguese, 5000 words, 60%, due 22 May 2020 NB All three elements of the course must be passed in order to pass the module overall.

Essential Texts: Primary texts M. de Andrade, ‘Paulicéia Desvairada’ in Poesias Completas, edição crítica de D. Z. ManIIo (Belo Horizonte: ltatiaia ; Editora da Universidade de São Paulo, 1987), pp. 78-102, availabe at https://iedamagri.files.wordpress.com/2014/07/mario-de-andrade_pauliceia-desvairada.pdf M. de Andrade, O turista aprendiz / Mário de Andrade ; edição de texto apurado, anotada e acrescida de documentos por Telê Ancona Lopez, Tatiana Longo Figueiredo; Leandro Raniero Fernandes, colaborador (Brasília: Iphan, 2015), available at http://portal.iphan.gov.br/uploads/publicacao/O_turista_aprendiz.pdf M. de Andrade e L. da C. Cascudo, Câmara Cascudo e Mário de Andrade. Cartas, 1924-1944. Organização e notas M. A. de Moraes (São Paulo: Global, 2010). M. de Andrade, ‘O samba rural paulista’, Revista do Arquivo Municipal 41 (1937), 51-64 M. de Andrade, Cartas de Trabalho: Correspondência com Rodrigo Mello Franco de Andrade, 1936-1945 (Brasília: Secretaria do Patrimônio Histórico e Artístico Nacional / Fundação Pró-Memória, 1981) Film Macunaíma (Joaquim Pedro de Andrade, 1969) Secondary sources M. R. Batista (ed), ‘Mário de Andrade’, Revista do Patrimônio Histórico e Artístico Nacional 30 (2002), available at http://portal.iphan.gov.br/uploads/publicacao/RevPat30_m.pdf E. Gabara, Errant Modernism: The Ethos of Photography in Mexico and Brazil (Duke University Press, 2008) L. Martins, ‘Mário de Andrade: photographic experiment and living heritage’, in Photography and Documentary Film in the Making of Modern Brazil (Manchester: Manchester University Press, 2013), pp. 131-158 A. C. Melo, ‘Macunaima: entre a crítica e o elogio a transculturacao’, Hispanic Review 78: 2 (2010), 205-227 F. F. Pacheco, ‘Archive and Newspaper as Media in Mário’s Ethnographic

Journals, O turista aprendiz’, Hispanic Review 84: 2 (2016), 171-190 F. J. Rosenberg, The Avant-Garde and Geopolitics in Latin America (Pittsburgh, PA: Pittsburgh University Press, 2006) L. Sá, ‘Macunaíma’, in Rain Forest Literatures: Amazonian Texts and Latin American Culture (Minneapolis, MN: University of Minnesota Press, 2004), pp. 35-68 N. Sevcenko, Orfeu Extático na Metrópole: São Paulo, sociedade e cultura nos frementes anos 20 (São Paulo: Companhia das Letras, 2000) R. Stam, ‘Full circle: from Cervantes to magic realism’, in Literature through Film: Realism, Magic, and the Art of Adaptation (Malden, MN: Blackwell, 2005), pp. 307-370 D. Williams, Culture Wars in Brazil: The First Vargas Regime, 1930-1945 (Durham: Duke University Press, 2001)

Other Important Information:

Students attending the seminar will be expected to present an analysis and lead a discussion of the week’s readings and themes, to be given twice over the course of the term.

Full Module Title: Aesthetics and Politics: International Intellectuals and the Spanish Civil War

Module Code: ARCL008S6

Credits/Level: 30 at level 6

Convenor: Dr Mari Paz Balibrea

Lecturer(s): Dr Mari Paz Balibrea

Entrance Requirements:

No knowledge of Spanish required.

Day/Time: Wednesdays, 6-9pm (Term 2)

Module Description:

It is well recognized within the field of Spanish studies that the Civil War (1936-1939) is the defining, most determining event of the country’s 20th Century. But the Spanish Civil War was of major importance, not only at a national level, but at an international, geopolitical and cultural one too. Gathering pace from the previous decade, the 1930s was a period of global political polarization triggered by the emergence of the communist USSR as a world power on the one hand and by the rise of fascism in Germany and Italy on the other. Both will take a major part in the development of events in Spain, not only as actors in it, but on the way they determined the positions taken by Western democratic powers vis a vis the Spanish war, which in turn would seal the fate of the Second Republic. In addition, the first decades of the 20th Century are also a period, led by the avant-gardes, of intense political and social reflection for artists and intellectuals: on the relation between their aesthetic and their political commitment and responsibility, on the public role they should play at a moment in history when radical social transformation was perceived as imminent. The war in Spain provided major intellectuals and artists across the world with a concrete symbolic, and in many cases physical arena where to materialize their aesthetic qua political commitment. At that crucial crossroads, the Spanish war was able to capture the imagination of an entire generation of artists and intellectuals, who saw in “The Good Fight” their unadjournable opportunity to intervene in changing the course of history. As a consequence, one can say that, despite the marginal role Spain was already playing at the time in the world arena, the Civil War constitutes a historical conjuncture where Spain moves from a peripheral to a central role in world affairs. Focusing on those non-Spanish intellectuals and artists who took sides mainly, but not only, with the Republic, our module will explore: first, the international political, historical and cultural climate that explains this phenomenon; second, the way that the Spanish Civil war shaped the cultural production of each of the artists under study; and finally, how the experience of this war anticipated, in the work of some of these intellectuals, a geopolitical and geo-cultural context that only a decade after would become hegemonic: the Cold War.

Syllabus: WEEK 1 Introduction to the module. Historical introduction to the Spanish Civil War The Spanish Civil War as a global event WEEK 2 Intellectuals and political commitment: the aesthetic and politics debates of the 1930s WEEK 3 Georges Bernanos, A Diary of My Time (1938) WEEK 4 Roy Campbell. Flowering Rifle. A Poem from the Battlefield of Spain (1936) WEEK 5 George Orwell, Homage to Catalonia (1938) WEEK 6, READING WEEK WEEK 7 Langston Hugues. Writings on Spain (1937-1939) WEEK 8 Ernest Hemingway, For Whom the Bell Tolls (1940) WEEK 9 Blockade (1938, film) Dir. William Dieterle WEEK 10 Robert Capa’s photographies of the Spanish Civil War WEEK 11 Final remarks

Assessment Table:

Assignment Description Weighting Essay 1 2500 words 40% Essay 2 3500 words 60%

Essential Texts: Campbell, Roy. Flowering Rifles. A Poem from the Battlefield of Spain. Capa, Robert. Photographies of the Spanish Civil War Blockade (film) Dir. William Dieterle Graham, Helen. The Spanish Civil War. A Very Short History. Oxford UP, 2005. Hemingway, Ernest. For Whom The Bell Tolls. Hugues, Langston. Writings on Spain (to be distributed in class) Orwell, George. Homage to Catalonia

Full Module Title: Project BA Spanish, Portuguese and Latin American Studies

Module Code: LNLN030S6

Credits/Level: 30 Credits / Level 6

Convenor: Dr María Elena Placencia

Lecturer(s): Lecturers in Spanish, Portuguese and Latin American Studies

Entrance Requirements:

Students are advised to choose/propose a topic related to a module or modules that they have taken before as part of their degree programme. They need to have the relevant background in order to be able to undertake a given research project successfully.

Day/Time: N/A

Module Description:

Taken in the final year, the Project is a research module that allows students to explore in depth a topic of their interest, over the course of their final year. It has equal weight as a full 30-credit module and it is not taught. As such, students are required to undertake work equivalent to that required for any 30-credit module. The topic is selected by students in consultation with their supervisor (i.e., a lecturer who has agreed to act as their supervisor).

Syllabus: N/A

Assessment Table:

1. Monday 11 November 2019: Deadline for students to provide a

working title of their project (in consultation with their supervisor).

2. Friday 24 January 2020: Deadline for students to submit to

Moodle a project plan, a draft chapter, and a bibliography of works

consulted or to be consulted via Turnitin.

3. Monday 11 May 2020: Deadline for the submission of the full

project via Turnitin.

Please note: - The project should not normally exceed 8,000 words.

- Projects may be written in English, Spanish or Portuguese (in

consultation with supervisor), but no extra credit will be given for

writing in Spanish or Portuguese.

Essential Texts: N/A. It is an independent research project.

Other Important Information:

Students should discuss the final year project with the BA SPLAS course director or their personal tutor in the summer term of their second, third or fifth year of study (second, for full-time students; third, for part-time students; fifth, for students on the decelerated route). The course director / personal tutor will recommend a potential supervisor for the project with whom the student should arrange an appointment soon after, before the start of the summer break. Students are advised to start working on their project during the summer break (e.g. doing bibliographical searches, etc.) but only if their topic has been approved by a supervisor in the Section. During the academic year, students will see their supervisor on at least three occasions. Students will not be permitted to begin a project after the sixth week of the autumn term.

Full Module Title: Scenes of Portuguese History. Cultural approaches to modern politics

Module Code: ARIB129S6

Credits/Level: 30 Credits / Level 6

Convenor: Dr Luis Trindade

Lecturer(s): Dr Luis Trindade, Dr Patrícia Sequeira Brás

Entrance Requirements:

None. Taught in English.

Day/Time: Wednesday, 6-9pm (Term 1)

Module Description:

This course narrates the dramatic history of Portuguese modern politics through different objects, from political discourse and literature to music and film. Its aim is twofold: to familiarize students with two key historical processes in twentieth-century Portuguese society (Salazarism and postcolonial cinema) and to analyse these as scenes and performances with specific actors and plots. Accordingly, classes will articulate a chronological approach to different political periods and events, on the one hand, with cultural objects representing images familiar to each period. In this sense, we will for example explore the relations between mass propaganda and fascism, poetry and political resistance, literature and colonialism, film and revolution, and rock and democracy. All the former cultural forms represent both an image and a social phenomenon of the latter historical contexts, with a particular, and complex, relation with its political forms.

Syllabus: I - Salazarism Week 1: The Discourses of Oliveira Salazar Week 2: Salazarism and film Week 3: Salazarism and Popular Music Week 4: Antifascism and poetry Week 5: Colonialism II – Poscolonial cinema Week 6: A Portuguese Farewell, João Botelho Week 7: Tabu, Miguel Gomes Week 8: Colossal Youth, Pedro Costa Week 9: Kuxa Kanema, Margarida Cardoso Week: No Man’s land, Salomé Lamas

Assessment: 2 essays: Essay 1 - 2500 words (40%) Essay 2 – 3500 words (60%)

Essential Texts: Almeida, Miguel Vale de. An earth-colored sea: “race”, culture and the politics of identity in the post-colonial Portuguese-speaking world (New York: Berghahn, 2004)

Anderson, Perry, “Portugal and the end of Ultra-Colonialism” (I, II, III), in New Left Review, 15, 16, 17, 1962

Birmingham, David. A Concise History of Portugal (Cambridge University Press, 1993)

Birmingham, David. Portugal and Africa (Basingstoke: Macmillan, 1999)

Castro, Paul Melo e, Shades of Grey: 1960s Lisbon in Novel, Film and Photography (London: MHRA Texts and Dissertations, 2011).

Cohen, Robert, Understanding Peter Weiss (Columbia: University of South Carolina Press, 1993)

Costa, João Bénard, Stories of Cinema (Lisbon: INCM, 1991) Ferro, António Ferro, Salazar. Portugal and Her Leader (London,

Faber and Faber, 1939) Grilo, João Mário, “The Subaltern Image. Reflections on

Portuguese Audio-Visuals in the Post 25th April Era”, in Portugal: a cinematographic portrait (Lisbon. Número, arte e cultura, 2004)

Kaufman, Helena, Anna Klobucka. After the revolution: twenty years of Portuguese literature, 1974-1994 (London: Associated University Presses, 1997)

Leal, João, “The Making of Saudade”, in Dekker, Tom et alia, Roots and Rituals. The construction of ethnic identities (Amsterdam: Het Spinhuls, 2000)

Macedo, Hélder and E.M. de Melo e Castro (sel). Contemporary Portuguese Poetry: an anthology in English (Manchester: Carcanet New Press, 1978)

Maxwell, Kenneth. The Making of Portuguese Democracy (Cambridge University Press, 1997)

Meneses, Filipe Ribeiro. Salazar: a political biography (New York: Enigma Books, 2009)

Monteiro, Paulo Filipe, “The Burden of a Nation”, in Portugal: a cinematographic portrait (Lisbon. Número, arte e cultura, 2004)

Mira, Alberto. The Cinema of Spain and Portugal. (London: Wallflower, 2005)

Neves, João César das, “Portuguese Post-War Growth: A global approach”, in Crafts, Nicholas, and Toniolo, Gianni, Economic Growth in Europe since 1945 (Cambridge: Cambridge University Press, 1996)

Port, Mattijs van de, “Amália. Some reflections on the death of a Portuguese star”, in Etnofoor, vol. 12, 2 (1999)

Pinto, António Costa. Salazar’s Dictatorship and European Fascism: problems of interpretation (Boulder: Social Science Monograph, 1995)

Pinto, António Costa (ed.). Contemporary Portugal: politics, society and culture (Boulder: Social Science Monograph, 2005)

Pinto, António Costa (ed.). The Last Empire: thirty years of Portuguese decolonization (Bristol: Intellect, 2003)

Raby, D.L. Fascism and Resistance in Portugal: communists, liberals, and military dissidents in the opposition to Salazar, 1941-1974 (Manchester University Press, 1988)

Rothwell, Phillip. A Canon of Empty Fathers (Lewisburg: Bucknell University Press, 2007)

Royo, Sebastian, “From Authoritarianism to the European Union:

The Europeanization of Portugal”, in Mediterranean Quaterly, vol. 15, 3, 2004

Sapega, Ellen W., “Image and Counter-Image: The Place of Salazarist Images of National Identity in Contemporary Portuguese Visual Culture”, in Luso-Brazilian Review, 39, 2, 2002

Salazar, António de Oliveira, Doctrine and Action (London, Faber and Faber, 1939)

Sardica, José Miguel. Twentieth Century Portugal: a historical overview (Universidade Católica Editora, 2008)

Shaw, Lisa, “Song of Lisbon”, in Mira, Alberto. The Cinema of Spain and Portugal. (London: Wallflower, 2005)

Torgal, Luís Reis, “Propaganda, ideology and cinema in the Estado Novo of Salazar: The conversion of the unbelievers”, in Contemporary Portuguese History Online, working paper

Vernon, Paul, A History of Portuguese Fado (London: Ashgate, 1998)

Weiss, Peter, “Song of the Lusitanian Bogey”, in Two Plays (New York: Atheneum, 1970)

Wheeler, Douglas L. and Walter C. Opello Jr., Historical Dictionary f Portugal (Lanham: The Scarecrow Press, 2010)