NYU DEPARTMENT OF SPANISH • COURSE DESCRIPTIONS FALL 2011 1 NYU DEPARTMENT OF SPANISH AND PORTUGUESE COURSE DESCRIPTIONS FALL 2011 Majors, Please note that there have been changes to the major. You must meet with your advisor to discuss how those changes may affect you before you will be cleared for registration. Call 212-­‐998-­‐8770 to schedule an appointment. In this document: 1. At a glance: Foundation + Core courses p 1 Foundation Courses p 2 Core Courses, in Spanish p 3 Core Courses, in English p 5 2. Portuguese p 6 3. Advanced Language p 6 Advanced Language Electives p 7 4. Advanced Seminars/Special courses p 8 AT A GLANCE: Foundation + Core Courses Key: (s)=taught in Spanish (e)=taught in English (p)=taught in Portuguese 9:30-­‐
10:45 11:00-­‐
12:15 Xlisted: Ethnography and Ethnohistory in the Andes (e) • Abercrombie Cultural History of Latin America (s) • Giorgi Monday Tuesday Out of Arabic (e) • Pearce Photography and Discourse (s) • Davila Cinema in Latin America (s) • Falek Is Spanish one language? (s) • Némethy Madness in Spanish Literature (e) • Krabbenhoft [12:20-­‐3:15] Iberian Atlantic (Lecture: English) • Pearce + Vazquez Comedia en el siglo de oro (s) • Krabbenhoft [3:30-­‐6:10] 12:30-­‐
1:45 tba 2:00-­‐
3:15 Fiction into film (p) • Peixoto Latin American Cinema (s) (screenings) • Falek [2–4PM] 3:30-­‐
4:45 What does Enlightenment Mean Today? (s) • Subirats 4:55-­‐
6:10 Narrating poverty in Brazilian literature and film (e) • Peixoto Wednesday Xlisted: Ethnography and Ethnohistory in the Andes (e) • Abercrombie Cultural History of Latin America (s) • Giorgi tba Thursday Out of Arabic (e) • Pearce Fiction into film (Portuguese) • Peixoto What does Enlightenment Mean Today? • Subirats Narrating poverty in Brazilian literature and film (e) • Peixoto Photography and Discourse (s) • Davila Cinema in Latin America (s) • Falek Is Spanish one language? (s) • Némethy Poetic and Ethical Address • Basterra [3:30-­‐
6:10] Iberian Atlantic Section 2: English • Pearce Honors seminar • Dopico-­‐
Black [2:00-­‐
4:45] Recitation for Cultural History in Latin America (s) Recitation for Cultural History in Latin America (s) Iberian Atlantic Section 3: Spanish • Vazquez 2 FALL 2011 COURSE DESCRIPTIONS FOUNDATION COURSES SPAN-­‐UA.0300.001 The Iberian Atlantic Juan de Dios Vasquez and Sarah J. Pearce Lecture: T: 3:30-­‐4:45PM Students sign up for one of the following sections. If you have completed SPAN-­‐UA.0200 “Critical Approaches,” sign up for section 3, which is taught in Spanish. Recitation, section 002, with Sarah J. Pearce. Taught in English. R: 3:30-­‐4:45PM Recitation, section 003, with Juan de Dios Vasquez. Taught in Spanish. R: 4:55-­‐6:10 No pre-­‐requisite. Taught in English; recommended early in the major, concurrent with language study. This course explores the Iberian Atlantic world, from Al-­‐Andalus (Moorish Spain) and Anahuac (indigenous America) to the era of Spanish and Portuguese conquest and colonization that closely tied the Iberian Peninsula, Western Africa, and the Americas to one another in a vast oceanic inter-­‐culture and political economy. Because these worlds were so often defined through the migration, displacement, and circulation of people, goods, and capital, the course is organized around those mobile elements or commodities whose movement shaped the developing cultural matrix: stones, textiles, corn, ships, chocolate, silver, slaves, and sugar, among others. We engage these through the study of key literary, artistic, and architectural works from early modern Spain and Latin America. SPAN-­‐UA.0310.oo1 Cultural History of Latin America Gabriel Giorgi M & W: 11:00-­‐12:15PM Recitation, section 002 R: 3:30-­‐4:45PM Recitation, section 003 R: 4:55-­‐6:10PM Taught in Spanish. Pre-­‐requisite: SPAN-­‐UA.0200 “Critical Approaches.” This course is “writing intensive,” providing extra support for writing in Spanish through weekly recitations. Focus for Fall 2011: Nomads and Sedentaries: the (Un)Making of the National Imagination in Latin America La modernidad latinoamericana es inseparable de la construcción de Estados-­‐nación que, desde el siglo 19, proporcionaron la matriz de la vida política, cultural y social de la región después de las Independencias. Esas construcciones nacionales buscaron proyectar imágenes definitivas y estables de la identidad nacional: una soberanía territorial definitiva, y una población nacional ordenada y distribuida en ese territorio. Nada más lejano a la realidad histórica: tanto la territorios como las poblaciones fueron siempre materias intestables, sujetas a tensiones y reconfiguraciones constantes y muchas veces violentas, atravesadas por luchas, antagonismos y guerras. El presente curso quiere explorar cómo las culturas latinoamericanas , desde el siglo 19 hasta el presente, reflexionaron sobre la inestabilidad y los puntos ciegos de esos imaginarios nacionales a partir de sus cartografías de los territorios nacionales y las definiciones de identidad que le son correlativas. Vamos a prestar especial atención a diversas figuras nómades , dado que es una figura que pone en crisis al mismo tiempo una organización fija del espacio e identidades culturales estables. El nómade está entre territorios, atraviesa fronteras; frecuentemente no pertenece a ninguna comunidad fija (o pertenece a varias); otras veces forma comunidades nómades que ponen en cuestión toda pertenencia territorial; pasa entre identidades al mismo tiempo que las altera: es una figura amenazante para la soberanía política y al mismo tiempo una instancia de resistencia contra mecanismos de control social. Desde las figuras de, entre otros, gauchos, jagunços e indígenas que amenazaron las primeras construcciones nacionales después de las Independencias, hasta los inmigrantes y emigrantes que atraviesan las nuevas cartografías postnacionales, los nómadas han sido protagonistas decisivos en la construcción de las culturas latinoamericanas. En la tensión entre nomadismo y sedentarismo vamos a poder explorar núcleos decisivos de la formación de las culturas modernas, y sus reconfiguraciones contemporáneas. Las lecturas incluyen textos llamados “fundacionales” como los de Sarmiento, Bello y Da Cunha hasta producciones artísticas contemporáneas de Teresa Margolles, filmes de Lisandro Alonso o ficciones de Washington Cucurto . NYU DEPARTMENT OF SPANISH • COURSE DESCRIPTIONS FALL 2011 3 CORE COURSES TAUGHT IN SPANISH SPAN-­‐UA.0440 Verlo. Leerlo: Fotografía y discurso en Latinoamérica Lourdes Dávila T & R 11:00-­‐12:15 Taught in Spanish. Prerequisite: SPAN.UA0200 “Critical Approaches.” El propósito de este curso es analizar el rol y la historia de la fotografía y su relación con la producción textual en escritores del siglo xx y xxi. El curso comienza contestando la pregunta ¿Qué es una foto? ¿Cómo se lee una foto? ¿Qué es lo que se lee en una foto? Los estudiantes trabajarán la historia de la fotografía, desde sus comienzos en la década de 1830 hasta el presente, y las diversas lecturas en torno a la clasificación de la fotografía como obra de arte o documento histórico. Será importante conocer el vocabulario que utilizamos para leer una foto, pero al mismo tiempo, el objetivo principal del curso es analizar el uso de la fotografía en textos literarios y extra-­‐
literarios, desde los textos que utilizan la fotografía como eje discursivo (pero que no contienen fotos reales) hasta los textos que juegan en la página con la reproducción fotográfica. Entre los temas a discutirse se incluirán: fotografía e historia, fotografía y archivo, fotografía y locura, fotografía y ciudad, fotografía y memoria, fotografía y erotismo. SPAN-­‐UA.0550.001 Latin American Cinema Alexandra Falek T & R 12:30-­‐1:45PM Movie Screenings: M 2-­‐4PM at the King Juan Carlos Center, 53 Washington Square South Taught in Spanish. Prerequisite SPAN.UA-­‐0200 “Critical Approaches. th
This course will explore cinema in Latin America, from the mid 20 century to the present. We will study key issues that have informed filmmaking by examining a selection of films, filmmakers, and film genres from different Latin American countries. Specifically, we will explore ways in which cinema has engaged the unstable constructions of borders, memory, and identity. We will discuss a range of factors (aesthetic, social, political, economic, and technical) of production, exhibition, reception, and analysis of films. We will study the films within the contexts of their production, and we will also consider issues that cross national boundaries, including migration, citizenship, rights, ethnicity, language, gender, and violence. We will examine the role that cinema plays in cultural production and history. Throughout the semester, students will develop analytical skills that will serve to engage in film analysis by studying: 1) the function of language in film; 2) introductory film theory, history, criticism, and terminology; 3) techniques used by directors and editors to represent particular ideas, interests, and tensions; 4) how to watch and write about films in relation to constantly shifting situations and cultural expressions in Latin America. SPAN-­‐UA.0950.001 Comedia en el siglo de oro Kenneth Krabbenhoft T 3:30-­‐6:15 PM Taught in Spanish. Prerequisite SPAN.UA-­‐0200 “Critical Approaches. A seminar on Golden Age popular theater and the Spanish identity as it was understood in the period that witnessed both the peak and the decline of the nation’s political, artistic, and intellectual influence on European culture. The course looks at how playwrights like Lope de Vega, Tirso de Molina, Ruiz de Alarcón, Mira de Amescua, Calderón de la Barca, Rojas Zorrilla, Moreto, and their audiences viewed Spain’s historical mission, values, and accomplishments, along with challenges to the national identity from within and without. Specific topics include: princes ideal and real; relations between the nobility, the bourgeoisie, and commoner; “menosprecio de corte y alabanza de aldea”: myths and realities of life in city and country; public and private morality; religion in everyday life; the cultural role of language and literature; issues in economics and public health: booms and busts, emigration and the New World enterprise, taxation and investment, sanitation and disease; definition and treatment of minorities; implications of the Protestant schism, religious strife in France, rebellion in the Low Countries, and the Thirty Year’s War for Europe and Spain; the “morisco question” and independence movements in Portugal and Catalonia as threats to cultural unit; “the war between the sexes”, vanity, pretentiousness, and other objects of comic deflation. SPAN-­‐UA.0950.002 What Does Enlightenment Mean Today? Eduardo Subirats M & W 3:30-­‐4:45PM Taught in Spanish. Prerequisite SPAN.UA-­‐0200 “Critical Approaches. The term enlightenment is generally applied to the European Enlightenment in the seventeenth and eighteenth centuries. The Enlightenment in this narrow historical definition has had an enormous influence on world civilization. It is usually identified with modernity itself, and with the political, moral and cultural goals of democracy, progress, and globalization. It is considered as the very essence of scientific rationality and progress 4 FALL 2011 COURSE DESCRIPTIONS from Descartes to Einstein. But does enlightenment mean science and technology only? Can enlightenment only be circumscribed to the European and North American cultures? If the basis of enlightenment should be taken to mean to use one’s own understanding, to doubt and to criticize, then enlightenment is much older and much broader. The basic thesis that underlines this seminar is that the enlightenment constitutes a fundamental aspect of human life and universal aspect of cultures. There is a religious as well as a secular enlightenment, a scientific and mythological enlightenment. The enlightenment comprehends all ways of life, and a variety of world conceptions. This seminar is an introduction to religious and scientific enlightenments, to mythological and aesthetic enlightenments, and political and mystical enlightenments too. It will explore a variety of works from Aeschylus and Suhrawardi to Averroes and Spinoza, Giordano Bruno, Nietzsche and Freud. SPAN-­‐UA.0950.003 Is Spanish One Language? Judith Némethy T & R 2:00-­‐3:15PM History and Dialectology of the Spanish of America Taught in Spanish. Prerequisite SPAN.UA-­‐0200 “Critical Approaches. This is an advanced seminar that seeks to familiarize students with the historical, geographical, ethnic, and socio-­‐linguistic factors that contributed to the large variety of Spanish dialects spoken in the Americas. Why do people in Costa Rica speak like those in Uruguay and not like their neighbors in Panama? Why do Colombians have a different vocabulary in Bogotá and in Cartagena de Indias? Or when are “tú”, “usted” or “vos” used as forms of addressing people, and by whom? A web of factors combined to create a wide range of variations to the Castilian Spanish brought to America, itself the result of drastic changes since its evolution from its Latin roots. The course is organized in four modules. Starting with an analysis of the language spoken by the colonizers arriving from Spain since the end of the fifteenth century, the first module will deal with the development of the distinct dialectal zones emerging in Spanish America through the intersection of political and geographical factors with the sociological, cultural and linguistic influence of indigenous and African groups. From the vantage point of standard Castilian Spanish, in the second module we will study the phonic, morpho-­‐syntactic, lexical, and semantic changes undergone by the language, resulting in the distinct variations spoken today. The third module will cover the dialects of five salient geo-­‐linguistic areas of Spanish America, through a historical overview of each region and its specific linguistic characteristics. We will complete this analysis in the fourth module, with a brief overview of the Spanish spoken in the United States, and the new “dialect”, Spanglish, that has emerged from it. SPAN-­‐UA.0950.004 Poetic and Ethical Address Gabriela Basterra W 3:30-­‐6:10PM Taught in Spanish. Prerequisite SPAN.UA-­‐0200 “Critical Approaches.” ‘I’ is the person who speaks here and now, addressing someone as ‘you’. Beyond inhabiting the position of the ‘I’ in dialogue, how do we become subjects? The voice speaking in a poem and calling itself ‘I’ becomes a subject in the act of addressing a ‘you’; the subject of vision in painting, the one who sees, emerges in relation to the object being seen; the self-­‐conscious subject reflects on itself by taking itself for another; the ethical subject is chosen, addressed, called. As poems, paintings and philosophical texts suggest, we are constituted as desiring subjects in relation to others, but who or what those others? In this course we will reflect on the relationships between ‘I’ and ‘you’, ‘subject’ and ‘other’, ‘inside’ and ‘outside’ as imagined in poems by Garcilaso de la Vega, Federico García Lorca and Pedro Salinas (among others), in conversation with literary texts by Aeschylus, Sophocles, Plato, Ovid, Calderón de la Barca, Keats, Poe, Baudelaire, Borges, and philosophical or psychoanalytic writings by Kant, Hegel, Freud, Heidegger, Lacan, Levinas. Leonardo da Vinci and Diego Velázquez’s paintings will bring to view the enigma of our own perspective: how are we to define our own viewpoint if our subject of study is no other than ourselves? NYU DEPARTMENT OF SPANISH • COURSE DESCRIPTIONS FALL 2011 5 CORE COURSES TAUGHT N ENGLISH Majors in Spanish & Latin American Literatures and Cultures may take up to 2 courses in English toward the major, so long as writing (and, where possible, reading) is completed in Spanish. Notify the professor on the first day of class of your intent to count the course toward this major. SPAN-­‐UA.0951.001 Out of Arabic Sarah J. Pearce T & R 9:30-­‐10:45AM Through a close examination of religious and secular writings, this course seeks to investigate the ways in which Muslims, Christians and Jews worked together and at cross purposes to create the cultural chimera that is medieval Iberia. By reading in a variety of medieval and modern literary genres -­‐-­‐ including polemic, poetry, chronicle, epistle, frametale and novel -­‐-­‐ we will attempt to delineate the role of religion in forming culture and understand the ways in which that culture bears upon the lives of its adherents. SPAN-­‐UA.0951.002 Madness in Spanish Literature Kenneth Krabbenhoft T 12:30-­‐3:15PM This seminar examines how some of the greatest Spanish writers have treated the nature and experience of insanity over the course of nearly 700 years. Topics range from the comic treatment of erotic madness in the Middle Ages and Renaissance to extremes of doubt and clinical insanity in Baroque theater and modern Spanish fiction. Grades are based primarily on class participation; there will also be brief written assignments and a final paper or exam. Readings include: Juan Ruiz, The Book of Good Love; Miguel de Cervantes, The Adventures of Don Quixote (selections from the first part); Pedro Calderón de la Barca, Life is a Dream and Other Spanish Classics; Benito Pérez Galdós, Nazarin; Benito Pérez Galdós, Our Friend Manso; Ramón del Valle-­‐Inclán, Spring and Summer Sonatas; Miguel de Unamuno, Mist; Julio Llamazares, The Yellow Rain. PORT-­‐UA.0851.001 Narrating Poverty in Brazilian Literature and Film Marta Peixoto M & W 4:55-­‐6:10 Taught in English. This course examines literary works in various genres (novels, autobiography, short stories), and Brazilian films (Cinema Novo and after, including documentaries), that attempt to narrate the experience of poverty. We will discuss texts by Graciliano Ramos, Carolina Maria de Jesus, Clarice Lispector, Rubem Fonseca, and Patricia Melo and films (Barren Lives, The Scavengers, The Hour of the Star, Pixote, Bus 174 and City of God, Babilônia 2000 and Black Orpheus), in light of key questions. How do these texts reflect on the nature of representation and on the investments of author and reader in images of deprivation? How do they present the connections of poverty with violence, stigmatization, and citizenship rights? How do they frame the ethical responsibilities of the writer or filmmaker, as well as of readers and spectators? What are the patterns of consumption and circulation of these texts?
Cross-­‐listed: ANTH-­‐UA.0800 Ethnography and Ethnohistory of the Andes Thomas Abercrombie M & W 9:30-­‐10:45 Contemporary countries situated along the Andes mountains (Colombia, Ecuador, Peru, Bolivia, Chile, and Northwestern Argentina) are today grappling in the context of neoliberal globalization, with the heritage of Spanish colonialism and since independence, of unfavorable insertion into transnational cultural and economic regimes. In part through grassroots movements, many of these countries emerged since the late 1980s from decades of dictatorship, producing new constitutions to grapple with poverty and social exclusion, especially that of the indigenous peoples whose labor has been a source of wealth since it motivated Spanish conquest and colonization starting in 1532. Before the Spanish invasion, nearly the whole Andean chain had been integrated into one of the most complex and accomplished civilizations of the Americas, the Inca empire, which arose independently of the civilizations of ancient Egypt and the Near East that ultimately gave rise to the European powers that encountered "Incas" almost 500 years ago. Incas became "Indians" under Spanish rule, and were subjected not only to coercive labor, but to enforced conversion to Christianity. Descendants of those Andean peoples today elect members to congress . . . even a president (Evo Morales of Bolivia) . . . and strive for recognition and rights and protection of their own social and cultural (and economic) practices. This course aims to introduce students to the techniques of ethnohistory through which scholars understand pre-­‐Colombian societies, as well as to map the transformation of indigenous societies after the conquest. The course is also an introduction to contemporary ethnography. It surveys a wide array of ethnographies, some focusing on rural indigenous peoples, others on contemporary urban social life. Some ethnographies give attention to ritual and public performance, others to the kinds of social distinctions produced in cuisine, and yet others to politics, law-­‐
6 FALL 2011 COURSE DESCRIPTIONS making, cosmology, practices of social memory, economic life, and contemporary uses of media. The course pays special attention to contemporary heritage sites and practices in Cuzco, Quito, Lima, Oruro, and Potosí. PORTUGUESE PORT-­‐UA.0850.001 Fiction into Film Marta Peixoto M & W 2:00-­‐3:15 Taught in Portuguese. In this course we will read several classic Brazilian novels and view (on reserve at Avery Fisher Library) their successful film adaptations, made since the Cinema Novo movement of the 1960s. We will also read essays about the process and problems of translating novels into the visual medium of film. The course will provide, then, an introduction to Brazilian literature (Machado de Assis, Graciliano Ramos, Mario de Andrade, Guimarães Rosa, Clarice Lispector, Chico Buarque de Hollanda, Paulo Lins) and to the rich tradition of Brazilian film (Cinema Novo and its legacy and revision in contemporary film-­‐making). The course also invites students to reflect on the theoretical and technical dimensions of adapting fiction to film. PORT-­‐UA.0851.001 Narrating Poverty in Brazilian Literature and Film Marta Peixoto M & W 4:55-­‐6:10 Taught in English. This course examines literary works in various genres (novels, autobiography, short stories), and Brazilian films (Cinema Novo and after, including documentaries), that attempt to narrate the experience of poverty. We will discuss texts by Graciliano Ramos, Carolina Maria de Jesus, Clarice Lispector, Rubem Fonseca, and Patricia Melo and films (Barren Lives, The Scavengers, The Hour of the Star, Pixote, Bus 174 and City of God, Babilônia 2000 and Black Orpheus), in light of key questions. How do these texts reflect on the nature of representation and on the investments of author and reader in images of deprivation? How do they present the connections of poverty with violence, stigmatization, and citizenship rights? How do they frame the ethical responsibilities of the writer or filmmaker, as well as of readers and spectators? What are the patterns of consumption and circulation of these texts?
ADVANCED LANGUAGE SPAN-­‐UA.0100 Advanced Grammar and Composition 001 M T R / 8:00-­‐9:15AM 002 M T R / 9:30-­‐10:45AM 003 M T R /9:30-­‐10:45AM 004 M T R /11:00-­‐12:15PM 005 M T R /11:00-­‐12:15PM 006 M T R/ 12:30-­‐1:45PM 007 M T R/ 12:30-­‐1:45PM 008 M T R/ 2:00-­‐3:15PM 009 M T R/2:00-­‐3:15PM 010 M T R/3:30-­‐4:45PM Advanced Spanish Grammar and Composition is designed to expand and consolidate the student’s lexical and grammatical understanding of the language and to introduce him/her to the fundamental principles of expository writing as they apply to Spanish, through exercises, readings, and intensive practice of various prose techniques and styles. The class has a literary component, comprising a short story by Cortázar, another by Borges, a third by Benedetti, as well as Ramón Sender’s classic novel about the Spanish Civil War, Réquiem por un campesino español. This novel will be supported with readings and explanations of the Spanish Civil War, an episode that continues to haunt Spanish lives. However, literature and history are not the focus of the course. Rather, they lend support to the understanding of grammar and composition, in such a way that, for example, the subtlety of tense in a story is highlighted to indicate the manner in which the reader is manipulated by this choice. Furthermore, the course lends itself to discussion of more current concerns, such as the search for a job and interviewing for one and the problem of the “siesta” in a global economy. There will be readings and a movie to support these topics as well. SPAN-­‐UA.0200 Critical Approaches to Text and Cultural Analysis 001 TR/9:30-­‐10:45 002 TR/11:00-­‐12:15 NYU DEPARTMENT OF SPANISH • COURSE DESCRIPTIONS FALL 2011 7 003 TR / 12:30-­‐1:45 004 TR / 2:00-­‐3:15 005 TR/3:30-­‐4:45 006 TR/3:30-­‐4:45 007 TR/4:55-­‐6:10 El objetivo de este curso es el estudio de textos literarios y extraliterarios por medio del análisis textual y de la escritura del ensayo crítico. Por un lado, se desarrollarán estrategias de lectura con la ayuda de teoría y vocabulario crítico básicos. Los estudiantes elaborarán también ensayos relacionados con los géneros estudiados a fin de desarrollar la capacidad de escritura crítica en español. Los ensayos se escriben partiendo de la idea de escritura como proceso; las actividades de taller están pensadas para fomentar la idea de escritura como trabajo colaborativo. Al finalizar el semestre cada estudiante escribirá un ensayo crítico de tema libre que presentará oralmente a la clase bajo el formato de un panel académico. En esta presentación se combinarán las estrategias críticas y de escritura aprendidas, para presentar y defender las ideas en forma organizada y convincente. ADVANCED LANGUAGE ELECTIVES Advanced Grammar and Composition (SPAN-­‐UA.0100) is a pre-­‐requisite for these courses. Majors in Spanish and Latin American Literature and Culture may take up to two advanced language electives toward the major, one at the 100-­‐level and one at the 200-­‐level. Minors in Spanish may take one advanced language elective. Romance Language and Spanish + Linguistics majors may only take Advanced Conversation. If you are a major or minor in Latin American Studies or Iberian Studies, these courses will not count toward the major. 100-­‐level courses: SPAN-­‐UA.0101 Advanced Spanish Conversation 001 M T R/ 9:30-­‐10:45AM 002 M T R/ 11:00-­‐12:15PM 003 M T R/ 2:00-­‐3:15PM Prerequisite: SPAN-­‐UA.0100 “Advanced Grammar and Composition.” Required for Romance Language majors. Advanced Spanish Conversation is designed to expand students’ speaking skills beyond practical, day-­‐to-­‐day language functions. The aim is to achieve a more elaborate and abstract use of the language through the practice of pronunciation, vocabulary, idioms, and structures, within the context of selected subject areas. Although the concentration of the course is on the oral component, reading and writing skills are practiced as well, as a basis for oral expression. The goal of the course is to generate active participation through thought-­‐provoking discussions and creative activities that stimulate critical thinking as well as conversation. This is achieved by engaging a range of sources — newspapers, magazines, literature, films, music, videos, etc. — that sensitize students to contemporary uses of Spanish. A process of recording, transcribing, and editing actual conversations will also help students improve their Spanish. Finally, various listening/comprehension activities will be included to fine-­‐tune the student’s ear to Spanish sounds. SPAN-­‐UA.0102.001 Advanced Spanish Conversation for the Medical Profession Carlos Martínez M T R: 11:00-­‐12:15PM Prerequisite: SPAN-­‐UA.0100 “Advanced Grammar and Composition.” Spanish for the Medical Profession is designed to expand students’ speaking skills beyond the practical, day-­‐to-­‐day language functions and to achieve a more complex and technical proficiency of Spanish in a medical context, through the practice of pronunciation, vocabulary, idioms, and linguistic structures. Students will learn specific vocabulary related to the medical field and will engage in active conversations and role-­‐play activities. The course will include readings as well as Spanish films and documentaries related to health and medicine. Recording, transcribing, and editing classroom conversations will also help students improve their Spanish by focusing on individual self-­‐correction. Listening/comprehension activities related to the medical field will be included to fine-­‐tune the student’s ear to Spanish sounds. SPAN-­‐UA.0111.001 Advanced Spanish for Spanish Speakers López-­‐García M T R: 2:00-­‐3:15pm The principal goal of this course is to improve your oral, reading, and written communication skills in Spanish. During this semester we will review Spanish grammar and introduce literary readings, movies, and composition exercises in order to develop your reading and writing skills while learning more about our common Hispanic heritage. 8 FALL 2011 COURSE DESCRIPTIONS SPAN-­‐UA.0110 Techniques of Translation Hanya Wozniak-­‐Brayman M T R: 12.30 PM -­‐ 1.45 PM Prerequisite: SPAN-­‐UA.0100 “Advanced Grammar and Composition.” This course explores the principles and problems of translation through readings and practice. Students will develop their skills in Spanish-­‐English translation by working with different types of material, style, and genre (advertisements, business correspondence, essay, poetry, short story and film). The selected works will be analyzed for content and form and translated to English. Lexical and idiomatic difficulties will be examined from semantic and cultural viewpoints and the practice sessions will focus on translation from English into Spanish. Theoretical questions and problems will be addressed in the readings and discussed in class as they arise within the translation exercises. Six areas of translation are emphasized: history, theory, technique, lexicon (false friends and idiomatic expressions), stylistic devices and equivalency. 200-­‐level SPAN-­‐UA.xxx Creative Writing in Spanish Lila Zamborain, Mariela Dreyfus 001: MTR 2:30-­‐1:45 002: MTR 2:00-­‐3:15 Prerequisite: SPAN-­‐UA.0200 “Critical Approaches” or permission of the instructor. El objetivo principal de este curso es ayudar a los estudiantes a reflexionar sobre el proceso creativo mientras elaboran y producen sus propios textos. En am bas secciones del curso, poesia y cuento corto, el estudiante podni explorer y ampliar sus habitos de escritura a traves de ejercicios especificos y de Ia lectura de textos modelo. Se discutira el trabajo de algunos de los poetas y cuentistas de habla hispana mas influyentes del siglo XX, como Octavio Paz, Vicente Huidobro, Jorge Luis Borges y Silvina Ocampo, asi como Ia obra de otros escritores contemporaneos. Simultaneamente, el estudiante aprendera a refinar y a pulir sus textos. Se prestara especial atenci6n a Ia lectura y revision de acuerdo a las necesidades individuales. SPAN-­‐UA.0320 Advanced Poetry Workshop T & R : 2:30-­‐3:15 Prerequisite: SPAN-­‐UA.0200 “Critical Approaches” or permission of the instructor. The purpose of this class is to help students to refine their skills in poetry writing through close reading of individual poems, excerpts from poetry collections, and complete books of poetry written by contemporary Latin American and Spanish poets. In class, students will reflect on the creative process of poetry writing, while they work on their own poems. In each session we will focus on key elements of poetry such as poetic voice, rhetorical devices, poetic forms and rhythms. Collaborative work and individual meetings with the instructor are key to the dynamics of this workshop. Students present their work orally, for discussion by the group, and they attend two poetic events throughout the term. At the end of the semester, they submit a chapbook with 15/18 poems as well a 3/5-­‐page written reflection, establishing connections between some of the authors read in class and their own work. ADVANCED SEMINARS/SPECIAL COURSES SPAN-­‐UA.0995.001 Senior Honors Seminar Georgina Dopico-­‐Black R: 2:00 – 4:45PM The Honors program in Spanish & Portuguese is a unique opportunity for students in one of our five major tracks to undertake a sustained research project. In the course of a year, students will be able to work closely with individual faculty members, while also having the chance to develop their own voice in scholarship and writing. The Honors program consists of a two-­‐term sequence. In the fall semester, Honors students meet weekly in a workshop-­‐type setting where they will develop their topics and projects under the guidance of the Honors Director and in discussion with their peers. By the end of the semester, every student will have a well-­‐developed project, including a workable outline and a bibliography. Every student will also have found an individual faculty advisor with whom to work in the spring semester while finishing the Honors thesis. The spring segment of the Honors Seminar is devoted to the writing of the thesis (40-­‐60 pages). Students will arrange for an independent study with their individual faculty advisors, with meeting times to be determined by each student and his or her faculty member. There are no regularly scheduled class meetings in the spring. SPAN-­‐UA.0980.001 Internship Lourdes Davila Hours to be arranged For majors only, by permission of the Associate Director of Undergraduate Studies, Professor Dávila. Students NYU DEPARTMENT OF SPANISH • COURSE DESCRIPTIONS FALL 2011 9 wishing to do a for-­‐credit internship should make an appointment to speak with Professor Dávila. Majors may apply for an internship for either 4 credits or 2 credits, depending the number of hours they work. Interns must work at least 10 hours for A 2-­‐credit internship entails a minimum of 10 hours of work per week; a 4-­‐credit internship entails at least 16 hours per week. Consult our Blackboard site to see available internships. In addition to the work, students turn in journals, meet with professor Dávila, give a presentation at the end of their internship, and turn in a midterm and final paper. You are welcome to pursue internship possibilities beyond those listed on the Blackboard site: if you find an internship on your own, make an appointment with Professor Davila to discuss it. A 4-­‐credit internship, or two semesters of 2-­‐credit internship may count as one course toward the major requirements for all majors in the Department of Spanish and Portuguese. SPAN-­‐UA.0997.001 Independent Study Jill Lane Hours to be arranged For Majors only, no exceptions. By permission of the Director of Undergraduate Studies. Majors who have completed preliminary requirements for the major (“foundations” courses) may have the opportunity to pursue directed research for 2 or 4 credits under the supervision of a professor in the department, in most cases a professor with whom they have previously taken an upper level literature/culture course. Students should first contact the professor to discuss this possibility; the student and professor will devise a syllabus to be submitted for approval to Professor Lane, Director of Undergraduate Studies. Call 212.998.8770 to learn Professors’ office hours and to make an appointment with Professor Lane. FRESHMAN HONORS SEMINARS + COLLEGIATE SEMINARS taught by Spanish Department Faculty See the College of Arts and Sciences webpage for information on the Freshman Honors Program and Collegiate Seminars: http://cas.nyu.edu/page/ug.HonorsPrograms.html. For students participating in these programs, these courses will count toward the majors, and will not count as one of the two courses in English allowed for the Spanish & Latin American Literature and Culture. FRSEM-­‐UA.0420 Barcelona: Images of a Mod Mediterranean Metropolis Jordana Mendelson T & R 11:00 AM – 12:15 PM FRSEM-­‐UA.0448 Seven Forbidden Voices of Latin America Eduardo Subirats M & W 2:00 PM – 3:15 PM COSEM-­‐UA.0119 Facing Fascism: Spanish Civil War & U.S. James Fernández Wed 2.00 PM -­‐ 4.30 PM MAP COURSE: MAP-­‐UA.0541 .010 Cultures and Contexts: New World Encounters Jill Lane Recitations: 011 W 8:00-­‐9:15 012 W 9:30-­‐10:45 013 W 8:00-­‐9:15 014 W 9:30-­‐10:45 015 W 3:30-­‐4:45 016 W 4:55-­‐6:15 This course may count toward the majors in Spanish & Latin American Literature and Culture if writing is conducted in Spanish; please see the professor to confirm. This course counts toward the major in Latin American Studies. What was America before it was called America? How did indigenous cultures understand and document their first encounters with Europeans? We focus on peoples, events, and cultural expressions associated with the conquest and colonization of the Americas, concentrating on three key areas: central Mexico, home to a several pre-­‐Columbian societies, most notably the Aztec Empire, and later the seat of Spanish power in northern Latin America (the Viceroyalty of New Spain); the central Andes, home of the Incas and later the site of Spanish power in southern Latin America (the Viceroyalty of Peru); and finally, early plantation societies of the Caribbean, where the violent history of enslaved Africans in the new world unfolded. On one hand, we explore how those subjugated by conquest and colonialism interpreted, resisted, and recorded their experience. On the other, we ask what new 10 FALL 2011 COURSE DESCRIPTIONS cultural forms emerged from these violent encounters, and consider their role in the foundation of "Latin American" cultures. Readings balance a range of primary documents and art created during the "age of encounter," including maps, letters, paintings, and testimonials, along with historical and theoretical texts. Further questions? Email us at: spanish.dugs@nyu.edu