Results for ILAC

This three-quarter sequence asks big questions of major texts in the European and American tradition. What is a good life? How should society be organized? Who belongs? How should honor, love, sin, and similar abstractions govern our actions? What duty do we owe to the past and future? The second quarter focuses on the transition from the Middle Ages to Modernity, Europe's re-acquaintance with classical antiquity and its first contacts with the New World. Authors include Dante, Shakespeare, Machiavelli, Cervantes, and Milton. N.B. This is the second of three courses in the European track. These courses offer an unparalleled opportunity to study European history and culture, past and present. Take all three to experience a year-long intellectual community dedicated to exploring how ideas have shaped our world and future. Students who take HUMCORE 11 and HUMCORE 12Q will have preferential admission to HUMCORE 13Q (a WR2 seminar).

This course introduces students to the theoretical knowledge and practical skills necessary to translate literary texts from Spanish to English and English to Spanish. Students will workshop and revise a translation project throughout the quarter. Topics may include comparative syntaxes, morphologies, and semantic systems; register and tone; audience; the role of translation in the development of languages and cultures; and the ideological and socio-cultural forces that shape translations.

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.

Do you like "Narcos" on Netflix and want to learn more about the Drug Wars and its representation? Are you curious about Colombia? The present sophomore seminar serves the double purpose of introducing you to Colombian culture and of training you in sophisticated rhetorical analysis. At the end of the course you will be a better reader and writer (in Spanish, no less!). You will also have familiarity with a country that in some ways is a "meta-Latin American country," for it includes the regional cultures of the Caribbean, Pacific, Andes, plains, and Amazon jungle. We will read fascinating novels that deal with the sugar plantation economy in the 19th century, the exploitation of rubber at the onset of the 20th, and the coffee and cocaine booms leading to the present. Some things to expect: gripping, tragic love stories among the landed elites of the Pacific Coast, and among their slaves, set against the backdrop of a landscape forever transformed by agriculture (La María); dangerous adventures of city-dwellers turned jungle explorers (La Vorágine), a strike among banana workers turned supernatural catastrophe (Cien años de soledad); the criminal legacy of Pablo Escobar, a man who built an empire of coca leaf, as a symptom of broader societal problems (La parábola de Pablo). This rare course offering will allow you to gain granular knowledge about a fascinating body of literature. You will also become acquainted with an exciting method of cultural analysis called "new materialism." Taught in Spanish.

Short stories, poetry, and theater. What analytical tools do the "grammars" of different genres call for? What contact zones exist between these genres? How have ideologies, the power of patronage, and shifting poetics shaped their production over time? Authors may include Arrabal, Borges, Cortázar, Cernuda, García Márquez, Lorca, Neruda, Rivas. 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 cultural complexity of the Iberian world. We will cover the period from the loss of the Spanish empire, through the civil wars and dictatorships to the end of the Portuguese Estado Novo and the monarchic restoration in Spain. Particular attention will be given to the Peninsula's difficult negotiation of its cultural and national diversity, with an emphasis on current events. This course is designed to help prepare students for their participation in the Stanford overseas study program in Spain. Taught in Spanish.

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.

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 ever-growing 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: Bolivia, Copacabana, La teta asustada, Norteado, Sin nombre, Migración, Ulises, among others. 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.

In this hands-on workshop students will read a range of contemporary writers from the Spanish-speaking world in order to frame and better work with writing prompts issued in class (at least six). Students will investigate the notion of dissapropriation and cross-genre practices as they turn in writing exercises on weekly basis. We will end the class with a revised final piece and a public reading.

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

Known as "The Land of Samba," Brazil has one of the richest and most varied musical cultures in the world. The course will explore the main genres and movements in Brazilian music history through the examination of selected songs by the country's most important artists and composers. Focus is on the social, racial, gendered, and political role of music in the making of Brazilian identity, as well as the peculiar dialogue that Brazilian music has had with literature and poetry, constantly questioning the border between high and low culture, elite and mass. Special attention will be given to all non-musical aspects that contribute to the definition of the meaning of the song (album cover design, marketing strategy, visual performance, artist's look, video clips, etc.). A famous old song by Noel Rosa claims that, "nobody learns samba at school." The course is designed to contradict this statement. Taught in English. Students have the option of doing all readings and assignments in English or in Portuguese. Students majoring or minoring in Spanish may submit their final papers in Spanish.

During his trips to New York in the second half of the 1930s, just before his 8-year period in the US (1940-48), Salvador Dalí presented himself by saying: "I am Surrealism." However, André Breton, who had founded Surrealism in 1924 in Paris, had officially expelled him from that movement in 1934. Dalí, along with other Spanish artists moved to the French capital attracted by the new artistic wave and later exported it to different parts of the world. In this course, we will examine the idea of Surrealism in relation to Dalí's very personal interpretation of it, and contrast that with how it affected other Iberian and Latin American artists like Joan Miró, Luís Buñuel, Federico García Lorca, Alejo Carpentier, Frida Kahlo, Remedios Varo, Fernando Arrabal or Alejandro Jodorowsky. You will learn about early 20th century Spanish history and cultural context, including the Avant-garde, the Generation of 27, and how they used irrationality for creative purposes. The use of Surrealist techniques will be encouraged for the midterm assignment. NOTE: This class fulfills the ILAC Iberian requirement. Majors should register in their home department; non-majors may register in any sponsoring department.

From roughly 1000 to 1700 CE. A survey of significant authors and works of early Iberian literatures, focusing on fictional/historical prose and poetry. Topics include lyric poetry and performance, the rise of European empire, Islam in the West, the rise of the novel, early European accounts of Africa and the Americas. Authors may include: Andalusi lyric poets, Llull, the Archpriest of Hita, Zurara, March, Rojas, Vaz de Caminha, Cabeza de Vaca, Sá de Miranda, Monte(ay)or, Teresa of Ávila, Camões, Mendes Pinto, Góngora, Sóror Violante do Céu, Sor Juana, Calderón, and Cervantes. Taught in Spanish.

Focus is on a close reading of Miguel de Cervantes's prose masterpiece. Topics include: the rise of the novel, problems of authorship and meaning, modes of reading, the status of Muslim and Jewish converts in early modern Spain, the rise of capitalism, masochistic desire. Taught in Spanish. Prerequisites: SPANLANG 13 or equivalent.

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 major 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, Dante, Sor Juana, Montesquieu, Baudelaire, Gogol, Irmgard Keun, Freud, and Borges. Note: To be eligible for WAYS credit, you must take the course for 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 explores vital moments in Brazil after its republican revolution of 1889 until the present. Through a cultural lens, we will study moments in Brazil's various impulses for "progress" and "modernity." Through various authors, films, artworks, and manifestos from Brazil's biggest cities to the backlands and to the Amazon, we seek to imagine contemporary Brazil from a deep understanding of its cultural and historical context. Specific areas of focus include the Modern Art Week of 1922 in Sao Paulo, the construction of Brasilia, and the rise (and fall) of Brazil in the 2010s. Taught in English, with readings available in English and Portuguese and an option for students to complete assignments in Portuguese if desired.

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 the formal elements of poetry (meter, rhythm, lineation, rhetorical figures and tropes) and the exploration of lyric subgenres (e.g. ode, elegy, prose poem). Students write original poems throughout the quarter. No previous experience with creative writing is required. Prerequisite: 100-level course in Spanish or permission of instructor. Enrollment limited.

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.

In this course we will examine various ways in which modern Spain addressed and re-interpreted its Arab past, as well as the influence of these interpretations on the colonization of Northern Africa. We will do so by analyzing and discussing nineteenth and twentieth-century Spanish literary works from a variety of genres (drama, essays, novels, travel accounts), and in dialogue with contemporary theory. We will address issues such as: the unstable national identities of Spain and northern-Africa; the relation between these identities and European modernity; the continuation of pre-modern racial discourses alongside the appearance and consolidation of modern racial categories; and the interrelationship between new colonial practices and discourses of gender and sexuality.

In this course, we will explore fundamental concepts of the environmental humanities as they relate to the inseparable natural and cultural phenomena that constitute climate change in Latin America. The course will be structured around different ecological themes¿such as, energy and extractive industries, the Amazon, the desert, the Andes, the Caribbean, urban habitats¿that will be examined through twentieth- and twenty-first-century Latin American novels, film, short story, and song. Possible authors include Gloria Anzaldúa, Macarena Gómez-Barris, Gabriel García Márquez, and José Eustasio Rivera. We will consider the ethics and politics of climate change in the Americas, how the methodologies of literary and decolonial studies can generate insights into contemporary climate change impacts in Latin America, and what role culture has in a period defined by chronic and slow-moving environmental crisis and recovery. Taught in English.

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.

Themes like "people," "revolt," "community," "utopia" and "landscape" are central to 20th century Andean narrative and its accompanying critical apparatus. The course reviews major works of Andean literature to reconsider the aesthetic and intellectual legacy of modernity and modernization in the region. We discuss changes in recent literature and film. Special attention is payed to post-conflict Peru and Evo Morales' Bolivia.

What is love? How do we perceive love in its many forms? This course, taught in Spanish, considers the question of love in dramatic literature and theatrical space, in works of Iberian drama written in Spanish from 1500 to the present with a theoretical and critical focus on performance. Taught by Prof. Laura Mier.

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. NOTE: Taught by professor Tom Winterbottom.

This course explores discourses on memory, mourning, and illness through the study of novels, short stories, graphic novels, and films by Catalan women writers and filmmakers. The course favours a historical, interdisciplinary and intertextual approach that facilitates interconnected readings of the texts selected for in-depth analysis. Students will be introduced to theoretical perspectives on narratology, textuality, feminism, memory, as well as theories relevant to each of the three major thematic groups, so that they can engage with the texts under study in an informed and scholarly manner. The exploration of the texts selected allows for some border-crossing between the three groups. Classes will be conducted in Spanish. Core Catalan texts are available in translation (either in Spanish or in English). Instructor: Montserrat Lunati.

Open to seniors in ILAC and Spanish; juniors by permission of instructor. All students must contact instructor to obtain an enrollment code. How are film and novels alike? How are they different? Can the study of cinematographic adaptation of novels help us understand better the specific nature of literature and that of film? What does it mean to be 'faithful' to a work of literature in a new medium? To address these questions, the course combines a selection of major Latin American novels and plays, as well as a panorama of Latin American cinematography, from 1960s's films to contemporary productions.

Open to seniors in ILAC and Spanish; juniors by permission of instructor. What does pastoral literature -- with its lovesick shepherds, acts of self-immolation, and aquatic nymphs -- have to do with imperial expansion? For early modern Portugal and Spain, it formed a surprisingly indispensable (if somewhat perverse) foundation for their respective colonial projects. From the earliest African slave markets to the rise of the modern novel, the pastoral is everywhere, a true companion of empire. Through a close analysis and discussion of early modern texts in Spanish and Portuguese (translations of Portuguese texts will be made available), as well as some theoretical/philosophical texts in English, we will explore the bizarre place of the pastoral in early modern Iberian Empire and reckon with its impact on our own sense of the colonial past. Authors include: Joanot Martorell, Francisco de Sá de Miranda, Garcilaso de la Vega, Joan Boscà, Jorge Montemor, Luisa Sigea, Luís de Camões, and Miguel de Cervantes. 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.

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

From the 15th to the 17th centuries, European expansion projects, especially the Iberian ones, prompted new constructions of the past, present, and future. This proliferation of history writing was complicated by the fact that the various populations of the global Iberian monarchies, particularly those of New Spain, Peru, and Brazil, did not share the same concepts of historicity or temporality. In this course, students will explore a great diversity of primary sources (chronicles, reports, annals, pictographic codices, theater, paintings, feather mosaics, murals, etc.) and discover the unexpected social memories and theories of history that they created.

In this graduate seminar students will explore the range of research and writing strategies that have informed the writing of my most recent book. We will devote time to revise the uses of archival and sensory ethnographic materials in historical, ethnographic, literary, and artistic inquires. We will link these practices to current discussions on new materialisms, realisms, and what I have called geological writing. We will interrogate the notions of cross-genre, creative non-fiction, crónica, and personal essay as writing strategies that might complement (rather than oppose) academic writing. We will analyze contemporary works--both in the literary and academic fields--in close dialogue with this Autobiography of Cotton. In addition to weekly response papers, students will turn in a final cross-genre piece.

In the late eighteenth century Immanuel Kant proclaimed his age to be "the genuine age of criticism." He went on to develop the critique of reason, which set the stage for many of the themes and problems that have preoccupied Western thinkers for the last two centuries. This fall quarter course is intended as an introduction to these themes and problems. We begin this course with an examination of Kant's philosophy before approaching a number of texts that extend and further interrogate the critique of reason. In addition to Kant, we will read texts by Hegel, Marx, Nietzsche, Weber, Freud, Lukács, and Heidegger. This course is the first of a two-course sequence. Priority to graduate students in MTL and English. The course will be capped at 12 students.

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.

Focused analysis of lyric poetry in Catalan, Portuguese, and Spanish from the fifteenth through the seventeenth centuries. Readings include poems by Ausiàs March, el marqués de Santillana, Bernardim Ribeiro, Francisco de Sá de Miranda, Garcilaso de la Vega, Luís de Camões, Diogo Bernardes, Vicent Garcia, Luis de Góngora, and Soror Violante do Céu. Ways of thinking about and thinking through poetry. Focus on poetic form, voice, figural language, performativity, empire, and the interaction of sensory registers. Taught in English with readings in Catalan, Portuguese, and Spanish.

<p>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>. Proposing 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.</p>

Nation states arise historically with the transfer of rule from the king to the people, which becomes depository of the general interest. But the old patrimonial state included different peoples, some of which continued to have their own constitutions, representative chambers, and codes of law. Unifying them was a pre-requisite for the emergence of the nation state. This was achieved through a process of nation building which, for most European states, culminated in the 19th century. Not so in Spain. The recurring crises of the Spanish state through the 19th and 20th centuries, and renewed territorial problems in the 21st, reveal an unachieved national project. The seminar will discuss theories of nationalism and sovereignty, and will consider the historical attempts of the Spanish state to manage its intractable nationalities problem, with particular reference to Catalonia. In addition to the state¿s political fractures, the significance of culture for the insolubility of national identities in a single national project will be considered in some detail, as will the role of academic disciplines in furthering a cultural mandate in the sense of political power or in challenge to it.

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.