NYU
DEPARTMENT
OF
SPANISH
•
COURSE
DESCRIPTIONS
SPRING
2012
1
NYU
DEPARTMENT
OF
SPANISH
AND
PORTUGUESE
ADVANCED
COURSES
—SPRING
2012
For
Elementary,
Intermediate,
and
Advanced
Spanish
and
Portuguese
language
courses,
please
consult
Albert.
AT
A
GLANCE:
Upper
level
courses
Key:
(s)=taught
in
Spanish
(e)=taught
in
English
(p)=taught
in
Portuguese
9:30‐
10:45
Monday
11:00
‐
12:15
Latin
American
Fiction:
Blood
Will
Tell
(s)
•
Vasquez
[11–1:45]
12:30
‐1:45
2:00‐
3:15
3:30‐
4:45
4:55‐
6:10
Latin
American
Fiction:
Rulfo,
Kafka,
Beckett
(e)
•
Subirats
Architecture Is
Spanish
s
of
Brazilian
one
Civilization
language
(e)•
Subirats
?
(s)
•
Némethy
Tuesday
Cultural
History
of
Spain
(s)
•
Labanyi
Brazilia
Iberian
n
Poetry
Atlantic
and
(Lecture
Song
(p)
:
•
English)
Peixoto
•
Pearce
+
Vazquez
Wednesday
Archive
Fevers:
Research
Seminar
(e)
•
Lane
[9:30–12:15]
Thursday
Cultural
History
of
Spain
(s)
•
Labanyi
Brazilian
Iberian
Poetry
and
Atlantic
Song
(p)
•
Section
2:
Peixoto
English
Transatlantic
Avant‐Gardes
(s)
•
Mendelson
Latin
American
Fiction:
Rulfo,
Kafka,
Beckett
(e)
•
Subirats
The
achievement
of
Don
Quixote
(e)
•
Krabbenhof
t
[12:30‐3:15]
Architecture
s
of
Brazilian
Civilization
(e)
•
Subirats
Is
Spanish
one
language
?
(s)
•
Némethy
Advanced
Honors
Seminar:
The
Inquisitio
n
•
Dopico‐
Black
Recitation
:
Cultural
History
Iberian
Atlantic
Section
3:
Spanish
Transatlanti
c
Avant‐
Gardes
(s)
•
Mendelson
La
poesía
en
el
siglo
de
oro
(s)
•
Krabbenhoft
[3:30‐6:10]
Recitation
:
Cultural
History
Note
that
“Critical
Approaches”
meets
on
Tuesdays
and
Thursdays;
see
full
listing
below.
FOUNDATION
COURSES
Are
you
thinking
of
majoring
in
Spanish?
This
is
your
course!
Juan
de
Dios
Vasquez
and
Sarah
J.
Pearce
SPAN‐UA.0300.001
The
Iberian
Atlantic
Lecture:
T:
11–12:15PM
Students
sign
up
for
one
of
the
following
sections.
If
you
have
completed
SPAN‐UA.0200
“Critical
Approaches,”
you
are
strongly
encouraged
to
enroll
for
section
3,
taught
in
Spanish.
See
note
below.
Recitation,
section
2.
Thursday
11AM–12:15PM
Taught
in
English.
Recitation,
section
3.
Thursday
12:30–1:45PM
Taught
in
Spanish.
No
pre‐requisite.
Taught
in
English;
recommended
early
in
the
major,
concurrent
with
language
study.
Students
with
advanced
Spanish
are
encouraged
to
enroll
in
the
Spanish
section.
The
Iberian
Atlantic
is
a
team‐taught
course
that
explores
the
early
modern
Iberian
Atlantic
from
Al‐Andalus
(Moorish
Spain)
and
indigenous
America
through
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.
The
Iberian
Atlantic
refers
to
what
is
now
the
Portuguese
and
Spanish‐speaking
world,
on
either
side
of
the
Atlantic
Ocean.
The
body
of
water
functioned
as
a
conduit
allowing
for
contact
between
Europe
and
America
through
conquest
and
the
migration,
displacement,
and
circulation
of
people,
goods,
and
capital.
The
course
focuses
on
those
objects
of
trade—as
they
work
themselves
into
cultural,
intellectual,
and
artistic
production—to
study
the
collective
imagination
of
populations
on
both
sides
of
the
Atlantic.
We
encounter
a
range
of
key
primary
sources
that
include
architecture,
textiles,
travel
writing,
poetry
(wine
poetry!),
testimonies,
and
visual
art.
2
SPRING
2012
COURSE
DESCRIPTIONS
The
course
is
divided
between
lectures
(Tuesdays,
in
English)
and
recitations
(Thursdays,
in
either
English
or
Spanish).
Recitations
are
an
opportunity
to
discuss
that
week’s
readings
and
concepts
introduced
during
lecture
in
a
smaller
group,
run
by
the
course
professors.
Field
trips
will
be
planned
to
several
of
the
following:
The
Metropolitan
Museum
of
Art,
The
James
Pierpont
Morgan
Library,
The
Jewish
Museum,
The
Hispanic
Society
of
America,
The
Cloisters,
El
Museo
del
Barrio,
The
Brooklyn
Museum
of
Art,
Arts
of
the
Islamic
World
gallery.
Important
note
for
majors
and
minors:
Designed
as
a
gateway
course
into
the
major
and
to
upper
level
courses,
“Iberian
Atlantic"
will
count
toward
the
major
and
minor
in
Spanish
and
Latin
American
Literature
and
Culture,
whether
the
student
registers
for
the
English
or
Spanish
recitation,
and
whether
the
student
writes
essays
in
English
or
Spanish.
We
strongly
recommend
that
students
who
have
completed
"Critical
Approaches"
sign
up
for
the
Spanish
section,
as
it
was
designed
precisely
for
them.
SPAN‐UA.0200
Critical
Approaches
to
Text
and
Cultural
Analysis
001
Tuesday,
Thursday
9:30‐10:45
002
Tuesday,
Thursday
11:00‐12:15
003
Tuesday,
Thursday
12:30‐1:45
004
Tuesday,
Thursday
2:00‐3:15
005
Tuesday,
Thursday
3:30‐4:45
006
Tuesday,
Thursday
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.
SPAN‐UA
310
section
1
Cultural
History
of
Spain
Jo
Labanyi
Tuesday,
Thursday
9:30–11:15AM
Recitation,
section
2
Wednesday
3:30‐4:45PM
Recitation,
section
3
Wednesday
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.
This
course
provides
an
introduction
to
the
making
of
modern
Spain
through
the
study
of
key
cultural
practices
in
th
literature,
visual
art,
film,
and
performance
from
the
19 century
to
the
present.
We
ask:
what
are
the
different
materials
that
Spanish
artists
and
writers
have
chosen
to
articulate
the
often
complex
understandings
they
have
of
themselves,
their
nation(s),
their
relation
to
modernity
(its
opportunities
and
challenges),
and
the
broader
international
community?
This
class
will
ask
students
to
critically
approach
Spanish
culture
by
learning
about
specific
works
(and
the
close
analysis
of
them)
and
the
contexts
within
which
they
exist
(when
they
were
made,
how
they
were
perceived,
and
how
we
come
to
study
them
today).
Among
the
different
media
and
materials
we
look
at
are:
fiction,
poetry,
film
(fiction
and
documentary),
painting,
poster
art,
photography,
performance,
and
architecture.
The
goal
of
this
class
is
for
students
to
actively
engage
in
an
informed
analysis
of
cultural
works
from
Spain
in
order
to
better
understand
the
relation
between
cultural
forms
and
issues
of
national
identity,
tradition,
modernity,
and
authorship
as
they
relate
to
the
historical
moment
and
location
in
which
they
are
produced.
CORE
COURSES
TAUGHT
IN
SPANISH
SPAN
UA
421
Poesía
del
siglo
de
Oro
Kenneth
Krabbenhoft
Thursday,
3:30–6:10
Taught
in
Spanish.
Pre‐requisite:
SPAN‐UA.0200
“Critical
Approaches.”
Official
title
on
Albert:
“Theatre
and
Poetry
of
the
Spanish
Golden
Age.”
Introducción
a
la
poética
y
la
poesía
lírica
del
Renacimiento
y
Barroco
españoles.
El
curso
explica
los
fundamentos
de
la
versificación
y
las
formas
principales
del
arte
menor
(décima,
endecha,
letrilla,
romance)
y
del
arte
mayor
(canción,
égloga,
elegía,
oda,
soneto).
Explora
la
temática
amorosa,
contemplativa,
metafísica
y
satírica
de
poetas
como
Garcilaso
NYU
DEPARTMENT
OF
SPANISH
•
COURSE
DESCRIPTIONS
SPRING
2012
3
de
la
Vega,
Fray
Luis
de
León,
Fernando
de
Herrera,
Francisco
de
Aldana,
San
Juan
de
la
Cruz,
Luis
de
Góngora,
Lope
de
Vega
y
Francisco
de
Quevedo.
SPAN
UA
625
Transatlantic
Avant‐gardes:
Sites
of
Modernity
Jordana
Mendelson
Tuesday,
Thursday
2–3:15
Taught
in
Spanish.
Pre‐requisite:
SPAN‐UA.0200
“Critical
Approaches.”
Mobility,
travel
and
cultural
transmission
mark
the
artistic
and
literary
avant‐gardes
of
the
twentieth
century
in
Europe
and
the
Americas,
especially
among
those
artists
and
writers
who
established
contacts
with
their
colleagues
across
the
Atlantic.
Often
these
moments
of
contact
generated
specific
works
of
art,
exhibitions,
and
publications.
This
course
will
study
a
selection
of
the
works
produced
among
Spanish
speaking
artists
and
writers,
paying
special
attention
to
the
original
moment
of
their
production.
Texts
will
be
read
in
Spanish;
some
secondary
material
will
be
assigned
in
English.
An
interest
in
the
visual
arts
is
highly
recommended.
We
will
begin
with
theoretical
texts
on
modernity,
and
move
from
there
to
focus
on
the
different
sites
in
which
cross‐
continental
exchange
took
place
among
artists
and
writers
from
Spain
and
Latin
America.
Each
student
will
choose
from
a
list
of
locations
and
prepare
a
general
bibliography
on
their
“site”
and
develop
a
presentation
on
one
artist
or
writer
as
a
“case
study”;
the
student
will
choose
readings
from
their
bibliography
to
share
with
the
class
(one
class
will
be
devoted
to
a
general
overview
of
the
site
and
another
class
to
the
case
study).
Students
are
expected
to
conduct
original
research,
prepare
in‐class
presentations,
and
actively
participate
in
class
discussion.
Professor
Mendelson
has
published
widely
on
the
art
of
the
avant‐garde
and
has
curated
numerous
exhibitions,
including
one
scheduled
for
2012,
which
relates
directly
to
this
theme.
That
exhibition
is
tentatively
titled
"Exile/Encounter:
the
1930s
"
and
will
be
held
at
the
Museo
Nacional
Centro
de
Arte
Reina
Sofía
in
Madrid.
SPAN
UA
550
section
1
Is
Spanish
One
Language?
Judith
Némethy
Monday,
Wednesday
3:30–4:45
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
553
section
1
Topics
in
Latin
American
Fiction
Juan
Vásquez
Monday
11AM–1:45PM
Blood
will
tell:
Narrating
Violence
in
Mexico's
Wound
Culture
Taught
in
Spanish.
An
MA‐level
seminar,
taught
in
conjunction
with
the
MA
in
Latin
American
Studies
at
the
Center
for
Latin
American
and
Caribbean
Studies,
open
to
select
junior
and
senior
majors
(possibly
minors)
who
have
completed
at
least
two
upper
level
courses
(2
courses
beyond
Critical
Approaches
or
its
equivalent)
and
maintain
a
major
GPA
of
3.6
or
above.
Any
student
meeting
these
criteria
is
encouraged
to
apply
by
sending
an
email
by
Wednesday,
November
9
discussing
your
interests
in
the
course
to
the
professor
and
to
Noelia
Sanchez:
juan.vazquez@nyu.edu,
noelia.sanchez@nyu.edu.
You
will
be
notified
of
your
acceptance
and
given
an
access
code
prior
to
registration.
Mexico’s
recent
history
is
written
in
blood:
drug
related
killings,
violent
kidnappings,
abduction
of
journalists,
political
assassinations,
gruesome
murders
including
hangings
and
beheadings.
One
only
has
to
open
a
newspaper
or
surf
the
web
to
find
a
handful
of
these
stories
and
see
the
pain,
hurt
and
agony
endured
by
those
who
fall
victim
to
an
escalating
scale
of
terror
and
violence.
But,
how
are
these
horrifying
events
told
and
how
do
we
read
them?
What
are
the
signifying
4
SPRING
2012
COURSE
DESCRIPTIONS
practices
used
to
convey
the
bloodshed?
In
which
ways
are
the
deaths
depicted?
How
and
by
whom
are
the
bodies
exposed?
This
class
hopes
to
answer
some
of
these
questions
by
analyzing
a
great
array
of
images,
videos,
novels,
news
clippings,
essays,
etcetera;
but
also
by
considering
the
agents
that
surround
these
occurrences.
We
will
study
the
narrative
content
of
these
representations
within
the
context
of
their
production
and
use,
while
discussing
the
particular
agendas
they
serve.
In
so
doing,
we
will
get
a
better
understanding
of
the
cultural
forms
made
to
portray
these
ghastly
acts
of
violence,
but
also
the
social
imaginaries
that
create
and
are
created
by
them.
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
985
Archive
Fevers:
Research
in
the
Humanities
Jill
Lane
Wed
9:30AM–12:15
PM
No
prerequisite.
Taught
in
English.
This
course
offers
an
introduction
to
research
methods
and
issues
in
the
humanities,
designed
for
students
planning
to
complete
an
honors
thesis,
preparing
for
graduate
studies,
or
otherwise
interested
in
substantial
independent
research.
We
consider
the
theory
and
practice
of
research
and
work
in
two
NYU‐based
archives,
ALBA:
The
Abraham
Lincoln
Brigades,
and
HIDVL,
the
Hemispheric
Institute
Digital
Video
Library,
a
digital
archive
related
to
recent
theatre,
performance,
and
activism
in
Latin
America.
These
two
archives
offer
different
modes
and
opportunities
for
archival
research,
working
with
a
range
of
textual
and
visual
materials
(personal
letters
and
papers,
posters,
photography)
as
well
as
film,
performance,
and
contemporary
digital
media.
Our
thematic
focus
in
these
archives
will
be
the
Spanish
Civil
War
(ALBA)
and
the
politics
of
memory
in
Chile
and
in
Colombia
(HIDVL).
Alongside
these
archives
we
consider
other
forms
of
research
related
to
literature,
film,
and
popular
culture.
Throughout
we
ask:
what
is
an
archive?
How
do
different
media
and
genres
keep
memory,
and
how
do
researchers
access
it?
Is
a
body
an
archive?
How
do
scholars
determine
what
counts
as
reliable
or
meaningful
evidence?
How
do
they
use
such
evidence,
and
to
what
ends?
As
such,
the
course
is
both
a
practical
introduction
to
research
and
a
theoretical
reflection
on
the
nature
of
archives
and
the
politics
of
the
memory
they
house.
Please
email
the
professor
with
any
advance
questions
about
the
course:
jill.lane@nyu.edu
ADVANCED
HONORS
SEMINAR
SPAN
UA
951
The
Inquisition
Georgina
Dopico‐Black
Wednesday
12:30–3:15PM
No
prerequisite.
Taught
in
English.
Cross‐listed
with
AHSEM
UA
173.
In
contemporary
media
and,
in
particular,
in
the
wake
of
9/11,
the
Spanish
Inquisition
has
repeatedly
been
used
as
shorthand
to
denote
intolerance,
persecution,
fanaticism,
and
a
disposition
to
cruelty
in
the
pursuit
of
“truth”.
While
some
elements
of
this
reputation
are
well‐earned,
the
history
of
the
Inquisition
is,
of
course,
far
more
complex
and
far
more
interesting.
Formally
introduced
in
their
newly
united
territories
by
Ferdinand
and
Isabella
in
1480,
the
Inquisition
was
a
not
only
a
remarkably
“modern”
institution
in
its
Spanish
incarnation,
but
one
that
provides
a
privileged
point
of
access
to
the
cultural,
social,
political
and
religious
history
of
Renaissance
Spain.
This
is
partly
the
result
of
the
Inquisition’s
broad
mission
of
policing
heresy
and
heterodoxy
in
all
its
guises;
as
cultural
anxieties
fluctuated
over
the
course
of
its
359‐year
history,
so
too
did
the
various
targets
of
Inquisitorial
persecution.
It
is
also
the
result
of
a
central
paradox
of
Inquisition
studies:
that,
due
to
its
bureaucratic
compulsion
to
record
everything,
a
repressive
institution
that
sought
to
contain
otherness
and
deviance
provides
the
best
record
of
the
lives
of
those
individuals
it
persecuted.
We
begin
the
semester
with
the
heated
question
of
the
origins
of
the
Inquisition
and
its
key
role
in
nation
building,
in
order
to
then
turn
to
the
Inquisition’s
internal
organization
and
standard
practices.
From
there,
we
consider
the
various
targets
of
inquisitorial
suspicion
or
persecution
from
the
late
fifteenth
through
the
late
seventeenth
centuries:
Judaism
and
crypto‐Judaism
(the
conversos),
Protestantism,
prohibited
books,
mystics
and
Illuminati,
witches,
Islam
and
crypto‐
Islam
(the
moriscos),
and
those
accused
of
sexual
or
religious
misconduct
(blasphemy,
bigamy,
and
sodomy).
We
close
the
semester
considering
what
finally
brought
about
the
definitive
abolition
of
the
Inquisition
in
1834,
its
radical
modernity,
and
how
it
has
been
revived
in
contemporary
culture
through
the
Black
Legend.
The
inquisitorial
history
we
will
trace
throughout
the
semester
is
deeply
embedded
in
texts.
We
will
read
transcripts
from
Inquisitorial
trials,
edicts
and
proclamations,
historical
chronicles,
novels,
plays,
autobiographies,
an
Inquisitor’s
manual
with
instructions
for
torture,
a
witch
hunting
treatise,
and
devotional
literature.
We
will
also
read
some
of
the
most
important
historical
studies
on
the
Inquisition,
as
well
as
the
inevitable
surveys
that
help
to
place
the
reading
in
context.
We
end
the
semester
with
more
contemporary
reflections
on
the
Inquisition
and,
in
particular,
versions
of
the
Black
Legend:
Poe’s
1842
“The
Pit
and
the
Pendulum”,
an
excerpt
from
Dostoyevsky’s
1880
The
Brothers
Karamazov,
Monty
Python’s
1970
NYU
DEPARTMENT
OF
SPANISH
•
COURSE
DESCRIPTIONS
SPRING
2012
5
“Nobody
expects
the
Spanish
Inquisition”
skit,
and
the
film
adaptation
of
J.K.
Rowling’s
2003
Harry
Potter
and
the
Order
of
the
Phoenix.
SPAN
UA
371
section
1
The
Achievement
of
Don
Quixote
Kenneth
Krabbenhoft
Thursdays
12:30–3:15PM
No
prerequisite.
Taught
in
English.
Official
title
on
Albert:
“Cervantes
and
Don
Quixote”
Is
what
we
call
'literature'
related
to
objective
(i.e.
non‐literary)
reality,
and
if
so,
how?
The
novel
as
we
know
it
begins
when
Miguel
de
Cervantes
asks
this
question,
in
'Don
Quixote
de
la
Mancha'.
This
course
looks
at
Cervantes'
inquiry
and
the
role
it
has
played
in
defining
the
ways
in
which
fiction
has
understood
the
scope
and
limitations
of
written
expression
ever
since.
In
addition
to
'Don
Quixote',
the
reading
list
includes
Machado
de
Assis,
'Dom
Casmurro';
Miguel
de
Unamuno,
'Mist';
Samuel
Beckett,
'Molloy';
Vladimir
Nabokov,
'Lolita';
and
Philip
K.
Dick,
'TIme
Out
of
Joint'.
Don
Quixote's
legacy
in
music
and
the
visual
arts
will
also
be
discussed.
SPAN
UA
553
section
2
Topics
in
Latin
American
Fiction:
Eduardo
Subirats
Monday,
Wednesday
2:00–3:15PM
Rulfo,
Kafka,
Beckett
No
prerequisite.
Taught
in
English.
This
seminar
will
discuss
in
detail
three
novels:
Franz
Kafka’s
The
Metamorphosis,
Samuel
Beckett’s
Molloy,
and
Juan
Rulfo’s
Pedro
Páramo.
It
will
also
address
classical
interpretations
of
these
works
such
as
Adorno’s
essay
on
Beckett,
Deleuze’s
study
of
The
Metamorphosis,
or
Fuentes’
essay
on
Rulfo.
This
seminar
will
focus
on
problematic
elements
in
the
critical
reception
of
these
three
novels,
such
as
the
end
of
modernity,
the
deconstruction
of
the
rational
subject,
the
transformation
of
time
and
space
in
contemporary
cultures,
and
the
conflict
between
Western
values
and
Mexican
indigenous
cultures.
PORT
UA
851
The
Architectures
of
Brazilian
Civilization
Eduardo
Subirats
Monday,
Wednesday
3:30–4:45
No
prerequisite.
Taught
in
English.
See
description
under
“Brazil”
below
Advanced
Courses:
PORTUGUESE/BRAZIL
STUDIES
PORT
UA
850
section
1
Brazilian
Poetry
and
Song
Marta
Peixoto
Tuesday
&
Thursday
11AM–12:15PM
Taught
in
Portuguese.
Prerequisite:
Intermediate
Portuguese.
This
course
examines
important
moments
in
Brazilian
poetry
and
popular
song,
from
around
1922
to
1985,
period
in
which
these
two
genres
engaged
in
a
particularly
interesting
dialogue.
After
an
introduction
to
some
of
the
main
poets
of
Brazilian
modernism,
fundamental
to
the
poetry
and
song
of
the
following
decades,
we
will
look
at
the
movements
of
Concrete
Poetry,
Bossa
Nova,
and
Tropicalismo,
the
sambas
of
Noel
Rosa,
the
songs
of
composers/lyricists
Chico
Buarque
and
Caetano
Veloso,
and
the
poetry
of
Adélia
Prado
and
Ana
Cristina
Cesar.
Throughout
the
course,
we
will
discuss
the
dialogue
between
poetry
and
popular
song
and
their
mutual
influence,
the
debate
about
the
efficacy
and
limits
of
lyric
poetry,
the
questioning
of
gender
ideologies,
the
concern
with
the
positioning
of
Brazilian
poetry
and
song
in
the
international
cultural
markets.
CDs
and
DVDs
will
bring
to
the
course
the
musical
and
theatrical
dimensions
of
the
songs.
PORT
UA
851
The
Architectures
of
Brazilian
Civilization
Eduardo
Subirats
Monday,
Wednesday
3:30–4:45
No
prerequisite.
Taught
in
English.
This
seminar
will
illuminate
the
following
topics:
1.
The
concept
of
“Brazilian
Civilization”.
2.
The
“Anthropophagic
ANTI‐
Avant‐garde”.
3.
The
paintings
of
Tarsila
do
Amaral:
the
popular,
the
naïve,
and
the
cosmic.
4.
The
trickster
as
national
founding
hero:
Macunaíma.
5.
Popular
music
and
the
musical
avant‐garde:
Villa
Lobos.
6.
The
aesthetics
of
Brazilian
expressionism:
Lasar
Segall
and
his
legacy.
7.
The
architecture
of
Niemeyer:
Pampulha,
Brasilia,
Latin
American
Memorial
(São
Paulo).
8.
Architecture
and
a
socialist
project
–
Lucio
Costa,
Brasilia
and
the
“Super
Cuadras”.
9.
Roberto
Burle
Marx:
painter,
gardener,
architect,
ecologist
and
humanist.
10.
Lina
Bo
architect
and
the
Tropicalist
Avant‐garde.
11.
The
expressionist
film:
Glauber
Rocha.
12.
The
expressionist
architecture
of
Vilanova
Artigas
and
Paulo
Mendes
da
Rocha
in
São
Paulo.
13.
Seeds
of
destruction:
Cold
war,
the
military
coup
d'état,
postmodernization,
and
the
obliteration
of
Brazilian
civilization.
Professor
Eduardo
Subirats
is
currently
co‐curator
of
the
exhibition,
and
main
editor
of
the
book
“As
Architeturas
da
Civilização
Brasileira”
(São
Paulo).
6
SPRING
2012
COURSE
DESCRIPTIONS
PORT
UA
850
section
2
Culture
through
Conversation
Carlos
Veloso
Monday,
Wednesday
3:30–4:45PM
Taught
in
Portuguese.
Prerequisite:
Intermediate
Portuguese.
This
is
an
intermediate
to
advanced
level
course
that
aims
at
simultaneously
refining
written
and
oral
expression
in
Portuguese
through
the
discussion
and
analysis
of
films
and
the
visual
arts
from
the
Portuguese‐speaking
world.
It
will
utilize
the
arts
as
a
means
to
promote
linguistic
competence
and
creative
thinking.
Students
will
prepare
reports
and
compositions
and
discuss
assigned
articles,
films
and
works
of
art.
Students
will
also
review
advanced
grammatical
structures
through
editing
workshops
offered
bi‐weekly.
ADVANCED
LANGUAGE
ELECTIVES
Advanced
Grammar
and
Composition
(SPAN
UA
100)
or
Critical
Approaches
(SPAN
UA
200)
is
a
pre‐requisite
for
the
following
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
at
either
the
100‐or
200‐level.
Romance
Language
and
Spanish
+
Linguistics
majors
may
only
take
Advanced
Conversation
toward
the
major.
If
you
are
a
major
or
minor
in
Latin
American
Studies
or
Iberian
Studies,
the
following
courses
do
not
count
toward
the
degree.
100‐level
courses:
SPAN
UA
101
Advanced
Conversation
See
Albert
for
section
days
and
times
Prerequisite:
SPAN
UA
100
“Advanced
Grammar
and
Composition.”
Required
for
Romance
Language
majors.
SPAN
UA
102
Advanced
Conversation
for
the
Medical
Profession
Carlos
Martínez
Monday,
Tuesday,
Thursday
11.00
AM
‐
12.15
PM
Prerequisite:
SPAN
UA
100
“Advanced
Grammar
and
Composition.”
Note:
this
course
does
not
count
toward
majors
or
minors
in
the
Department
of
Spanish
and
Portuguese
SPAN
UA
125
Creative
Writing
in
Spanish
Lila
Zamborain,
Mariela
Dreyfus
Section
1:
Tuesday,
Thursday
2:00‐3:15PM
Section
2:
Tuesday,
Thursday
12:30–1:45PM
Prerequisite:
SPAN
UA
200
“Critical
Approaches”
or
permission
of
the
instructor.
200‐level
SPAN
UA
320
Advanced
Fiction
and
Non‐Fiction
Workshop
in
Spanish
Tuesday,
Thursday
2:30‐3:15PM
Prerequisite:
SPAN‐UA.0200
“Critical
Approaches”
or
permission
of
the
instructor.
SPECIAL
COURSES
SPAN‐UA
981
section
1
Internship
Lourdes
Davila
Hours
to
be
arranged
For
majors
only,
by
permission
of
the
Associate
Director
of
Undergraduate
Studies,
Professor
Dávila.
Students
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
998
section
1
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
NYU
DEPARTMENT
OF
SPANISH
•
COURSE
DESCRIPTIONS
SPRING
2012
7
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.
COURSES
BEYOND
THE
DEPARTMENT
Cross‐listed
with
Comparative
Literature:
SPAN
UA
551
section
2
South
by
South:
Ana
Dopico
Tuesdays,
2–4:45PM
Ideological
Maps
and
Fictions
of
Uneven
Development
Spanish
Majors/minors
please
note:
writing
for
this
course
cannot
be
completed
in
Spanish,
so
the
course
cannot
count
toward
the
major
or
minor.
See
the
Department
of
Comparative
Literature
for
a
description.
MAP
Course
Cultures
and
Contexts:
Spain
Jordana
Mendelson
Tuesdays,
Thursdays
11AM–12:15PM
This
course
counts
toward
the
major
and
minor
in
Iberian
Studies.
If
writing
is
completed
in
Spanish,
this
course
can
count
toward
the
major
or
minor
in
Spanish.
What
does
Spanish
culture
look
like?
What
are
the
different
materials
that
Spanish
artists
and
writers
have
chosen
to
articulate
the
often
complex
understandings
they
have
of
themselves,
their
nation(s),
their
relation
to
modernity
(its
opportunities
and
challenges),
and
the
broader
international
community?
Rather
than
assume
simplistic
answers
to
these
questions,
or
take
for
granted
a
relation
between
a
specific
form,
be
it
literary,
visual
or
performative,
this
class
will
ask
students
to
critically
approach
Spanish
culture
by
learning
about
specific
works
(and
the
close
analysis
of
them)
and
the
contexts
within
which
they
exist
(when
they
were
made,
how
they
were
perceived,
and
how
we
come
to
study
them
today).
The
time
frame
for
this
class
is
the
mid‐nineteenth
century
through
the
late‐twentieth
century.
Among
the
different
media
and
materials
we
will
look
at
are:
fiction,
poetry,
film
(fiction
and
documentary),
painting,
poster
art,
photography,
performance,
and
architecture.
Readings
will
be
taken
from
a
variety
of
sources
(not
just
one
textbook)
and
we
will
try
as
often
as
possible
to
incorporate
works
of
art,
films,
lectures,
and
performances
that
are
taking
place
in
our
community.
The
goal
of
this
class
is
for
students
to
actively
engage
in
an
informed
analysis
of
cultural
works
from
Spain
in
order
for
each
student
to
better
understand
and
question
the
relation
between
cultural
forms
and
questions
of
national
identity,
tradition,
modernity,
and
authorship
as
they
relate
to
the
historical
moment
and
location
in
which
they
are
produced.
Further
questions?
Email
us
at:
spanish.dugs@nyu.edu