Results for ILAC

An audiovisual introduction to Brazilian cultural and regional diversities. Films and Music from Samba to Bossa Nova to Tropicália to Hip-Hop. Rhythms and Spirituals of Capoeira and Candomblé. Amerindian songs. Dances and Rituals. Final visual-sonorous exhibition and performance by students. Taught in English.

This course introduces students to the theoretical knowledge and practicalnskills necessary to translate literary texts from Spanish to English andnEnglish to Spanish. Topics may include comparative syntaxes, morphologies,nand semantic systems; register and tone; audience; the role of translationnin the development of languages and cultures; and the ideological andnsocio-cultural forces that shape translations. Students will workshop andnrevise an original translation project throughout the quarter.

Borges's creative process and practice as seen through the lens of translation. How do Borges's texts articulate the relationships between reading, writing, and translation? Topics include authorship, fidelity, irreverence, and innovation. Readings will draw on Borges's short stories, translations, and essays. Taught in Spanish. Prerequisite: 100-level course in Spanish or permission of instructor.

The purpose of this course is to study major figures and historical trends in modern Iberia against the background of the linguistic plurality and social and cultural complexity of the Iberian world. We will study the fundamental issues of empire, the Napoleonic occupation of Spain, Latin American independence, recurring civil wars, federal republicanism, and the historic nationalisms (Galician, Basque, and Catalan), all leading up to the Spanish Civil War (1936-1939), which is a defining moment in modern Spanish and European history, with ongoing consequences still felt and debated painfully today in contemporary Spain. This course is designed to help prepare students for their participation in the Stanford overseas study programs in Barcelona and Madrid. Taught in Spanish.nNOTE: This course must be taken for a minimum of 3 units and a letter grade to be eligible for WAYS credit.

Part of the Gateways to the World program, this is an introductory course for all things Latin American: culture, history, literature, and current events. By combining lecture and seminar formats, the class prepares you for all subsequent research on, and learning about, the region. Comparative discussion of independence movements in Mexico, Central America, the Caribbean, the Andean Region, Brazil, and the Southern Cone. Other topics vary yearly, including: representations of ethnicity and class, the Cold War, popular culture, as well as major thinkers and writers. Open to all. Recommended for students who want to study abroad in Santiago, Chile. Required for majors in Spanish or Iberian and Latin American Cultures (ILAC). In Spanish.

Portuguese is the sixth most-spoken language in the world (roughly 250 million speakers now, with expected growth to 400 million by 2050) and the most-spoken language south of the Equator. It is the official language of nation-states on four continents, making it truly global in scope. Beyond Brazil, there are tens of millions of Portuguese speakers in Africa and Europe as well as smaller communities in Asia and North America. In this course, students will learn about the cultures and communities that make up the Portuguese-speaking world, even as they learn to critique the idea of linking these communities by means of a language that became global (like Spanish and English) through violent colonial expansion. Topics include art and music, film, poetry, short story, post-colonialism, indigeneity, crioulismo, empire, diaspora, semi-peripherality, modernism. Course taught in English with optional Portuguese section.

1800 to the mid 20th century. Topics include: romanticism; realism and its variants; the turn of the century; modernism and the avant garde; the Civil War; and the first half of the 20th century. Authors may include Mariano Jose de Larra, Gustavo Adolfo Becquer, Rosalia de Castro, Benito Perez Galdos, Jacint Verdaguer, Eca de Queiros, Miguel de Unamuno, Ramon de Valle-Inclan, Antonio Machado, and Federico García Lorca. Taught in Spanish. Prerequisites: SPANLANG 13 or equivalent.

This course will focus on artists, writers, and political leaders in Latin America whose work would change Latin American history. The historical significance of some of these individuals is polemical, but their influence in Latin American culture is nevertheless of great importance. The ¿heroes and heroines¿ to be studied include: Eva Peron, Frida Kahlo, Ernesto Guevara, Anthony Quinn, Evo Morales, Michelle Bachelet, Fidel Castro, Jose Mujica, Carlos Fuentes, German Valdes Tin Tan, Mario Moreno Cantinflas, Gabriel García Márquez, Niní Marshall."

Focus on how images and narratives of migration are depicted in recent Latin American film. It compares migration as it takes place within Latin America to migration from Latin America to Europe and to the U.S. We will analyze these films, and their making, in the global context of an evergrowing tension between "inside" and "outside"; we consider how these films represent or explore precariousness and exclusion; visibility and invisibility; racial and gender dynamics; national and social boundaries; new subjectivities and cultural practices. Films include: El niño pez, Bolivia, Ulises, Faustino Mayta visita a su prima, Copacabana, Chico y Rita, Sin nombre, Los que se quedan, Amador, and En la puta calle. Films in Spanish, with English subtitles. Discussions and assignments in Spanish.

Discusses the different artistic avatars exercised by Latin American modernistas at the turn of the 19th Century in the context of growing capitalism, technological innovation and social transformation. We focus on how modernistas as poets, journalists and collectors explored and transgressed the limits of the individual and his/her situation. We consider topics like cosmopolitanism, dandysm, autonomy of art, and the aesthetic cultivation of the self. Authors include: Delmira Agustini, Rubén Darío, Julián del Casal, Leopoldo Lugones, José Martí, Manuel Gutierrez Nájera, José Enrique Rodó, José Asunción Silva, and Abraham Valdelomar. Spanish proficiency required.

Focus is given to emergent theories of culture and on comparative literary and cultural studies. How do we treat culture as a social force? How do we go about reading the presence of social contexts within cultural texts? How do ethno-racial writers re-imagine the nation as a site with many "cognitive maps" in which the nation-state is not congruent with cultural identity? How do diaspora and border narratives/texts strive for comparative theoretical scope while remaining rooted in specific local histories. Note: This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit

Survey of Iberian literature from the medieval and early modern periods. When covering texts in languages other than Spanish, translations into English or Spanish will be made available. Taught in Spanish; prerequisite: SPANLANG 13 or equivalent.

Focus is on a close reading of Miguel de Cervantes¿s prose masterpiece. The rise of the novel, the problems of authorship and signification, modes of reading, the status of Muslim and Jewish converts in early modern Spain, the rise of capitalism, masochistic desire. This course will be conducted in English, and no prior knowledge of Spanish is necessary.

From independence to the present. A survey of significant authors and works of Hispanic and Brazilian Portuguese literatures, focusing on fictional prose and poetry. Topics include romantic allegories of the nation; modernism and postmodernism; avant-garde poetry; regionalism versus cosmopolitanism; indigenous and indigenist literature; magical realism and the literature of the boom; Afro-Hispanic literature; and testimonial narrative. Authors may include: Bolívar, Bello, Gómez de Avellaneda, Isaacs, Sarmiento, Machado de Assis, Darío, Martí­, Agustini, Vallejo, Huidobro, Borges, Cortázar, Neruda, Guillon, Rulfo, Ramos, Garcí­a Marquez, Lispector, and Bolaño. Taught in Spanish.

This course takes students on a trip to eight capital cities, at different moments in time: Renaissance Florence, Golden Age Madrid, Colonial Mexico City, Enlightenment and Romantic Paris, Existential and Revolutionary St. Petersburg, Roaring Berlin, Modernist Vienna, and bustling Buenos Aires. While exploring each place in a particular historical moment, we will also consider the relations between culture, power, and social life. How does the cultural life of a country intersect with the political activity of a capital? How do large cities shape our everyday experience, our aesthetic preferences, and our sense of history? Why do some cities become cultural capitals? Primary materials for this course will consist of literary, visual, sociological, and historical documents (in translation); authors we will read include Boccaccio, Lope de Vega, Sor Juana, Montesquieu, Baudelaire, Dostoyevsky, Irmgard Keun, Freud, and Borges. Note: To be eligible for WAYS credit, you must take the course for a minimum of 3 Units and a Letter Grade.

Pedro Almodóvar is one of the most recognizable auteur directors in the world today. His films express a hybrid and eclectic visual style and the blurring of frontiers between mass and high culture. Special attention is paid to questions of sexuality and the centering of usually marginalized characters. This course studies Pedro Almodóvar's development from his directorial debut to the present, from the "shocking" value of the early films to the award-winning mastery of the later ones. Prerequisite: ability to understand spoken Spanish. Readings in English. Midterm and final paper can be in English. Majors should write in Spanish.

Open only to students in the department, or by consent of instructor.

From the turn of the 19th century to well into the 20th century, novelists developed the theme of alienation and the decline of civilization. Along with the fall of centuries-old empires, World War I brought about the collapse of traditional European values and the dissociation of the subject. The aestheticizing of violence and the ensuing insecurity inaugurated the society of totally administered life, based on universal suspicion and pervasive guilt. The seminar will study narrative responses to these developments in some of the foremost authors of the 20th century from several European literatures: Knut Hamsun, Joseph Roth, Ernst Jünger, Virginia Woolf, Franz Kafka, Curzio Malaparte, Thomas Mann, Mercè Rodoreda, Antonio Lobo Antunes, and Jaume Cabré. Taught in English.

The poetry and prose of Fernando Pessoa (1888-1935), Portugal's greatest modern poet. As famous for his written work as for his complex understanding of selfhood, Pessoa remains a towering and largely perplexing figure even today. Class discussions will focus on close readings of Pessoa's work along with the implications of his theory of subjectivity for our understanding of modernity, aesthetics, and the self. Taught in English. Readings in Portuguese and English.

This course discusses a series of cultural and aesthetic interventions in Latin America -particularly within the realms of visual arts, literature, and cinema- that addresses a radical discussion of subjectivity, personal identity and "forms of living together" (BARTHES 2003). These interventions entail a deconstruction of personal identity and subjectivity, exploring figures of the impersonal and anonymous that insist in interrogating the intensity of a life irreducible to the notion of a self. Works by narrators like Teixeira Coelho (2006) or Diamela Eltit (2002), or installations by Rosângela Rennó (2008) or Gian Paolo Minelli (2007) -among many others- seem to have abandoned the concern with individuality and identity to explore figures of the impersonal out of which emerges a concern with collectivity and community. The course will cover literary works, installations and films by Chilean, Argentinean and Brazilian authors and artists. Course to be taught by Florencia Garramuño.

This interdisciplinary, 10 hour, 1-unit course, explores gender politics and representation in contemporary Latin American film, theory, and social movements. Seminar format, open to undergraduate and graduate students. Works may include: film: Señorita María (2017) by Rubén Mendoza (Colombia); studies by Marta Lamas (Mexico), Ana Amado (Argentina), and Sonia Corrêa (Brazil), among others. The course will be taught in Spanish at Bolivar House, 582 Alvarado Row. Schedule: The course dates are Monday, April 23 to Wednesday April, 25, 6:00-9:00pm. Instructor: Professor Moira Fradinger (Yale University), hosted by Professor Héctor Hoyos. NOTE: Professor Fradinger will also give a talk on "Antígonas: A Latin American Tradition," on Friday, April 27th, in the CLAS noon lecture series.

Spanish and Spanish American short stories approached through narrative theory and craft. Assignments are creative in nature and focus on the formal elements of fiction (e.g. character and plot development, point of view, creating a scene, etc.). Students will write, workshop, and revise an original short story throughout the term. No previous experience with creative writing is required. Readings may include works by Ayala, Bolaño, Borges, Clarín, Cortázar, García Márquez, Piglia, Rodoreda, and others. Enrollment limited.

Latin American and Spanish poetry approached through elements of craft. Assignments are creative in nature and focus on lyric subgenres (e.g. ode, elegy, prose poetry) and formal elements of poetry (e.g. meter, rhythm, rhetorical figures, and tropes). Students write original poems over the course of the quarter. No previous experience with creative writing is required. Authors include Dari­o, Machado, Jimenez, Vallejo, Huidobro, Salinas, Pales Matos, Lorca, Aleixandre, Cernuda, Neruda, Girondo. Course is offered every other year. Taught in Spanish. Prerequisite: 100-level course taught in Spanish, or equivalent. Enrollment limited to 10 students.

As the branch of philosophy that deals with the principles of beauty and artistic taste, aesthetics is, purportedly, universal. The course interrogates its conspicuous omission of Latin American theorization and cultural production. Three thematic axes are vanguardia, colonialidad, and populismo; a central concern is aesthetic responses to precariousness. Argentine, Brazilian, Chilean, Colombian, and Cuban essayism and visual arts from the mid 20th century to the present, notably origenismo, neo-baroque, and indigenismo. In collaboration with a cognate course at UC Berkeley. Taught in Spanish.nNOTE: This course must be taken for a minimum of 3 units and a letter grade to be eligible for WAYS credit.

From Patagonia to the US/Mexico border, this course examines diverse cinematic visions of the Latin American continent through documentaries, fiction films, stories, and essays. We will consider different regions and time periods, including representations of dictatorship/violence, the drug trade, and cities to explore how land, nature, and humanity interact in film and to what effect. Areas of focus are the Southern Cone, Brazil, and the US/Mexico/Central America borderlands, and students will gain a solid critical understanding of how to read film.

Two important concepts and theories realismo mágico and lo Real maravilloso have given sense and substance to Latin American literature during the last three decades. This course will focus on those concepts and on the works of Garcia Marquez and Alejo Carpentier, two key authors of modern Latin America. nNOTE: Taught by professor Tom Winterbottom.

Theories of Aurality and the concepts of Writing by Ear and the Echopoetics will be applied to the reading of novels. Authors may include: Machado de Assis, Oswald de Andrade, João Guimarães Rosa, Clarice Lispector, Juan Rulfo, Mia Couto, Ana Miranda and Nuno Ramos. Taught in Portuguese/Spanish at Bolivar House (582 Alvarado Row).

Open to seniors in ILAC and Spanish; juniors by permission of instructor. Salsa is the soundscape of 20th century Latin America. How is it possible that salsa stands for Latin American music? How can we understand its origin and its musical expansion? We learn how salsa voices transformation and self-exploration of different places and moments in all of Latin America and the US and we analyze how it travels across the world. We discuss musical examples in relation to colonialism, globalization, migration, nationalism, gender and ethnicity. As a core course of the Spanish major, Cultures of Salsa emphasizes the analysis of Spanish in real-world contexts. NOTE: This course must be taken for a minimum of 5 units and a letter grade to be eligible for WIM credit.

Open to seniors in ILAC and Spanish; juniors by permission of instructor. Focus is on a close reading of Miguel de Cervantes's collection of short fiction, the Novelas ejemplares (1613). The rise of the novel, literature and ethics, modes of reading, the status of Muslim and Jewish converts in early modern Spain, the rise of capitalism, the Baroque aesthetic. This course will be conducted entirely in Spanish. NOTE: This course must be taken for a minimum of 5 units and a letter grade to be eligible for WIM credit.

Why was Salvador Dalí fascinated with the architecture of Gaudí? Why did André Breton, Paul Éluard and Federico García Lorca visit Barcelona? Moreover, why did Catalonia become such an important cradle for Surrealism? Why is the (Catalan) landscape such a relevant presence in the work of Miró and Dalí? Through a critical analysis and discussion of selected works of art and literature, this seminar focuses and follows the trajectories of Miró and Dalí, from Barcelona to Paris to New York, and explores the role of their Catalan background as a potentially essential factor in their own contributions to Surrealism and the reception of their work. The course will provide the materials and guide the student to conduct research on a specific work(s) of art, architecture, literature or cinema either by Miró, Dalí or one of his peers in relation to their cultural, social and political context. The course is intended for graduate students in Iberian and Comparative Literature, Art History, Cultural Studies, and related fields. Taught in English by Jordi Falgàs i Casanovas.

The literary, cultural, and political implications of the 17th-century phenomenon formed in response to the conditions of the 16th century including humanism, absolutism, and early capitalism, and dispersed through Europe, the Americas, and Asia. If the Baroque is a universal code of this period, how do its vehicles, such as tragic drama, Ciceronian prose, and metaphysical poetry, converse with one another? The neobaroque as a complex reaction to the remains of the baroque in Latin American cultures, with attention to the mode in recent Brazilian literary theory and Mexican poetry.

Open to department advanced undergraduates or graduate students by consent of professor. May be repeated for credit.

The travelers, missionaries, and historians that reflected on Iberian overseas expansion during the early modern period often asked themselves a crucial question: was there only one world or many? Could the New World, unknown to the ancients, be entirely detached from the rest of human history? Many of these chroniclers continued to think that the world was divided into three parts: Europe, Asia, and Africa. In their descriptions of the Americas, they drew heavily on histories and travel reports pertaining to other epochs and locales, especially contemporary Asia and ancient Rome. Local authors and artists in the New World in this period used world history and news of distant conflicts to reflect on the immediacy of their historical experience. In this course, we will consider the ways in which historians, conquistadors, missionaries, and indigenous authors in New Spain (Mexico), Brazil, and Peru contemplated themselves in the looking glass of remote times and places: from Greco-Roman Antiquity to Lutheran Germany, from the Ottoman Mediterranean to the Apocalyptic End of Times. Students will reassess the importance of this archive to early modern studies writ large and challenge the scholarly tendency to frame the Iberian Peninsula as the center and the Americas as the periphery. Primary sources will include sixteenth and seventeenth-century chronicles, reports, poetry, theater, pictographic codices, feather mosaics, and maps. Reading knowledge of Spanish and a willingness to work with Portuguese required. Course to be taught by Nicole T. Hughes.

"Carne" mistranslates as "meat," "Körper," or "chair." Does the word codify into language a certain culturally specific experience of the body and its mediation with nature? In which ways does "flesh" subordinate nonhumans? How does the theme of meat articulate natural and political histories? This advanced research seminar tackles these questions across Latin American corpora: Piñera, Eltit, Echeverría, Bolaño, Bombal, and Lispector. Theorists include: Singer, Santner, and Ortiz. Culturalist, new materialist debates on cattle and corpses. This course will be taught in Spanish.

A border is a force of containment that inspires dreams of being overcome, crossed, and cursed; motivates bodies to climb over walls; and threatens physical harm. This graduate seminar places into comparative dialogue a variety of perspectives from Chicana/o and Mexican/Latin American literary studies. Our seminar will examine fiction and cultural productions that range widely, from celebrated Mexican and Chicano/a authors such as Carlos Fuentes (<em>La frontera de cristal</em>), Yuri Herrera (<em>Señales que precederan al fin del mundo</em>), Willivaldo Delgaldillo (<em>La Virgen del Barrio Árabe</em>), Américo Paredes (<em>George Washington Gómez: A Mexico-Texan Novel</em>), Gloria Anzaldúa (<em>Borderlands/La Frontera: The New Mestiza</em>), and Sandra Cisneros (<em>Carmelo: Puro Cuento</em>), among others, to musicians whose contributions to border thinking and culture have not yet been fully appreciated such as Herb Albert, Ely Guerra, Los Tigres del Norte, and Café Tacvba. Last but not least, we will screen and analyze Orson Welles' iconic border films <em>Touch of Evil</em> and Rodrigo Dorfman's <em>Los Sueños de Angélica</em>.nnProposing a diverse and geographically expansive view of the US-Mexico border literary and cultural studies, this seminar links the work of these authors and musicians to struggles for land and border-crossing rights, anti-imperialist forms of trans-nationalism, and to the decolonial turn in border thinking or pensamineto fronterizo. It forces us to take into account the ways in which shifts in the nature of global relations affect literary production and negative aesthetics especially in our age of (late) post-industrial capitalism.

This course offers an intensive reading of the theory of Eduardo Viveiros de Castro. Literature and Anthropology. Amerindian Perspectivism and the Poetics of Translation. Taught in Portuguese.

What visions of the Andes circulate in Latin American literature, photography and painting? How are they constructed? How is their value accrued? The course focuses on visual and written images of Andean landscapes. Beginning with 19th century technical photography, the course explores the visual economy of the Andes in representative texts and images from Peru, Bolivia and Chile, vis-à-vis critical discourses about Andean culture. In Spanish.

The African-Brazilian population in the state of Minas Gerais and the ritual of the coronation of the kings and the queens of the Congo in the Devotion to Our Lady of Rosario. Texts by Antonio Vieira, Guimarães Rosa and others. Multimedia digital experiments with videos and the production of sonic textures. Taught in Portuguese.

Introduction to modern Latin American history and historiography, including how to read and use primary sources for independent research.

In this course we will read texts from and about seventeenth- andneighteenth-century Brazil, with special emphasis on the baroquenaesthetic in literature, art, and music. Authors include AntónionVieira; Gregório de Matos; Bento Teixeira; Sebastião da Rocha Pita;nNuno Marques Pereira; Manuel Botelho de Oliveira; and Frei Itaparica.nReadings in English and Portuguese. Taught in English.

For Spanish and Portuguese department graduate students only. Prerequisite: consent of instructor.