2012-13
AP Spanish Literature Syllabus
Sra. Melville
Cuarto 5306
Clark Magnet High School
Introduction
The course is structured to allow students to complete the entire AP Spanish Literature reading
list, published in the AP Spanish Course Description. The teacher uses Spanish almost
exclusively in class and encourages students to do likewise. The main objective of this course
is to promote an abiding appreciation of the Spanish Language and of Hispanic literature
and culture through representative works of Peninsular and Latin American literature. To
this end, the course provides students with opportunities to read, discuss and critically
analyze a variety of themes in Spanish through class discussion and essay writing. A second
objective is to allow students to express their ideas and opinions orally both formally and
informally in spoken Spanish with fluency and accuracy. The students are taught the
techniques of literary analysis and the vocabulary of critical terms. The curriculum includes
representative works of prose, poetry, and drama from different periods with a consideration of
their cultural context.
Resource Requirements
The student needs to come to class prepared to participate with a Spanish/English Dictionary, a
binder for Spanish Literature only, a black or dark blue ball point pen, a green pen for
corrections only, two sharpened pencils equipped with erasers, and most importantly an excellent
attitude and the willingness to learn.
Primary Texts
Abriendo puertas: Antología de literatura en español, Tomos I y II
McDougal Littell; 2003
Rodríguez, Rodney, Momentos cumbres de las literaturas hispánicas
Pearson Hall, 2000.
Supplementary Texts
Adey et al. Tesoro Literario. Glencoe McGraw-Hill, 1997.
Authentic sources used as needed on various authors (i.e. Allende, Bazan, Borges, Unamuno,
Marquez, Fuentes)
Cobert, et al. Azulejo, Wayside Publishing, 2002
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Audio and Video Sources for the consideration of the cultural context
Selected scenes from the following movies used to support certain reading selections in class:
Taming of the Shrew, Juana la loca, La casa de Bernarda Alba, Il Postino, Un señor muy
viejo con alas enormes, Cabeza de Vaca, Don Quixote.
Selected scenes from the following documentaries:
Espejo de una Escritora: Isabel Allende; Crossing Borders: the Journey of Carlos Fuentes;
Profile of a Writer: Jorge Luis Borges; Gabriel García Márquez: Tales Beyond Solitud; poetry
readings of Pablo Neruda’s Odas from Poetry, Passion, and The Postman
Power Point slide shows on La Época Medieval, Poesía del Renacimiento, El Siglo de Oro, y El
Barroco to reinforce the historical and cultural eras.
Music from different eras, such as: The Angels of Venice, Capricho árabe (música medieval);
Hijo de la luna (Lorca); Fechu n’ Asturies (Gaite); Andrés Segovia, Aranjuez por Joaquin
Rodrigo, Capriccio espagnol por Rimsky-Korsakov, Suite espagnoleˆ por Isaac Albeniz
(Renancimiento); Southwest Indian Music (Naufrajios); and Songs of the Wild (Quiroga), etc.
Timeline
The required reading list is organized from a chronological perspective and fulfills the course
requirement to complete the entire AP Spanish Literature Reading list. By adhering to this
timeline, the students get a whole view of the historical traditions and cultural customs and
mores existing on both sides of the Spanish-speaking world.
First Semester Course Overview
The course begins with a general grammar review of the first four years and a comprehensive
introduction to the terminology necessary for literary analysis in all genres (prose, poetry, and
drama). This includes literary movements in Hispanic literature from the medieval period
through the latest literary trends. During this first month students are taught how to structure
their analytical essay and are shown how to use transition words, conjunctions, chronological
words, words for making comparisons and contrasts, and vocabulary words to summarize.
Major themes discussed in the first quarter: Honor and dishonor, the tenacitay of the
individual, man verus nature, inmortality/mortality, exploration and discovery, the
challenges/dreams of the individual, social and political criticism, divine justice, and carpe
diem.
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Aug/September/October: La Edad Media, el Siglo de Oro y el Barroco
“El Conde Lucanor”. Don Juan Manuel
“Romance de la pérdida de Alhama”. Anónimo
“Romance del Conde Arnaldos”. Anónimo
“En tanto que de rosa y azucena”. Garcilaso de la Vega
Lazarillo de Tormes. Tratados: 1,2,3,7 Anónimo
Naufragios. Capítulos XII, XX, XXI, XXII Cabeza de Vaca
El ingeniso hildalgo don Quijote de la Mancha. Miguel de Cervantes
“Mientras por competir por tu cabello”. Luis de Góngora
“Miré los muros de la patria mía”. Francisco de Quevedo
El burlador de Sevilla y convidado de piedra. Tirso de Molina
“En perseguirme, Mundo, ¿qué interesas?” Sor Juana Inés de la Cruz
“Hombres necios que acusáis” Sor Juana Inés de la Cruz
November:
Romanticismo
“Vuelva Ud. Mañana”. Mariano José de Lara
“Canción del pirata”. José de Espronceda
“En una tempestad”. José María Heredia
“El alacrán de Fray Gómez”. Ricardo Palma
“No digáis que agotado su tesoro”. Gustavo Adolfo Bécquer
“Yo soy ardiente, yo soy morena”. Bécquer
“Volverán las oscuras golondrinas”. Bécquer
Major themes discussed in the second quarter: Individual freedom, love and passion, the
loss of innocence, the role of women in society (double standards), opression, sexual
frustration, the relationships between parent and child, social and political criticism, and
carpe diem.
December:
Realismo y Naturalismo
“Adiós, Cordera”. Leopoldo Alas Clarín
“Las media rojas”. Emilia Pardo Bazán
“El hijo”. Horacio Quiroga
“Las Ataduras” Carmen Martín Gaite
January:
Modernismo
“Dos patrias”. José Martí
“Yo soy un hombre sincero”. José Martí
“Canción de otoño en primavera”. Rubén Darío
“A Roosevelt”. Darío
“Lo fatal”. Darío
“Tu me quieres blanca”. Alfonsina Storni
“Peso ancestral”. Storni
“A Julia de Burgos”. Julia de Burgos
Second Semester Course Overview
The course continues through the enrichment of vocabulary to include literary devices used in
poetry and prose. Students compose expository passages that express analysis of a theme or
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illustrate the use of poetic devices. These practice essays are assigned after each theme is
thoroughly analyzed in class. The focus is mainly on Hispanic literature in the spring.
Major themes discussed in the third quarter: Religion, sexual frustration, family
relationships, the role of women in society, the decadence of the “established order,” social
criticism, the treatment of the gypsy in Spanish society, individual liberty, the role of the
strong woman, justice/injustice, and identity.
February:
Autores de la Generación del 98
San Manuel Bueno, mártir. Miguel de Unamuno.
“He andado muchos caminos”. Antonio Marchado
“La primavera besaba”. Marchado
“Caminante, son tus huellas”. Marchado
March:
Vanguardismo
“Romance de la luna, luna”. Federico García Lorca
“Romance sonámbulo”. Lorca
“Romance de la pena negra”. Lorca
“La monja gitana”. Lorca
“Prendimiento de Antañito el Camborio”. Lorca
“Muerte de Antañito el Camborio”. Lorca
La casa de Bernarda Alba. Lorca
“Sensemayá”. Nicolás Guillén.
“Balada de los dos abuelos”. Guillén
“Me gustas cuando callas”. Pablo Neruda
“Walking Around”. Neruda
“Oda a la alcachofa”. Neruda
El delantal blanco. Sergio Vodanovik
Major themes discussed in the fourth quarter: The psychological development of the
individual, the power of words, identity, immortality/mortality, class struggle, social and
political criticism, familial relationships, existentialism, fantasy versus reality (magic
realism), parallel/simultaneous time periods, the “flaws” in human character (egoism,
arrogance, vengeance, envy, pride, greed, hatred, grief, etc).
April:
El “Boom” de la narrativa hispanoamericana
“La muerte y la brújula”. Jorge Luís Borges
“El sur”. Borges
“¿No oyes ladrar los perros?” Juan Rulfo
“La continuidad de los parques”. Julio Cortázar
“La noche boca arriba”. Cortázar
“Chac Mool”. Carlos Fuentes
“La siesta de martes”. Gabriel García Márquez
“La viuda de Montiel”. García Márquez
“Un señor muy viejo con alas enormes”. García Márquez
“El ahogado más hermoso del mundo”. García Márquez
“Un día de estos”. García Márquez
“La prodigiosa tarde de Baltasar”. García Márquez
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May:
La voz femenina en la literatura contemporánea
Literatura chicana en EE.UU.
“Autorretrato”. Rosario Castellanos
“Dos palabras”. Isabel Allende
“Mi caballo mago”. Sabine Ulibarrí
*Repaso general para el examen de AP literatura (autores, títulos, temas,
recursos poéticos, terminología de la narración, etc.
Teaching Strategies
Each literary and historical period is introduced chronologically through a variety of resources
mentioned earlier: power points, film clips, documentaries, visuals (paintings/photos), period music,
Internet articles, etc. The areas of study include: art, architecture, music, and political, cultural,
social, and religious movements of that era. Comparisons are often made with other countries that
were impacted by these same movements. I use an Anticipatory Set to introduce each reading
selection in order to prepare the students for the “human experience” in which they will
participate. This could be through the use of the questions from the two primary texts or through
quotes from the actual authentic sources or through visuals. As an example, to introduce Las
medias rojas, I show students postcards from Galicia. They fill in a worksheet on what they see in
terms of the culture, customs, traditions, time period, etc. This helps them visualize the setting of
the story. I also make certain the vocabulary is reviewed prior to and during the reading of the text
to aid their comprehension. Worksheets are used to reinforce these vocabulary words, especially
with the terms of the medieval period. At various stages, I will stop to discuss the selection with
emphasis on the development of the plot and the main characters. Student participation is essential
and I encourage all of them to express their ideas in Spanish as best as they can. With my guidance,
after a thorough discussion of the text, they will come to consensus on the primary and secondary
themes. After each selected reading they fill in a graphic organizer (next page). Questions from the
primary texts are also used as closure to assure that students are synthesizing the more complex
and sometimes hidden meanings in the text. Practice essays are then assigned (as described below).
In my class I use many paired and small group activities to assist them particularly with poetry
analysis. One of their major projects is to illustrate and analyze one specific poem, orally present it
in class with background music (from the period if possible), while highlighting all of the poetic
devices. Another assignment I give in the second quarter is a formal oral student presentation on
the subject of the authors whereby they present not only their lives in detail but also what literary
movements or persons influenced their writing. Afterwards, students write an essay in which they
choose two authors who they were most impressed with, explain why, and reflect upon their impact
on the Spanish-speaking world. In the final quarter I implement Literature Circles to discuss and
analyze Marquez’s works. At the end of the year students will choose to act in and film any of the
plays or prose selections that have been read throughout the year. This final activity ensures their
enthusiastic acceptance and enjoyment of all the literary works they have read. As part of their
final, students will compile a portfolio, allowing them to reflect upon all their accomplishments in
this class.
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Student Activities
The course teaches students the techniques of literary analysis and a basic vocabulary of critical
terms.
I. Graphic Organizers: After each reading, students fill out a graphic organizer or “Ficha”
depending on the genre:
Prosa (Narración)
Título, autor, época, contexto
cultural, temas, personajes,
resumen del argumento,
desarrollo, ambiente, lenguaje,
culminación y desenlace,
punto de vista, tono.
Poesía
Título, poeta, época, contexto
cultural, temas, versificación,
ritmo, rima, arte menor o
mayor, estrofas, breve
resumen en prosa, imágenes
sobresalientes, imágenes
sensoriales, recursos poéticos
(paradoja, epíteto,
prosopopeya, polisíndeton,
encabalgamiento, etc.)
Obras de teatro
Título, autor, época, contexto
cultural, temas, personajes,
resumen del argumento,
desarrollo, ambiente, lenguaje,
culminación y desenlace, tono,
acotaciones.
The students use these “fichas” as a study guide for review prior to the exam. Throughout the
year these organizers help the students to write analytical essays. At the end of each semester,
teacher and students compile a list of authors that have expressed the same themes and fill
in another organizer such as the one below:
TEMAS:
AUTORES
AUTORES
AUTORES
AUTORES
La inmortalidad
El egoismo
La venganza
Las relaciones
familares
La indivualidad
Other graphic organizers that help students comprehend are:
• El fluir de conciencia
• La terminlogía de la narración
• La rueda del saber
• Diagramas Venn
• los mapas semánticos
• La mente abierta (la doblamente)
• las caras de los persosnajes
• La secuencia de eventos
• El cartelón de historia
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II. Student Essays
Students are assigned essays designed in the format used on the AP literature Exam.
Some of these are done at home and some are timed essays in class. In their essays, they
analyze prose or poetry, emphasizing the imagery and literary terms, and demonstrate
how the author reflects the time period and themes in his/her writings.
Students write a first draft and then peer critique and peer edit each other’s work using the
AP scoring guidelines from AP Central. They then write a second draft, which is also subject
to a second round of peer critiquing from which they write their final draft. Throughout the
course students practice writing the three types of questions on the exam: poetic analysis,
thematic analysis, and text analysis.
III. Other Student Activities
1. Individual and Group Oral Presentations (as listed below in numbers 2-4):
2. Internet investigations on selected authors wherein students investigate the historical
background of the author’s country and life, activities and aspirations, and literary
figures/movements that influenced their writings. This is presented either with a Power
Point presentation or with posters.
3. Perform selected scenes from different theatrical works (ie. El Delantal Blanco).
4. Poster creations: i.e. poetry or storyboards that include a title, illustration, quote, and
thematic analysis.
5. Pre and Post discussion in Spanish dealing with the themes presented in the selected
readings. These pre-reading questions can come from either the primary or secondary
texts. As an example, “Antes de leer,” and the post-reading questions “Pasos para una
lectura,” from Momentos Cumbres are used to facilitate student comprehension and
analysis.
6. Prior to the exam as an extensive review, students fill out a graphic organizer that deals
specifically with the major themes associated with the authors such as: la opresión de la
mujer, la violencia, el realismo mágico, el determinismo social, el individualismo, el
desarrollo psicológico, relaciones familiares, etc.
Extra Curricular Activities:
Students are given the opportunity to attend performances at the Bilingual Foundation of the Arts
once each semester. They see an actual performance of a classical play done in Spanish in its
entirety. They have the chance to speak to the cast afterwards about their character’s motivations.
They are also encouraged to become active members of the Spanish Club, an organization on
campus devoted to the enjoyment and appreciation of the Spanish language and culture, and
participate in its many excursions to restaurants, museums, missions, and local cultural holiday
events.
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Student Evaluation
I. Each semester the students are required to write a number of essays inside and outside of
class. The writing prompts for these essays are modeled on the format of the AP Spanish
Literature Exam. The essays done in class are timed writings and are critiqued by the
teacher. The essays done outside of class go through at least two rounds of peer review
before submitting the final copy. In their essay writing, students must demonstrate proper
usage of literary terms and and/or poetic devices.
II. Other means of assessing students during the year are:
•
•
•
•
•
•
Short quizzes
Post-reading comprehension questions
Oral presentations on poetry, authors’ lives and cultural context
Vocabulary quizzes on literary terms and poetic devices
Ongoing assessment of portfolios, organizers, and “fichas”
Semester finals using questions from previous AP Exams
III. At the end of each semester students take a final exam based on the previously released AP
Spanish Literature exam. This final consists of questions in multiple-choice format and
includes one of the three essay prompts on the exam: thematic analysis, poetic analysis, or
text analysis.
IV. At the end of each semester, authentic assessment includes a reflective portfolio. This
enables the students to synthesize and analyze their own work and academic growth
throughout the entire year.
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