HIST 352: Class and Culture in Latin America
Jessica Stites Mor
University of British Columbia – Okanagan
2007 Winter Session I
Course Times: M, W, and F 9:30-10:30
Film Screenings: F 9:30-10:30 in class/library
Location: ART 206
Office: ART 159
Hours: MW 1-2
Contact: Jessica.Stites-Mor@ubc.ca
Calendar Description:
Relationship between culture and class formation from the late-colonial period to the present.
Detail:
The study of class and culture in Latin America, since the ideological rumblings of Marxism
entered the academy in full force in the 1960s, has been one of the most celebrated approaches to
understanding the region’s contemporary history. This study of these two related themes provides
an excellent introduction to the theoretical concerns of the discipline, the debate surrounding the
usefulness of cultural studies, and the major events of the period. As one of the most energetic
conversations surrounding topics like nationalism, state-building, revolution, imperialism, gender
politics, identity formation, and post-modernity, the study of class and culture provides ample
material for the consideration of many of these critical concerns. In addition, it opens a window
onto previously overlooked primary sources and texts. The study of such wide-ranging sources as
television programming, photographic images, magazines, music lyrics, comic books, sporting
events, and film not only makes for a fascinating discussion of the way in which history is
constructed, but it also requires the development of analytical tools that go beyond scope of more
traditional approaches to the discipline. In order to provide depth of understanding in this
burgeoning field, the course will focus on the histories of Mexico, Cuba, and Brazil, from the latecolonial period to the present. This focus does not prohibit students from exploring the history of
Latin American and Caribbean countries not included on the syllabus as part of their individual
research projects.
This course is designed for students coming from all majors with an interest in cultural studies and
in modern Latin America. This course is composed of lectures, readings, class discussion, film
screenings, and written work. All are integral parts of the course and are required for successful
completion. Readings are complementary to the lectures and focus on primary sources, theoretical
arguments, and historical interpretations. They do not duplicate the lectures, so students are
strongly encouraged to keep up with the readings, since they will provide a critical source of
information for success in written work. The evaluative component of the course reflects the dual
objectives of building students’ writing skills and their understanding of some of the more relevant
theoretical debates.
Required books and readings:
Alma Guillermoprieto. Samba.
Paul Vanderwood. Juan Soldado: Rapist, Murderer, Martyr, Saint.
Mirta Ojito. Finding Mañana.
Films:
Señorita extraviada
Madam Satã
The Official Story
Up to a Certain Point
Memories of Underdevelopment
Before Night Falls
Carandiru
City of God
Course Requirements
1) Regular attendance and active participation in class discussions are essential to success in this
course. Generally speaking, two class absences is an upper limit before a student might incur point
reductions. Making thoughtful comments or asking provocative questions, in addition to
demonstrating understanding of the reading, are expected to ensure good class discussions. This is
not a subjective requirement, and at any point during the course students can request feedback
about this portion of their final mark.
2) One of the purposes of this course is for students to think critically about what they read. To
facilitate this skill, students will be required to submit three short written assignments, no longer
than three (3) double-spaced 12-point font pages, addressing critical themes from the readings.
These assignments are intended to be an informal manner in which to start the weekly discussions.
3) A final research paper (10-15 pages) will be due by DATE. The paper will be a product of the
student’s own research and must include the use of primary source documents. A 2-page
prospectus including bibliography will therefore be due in class by DATE. Topics must be chosen
in consultation with the professor.
4) The course will also use several workshops to improve writing, including research planning with
a librarian, use of a university writing tutor, peer critique and review, and individual mentoring.
Participation marks will include this component. Our meeting with librarian Jan Gattrell is
scheduled during class time on Sept. 26th.
Grading
Attendance, peer review, and participation 20%
Short written assignments (3) 30 %
Final research paper
50%
Course Policies:
Attendance at lectures, discussions, and film screenings is mandatory. Students will be responsible
for anything said in class, including any changes made to the syllabus.
All deadlines, either on the syllabus or announced in class, should be considered inflexible. Any
assignments turned in after the due date will be marked down accordingly. In general, papers are
deducted one letter grade for each day the assignment is late. Extensions will be granted only in
the case of unforeseen emergency. If legitimate problems arise during the course of the semester
which might delay finishing written work or hinder attendance, students should communicate with
the professor prior to the scheduled events. In the event of serious illness, death in the family, or
other legitimate concern, formal documentation may be required. Any work delivered to the
department instead of in class will be time-certified by the secretary.
Plagiarism is considered a very serious offense. Please see attached document “How not to
plagiarize.” Fill out, sign, and date the Academic Integrity Statement accompanying this syllabus.
Detailed information about UBCO policy can be found through the following link:
http://web.ubc.ca/okanagan/faculties/resources/academicintegrity.html
The History faculty has adopted a guide to follow for the submission of all History papers.
Students are expected to submit all papers in lower level history courses in the format as defined in
the style guide. This guide is available for purchase in the bookstore. Copies are also on reserve in
the library. This text is: Mary Lynn Rampolla, A Pocket Guide to Writing History (Bedford Books).
Marks:
A range (80% to 100%)
A+ (90% +)
A (85-89%)
A- (80-84%)
Exceptional performance.
Superior grasp of subject matter with sound critical evaluations.
Evidence of extensive knowledge of the literature.
Superior organization and use of evidence.
Persuasive composition. Reflects having benefited from revision.
B range (68% to 79%)
B+ (76-79%)
B (72-75%)
B- (68-71%)
Competent performance.
Clear grasp of the subject matter and appropriate use of evidence.
Some evidence of critical and analytical ability.
Demonstrated familiarity with the literature.
Clear composition.
C range (60 to 67%)
C+ (64-67%) C (60-63%)
Satisfactory performance.
Basic understanding of the subject matter.
Demonstrated ability to develop solutions to basic problems with the issues and
material.
Acceptable but uninspired presentation that is not generally faulty but lacks style
and depth.
Generally flawed composition.
D to C- range (50-59%)
C- (55-59%)
D (50-54)
Minimal acceptable performance.
Familiarity with material and themes but no consistent analytical or expository
qualities.
Usually awkward, difficult composition and/or organization.
F range (0 to 49%)
Inadequate performance.
Little or no evidence of understanding of the subject matter or use of materials.
Weak critical and analytical quality.
Substandard composition and/or failure to meet the technical requirements for the
assignment.
Grammatical mistakes which exceed the accidental.
Course Schedule and Readings:
1. Introduction: What is culture? Theoretical underpinnings of popular culture and its analysis.
Methodological tools, critical analysis, and the field of cultural studies.
2. Competing visions of modernity at the turn of the century
Mexico:
3. Images, voices, and narratives in interpreting the revolution
Vanderwood 3-50
4. Inventing the nation: Identity-politics, state formation, and popular culture
Vanderwood 51-72
5. Popular Religion
Vanderwood 75-136
***Make an appointment as early as possible to meet with a tutor at the Writing
Centre—807-7218 or writingcentre.ubco@ubc.ca
6. Myths of machismo and male sexuality
Film clip: Before Night Falls
Vanderwood 137-171
** Individual meetings regarding research topics this week, arrange via email, or during office hours
7. Subcultures, countercultures, and cultural resistance
Vanderwood 173-248
** Special meeting with Jan Gattrell at Library, meet in classroom and walk over
8. Commodity and consumption: Cultural products and markets
Vanderwood 249-292
***Paper review form from Writing Centre due in class
9. Borderlands, cultural imperialism, and trans-culturation
Film: Señorita extraviada (US-Mexico, Lourdes Portillo, 2002)
****Prospectus Due
Cuba:
10. Travelling cultures and the tourism industry
Ojito 1-56
***First short essay due (Workshop one-Writing tutor)
***Make arrangements to meet with librarian for Workshop two-Library Research Planning
11. Pastimes, leisure, and questions of class
Ojito 57-120
12. Everyday life, gender, and domesticity
Ojito 121-186
Film clip Up to a Certain Point
13. Sexuality and the exotic ‘other’
Ojito 187-232
14. Post-colonial discourses
Ojito 233-278
Film clip Memories of Underdevelopment
***Second essay due (Workshop two-Peer Review)
Brazil:
15. Tropical “Belle Epoques”
Guillermoprieto 3-59
16. Performing culture: Happenings and cinematic vanguards
17. Afro-Brazilian culture in a “racial democracy”
Film Madam Satã (Brazil, Karim Ainouz, 2002)
18. Cannibal Manifesto to Tropicalismo: Social history of culture
Guillermoprieto 60-126
19. Crime and criminality as subculture
Guillermoprieto 127-190
20. Postmodernism: Governing bodies and spaces
Guillermoprieto 191-242
(Workshop three - Individual Mentoring, sign up on sheet)
21. Disease and mental illness as cultural construction
Film clip City of God (Brazil, Fernando Meirelles, 2002)
22. Inventing indigeneity, multiculturalism, and cultural hybridity
Guillermoprieto 191-242
***Third Essay due
****Drafts of final papers due for peer review, bring whatever you have (try for 5 pages)
(Reading Week)
****Final Papers Due