The course includes excerpts from these books

The course includes excerpts from these books: Aproximaciones al studio de la literatura hispánica by Edward H. Friedman, L. Teresa Valdivieso, and Carmelo Virgillo (Boston: McGraw Hill, 4 th ed., 2004) 208­210, 225­230. Atando cabos by Marta Rosso­O’Laughlin and María González­Aguilar (New Jersey: Prentice Hall, 2001) 236­238, 305­306, 345­346, 373­375. Aventuras literarias by Ana C. Jarvis, Raquel Lebredo, and Francisco Mena­Ayllón (Boston: Houghton Mifflin, 5 th ed., 1999) 76, 88, 93, 128. Cofre literario by Alicia Ramos, Iraida H. López, and Olga Casanova­Burgess (Boston: McGraw Hill, 2003) 25­31, 54­58, 82­88, 99­105. Conexiones: Comunicación y cultura by Eduardo Zayas­Bazán, Susan M. Bacon, and Dulce García (New Jersey: Prentice Hall, 1999) 233­235. Entre Nosotros by Ana C. Jarvis and Raquel Lebredo (Boston: Houghton Mifflin, 2001) 26­27, 120­121. Experiencias: Lectura y cultura by Zenia Sacks Da Silva and Nora de Marval­McNair (Grand Rapids, Michigan: Harper & Row, 1990) 134­135. Fuentes: Lectura y redacción by Donald N. Tuten, Lucía Caycedo Garner, and Carmelo Esterrich (Boston: Houghton Mifflin, 2000) 91­94. Hacia la literatura by Sheri Spaine Long, Susan McMillen Villar and Frances Meuser (New York: John Wiley & Sons, 1998) 79­86, 170­176. Horizontes: Cultura y literatura by Graciela Ascarrunz Gilman and Carmen Benito­ Vessels (Boston: Heinle & Heinle, 3 rd ed., 1997) 90­92, 117­119, 141­142. Maestros hispánicos del Siglo Veinte by Emir Rodríguez Monegal and Suzanne Jill Levine (New York: Harcourt Brace Jovanovich, 1979) 27­34,150­155, 156­164. Mundo 21 by Fabián A. Samaniego, Nelson Rojas, Maricarmen Ohara, and Francisco X. Alarcón (Boston: Houghton Mifflin, 2 nd ed., 2001) 144­147, 189­194. Panoramas literarios América Hispana by Teresa Méndez­Faith (Boston: Houghton Mifflin, 1998) 103­126, 150­167, 172­181, 235­244, 277­288, 329­334. Pasajes: Literatura by Mary Lee Bretz, Trisha Dvorak, Carl Kirschner, and Constance Kihyet (Boston: McGraw Hill, 5 th ed., 2002) 69­74, 118­120, 143­147, 161­163, 201­206. Pinceladas literarias hispanoamericanas by Gloria Bautista Gutiérrez and Norma Corrales­Martín (New Jersey: John Wiley & Sons, 2004) 115­119, 129­148, 152­ 159, 321­326. ¡Recuerdos! Intermediate Spanish by Oscar Ozete (Orlando: Harcourt College Publishers, 2001) 259­262. Vistas y voces latinas by Esther L. Levine and Constance M. Montross (Upper Saddle River, New Jersey: Prentice Hall, 3 rd ed., 2002) 78­88, 104­106.
and Poetics, 1993. Rama, Angel. La generación crítica, 1939­1969, 1969. Rowe, William. Poets of Contemporary Latin America. History and the Inner Life, 2000. Running, Thorp. The Critical Poem. Borges, Paz, and Other Language­Centered Poets in Latin America, 1996. Sarabia, Rosa. Poetas de la palabra hablada. Un estudio de la poesía hispanoamericana contemporánea, 1997. Siebenmann,Gustav. Poesías y poéticas del siglo xx en la América hispana y el Brasil, 1997. Sucre, Guillermo. La máscara, la transparencia, 1975. Tapscott, Stephen. ed., Twentieth­Century Latin American Poetry. A Bilingual Anthology, 1996. Todorov, Tzvetan. Introduction to Poetics, trans. Peter Brooks, 1981. Yurkiévich, Saúl. Fundadores de la nueva poesía latinoamericana, 1973. ­­­­­. La movediza modernidad, 1996.
Bibliography This list includes frequently consulted books of general interest. You can obtain these through Axe Interlibrary Loan Services. Agosín, Marjorie. These Are Not Sweet Girls, 1994. Albistur, Jorge. Mujeres: Las mejores poetas uruguayas del siglo xx, 1993. Bethell, L. ed., A Cultural History of Latin America, 1998. Brotherston, Gordon. Latin American Poetry. Origins and Presence, 1975. Cobo Borda, Juan Gustavo. Antología de la poesía hispanoamericana, 1985. Flores, Angel and Kate Flores. Poesía feminista del mundo hispánico, 1986. Franco, Jean. La cultura moderna en América Latina, 1971. Franco, Rosa. Origen de lo erótico en la poesía femenina americana, 1960. González, Mike and David Treece. The Gathering of the Voices. The Twentieth Century Poetry of Latin America, 1992. Kamenzain, Tamara. El texto silencioso. Tradición y vanguardia en la poesía sudamericana, 1983. Lagos, Ramiro. Mujeres poetas de hispanoamérica, 1986. Ligaluppi, Oscar Abel. Poetas hispanoamericanas contemporáneas, 1989. Malpartida, Juan. La perfección indefensa. Ensayos sobre literaturas hispánicas del siglo xx, 1996. Milán, Eduardo. Una cierta mirada. Crónica de poesía, 1989. Paz, Octavio. El arco y la lira, 1956. Pelligrini, Aldo. Antología de la poesía viva hispanoamericana, 1966. Piña, Juan Andrés. Conversaciones con la poesía chilena, 1990. Preminger, Alex and T.V.F. Brogan, eds., The New Princeton Encyclopedia of Poetry
· Keep your thesis in mind. Is discussion in the body pertinent to what you are saying?
· Make up a title. It can be either informative or imaginative, but it must reflect the main idea of the term paper.
· Keep in mind a working title. It will help keep you on track, but change it if your ideas change. HELP WITH LANGUAGE FOR YOUR PAPER Reported Speech Here are some ways to introduce information taken from others: Dice que Insiste en que Opina que Cuenta que Piensa que Afirma que Cree que Explica que Le parece que Providing Smooth Transitions Transition words provide the glue that holds a piece of writing together. Here are some examples: así que= so (result) de repente, de pronto=suddenly como resultado=as a result entonces=so (logical result) por eso=that’s why por lo tanto=therefore sin embargo=however como consecuencia=as a consequence ya que, puesto que=since a causa de (que)=because debido a (que)=due to Using Transitions of Concession Often when discussing or giving opinions, certain transition words and expressions are particularly useful for acknowledging the validity of another person’s points or ideas, while at the same time challenging them: a pesar de (que)=despite, in spite of aunque=although, even though con todo, aún así=still, even so, nevertheless no obstante=nevertheless sin embargo=however Example: A pesar de que la trama es excelente, hay, sin embargo, ciertas lagunas que afectan la credibilidad.
WRITING A TERM PAPER There are several important steps towards writing your term paper. First, you choose a topic of interest. Then, you began your research in the library. The next step is to write an abstract. You might also think of it as the introduction to your paper. In fact, it will become the introduction that guides the remainder of your work. In the introduction, you present the topic, explain its importance, and give a thesis –a clear and concise explanation of the main idea­­. You also briefly state how you plan to approach the topic. Once your abstract has been approved, you can begin to write an outline that will guide your writing. An outline is a plan showing the relationship between main topics and supporting ideas. A good outline organizes you before you begin and serves as a check that your arguments are on track. The body of your paper is where you develop the thesis and provide specific evidence to support it. Several strategies are often employed by effective writers to develop the body of their essay. Examples and definitions of unfamiliar terms can help your reader follow your ideas. Descriptions may also be appropriate, and sometimes the narration of a short passage from a work or about an event can help to support your thesis. You may also choose to compare and contrast certain ideas, break them down into their component parts, look for causes and effects, or argue for a particular interpretation. Any of these strategies can also serve as the organizational backbone of an essay. Finally, your term paper will end with a conclusion. This is your opportunity to summarize main points and consider further implications. Points to consider while composing your essay:
· Keep your audience in mind when writing. Is your style appropriate?
#13 Week of April 14 I. Claribel Alegría (El Salvador, 1924­ ) “Carta a un desterrado” a) Underline important facts about author. b) Write answers to Guía y actividades de pre­lectura. c) Read “Carta a un desterrado.” d) Write answers to Comprensión and Expansión. e) Brief Analysis. Choose one of the topics from Temas de discusión o análisis. Write at least one paragraph. II. Idea Vilariño (Uruguay, 1920­ ) “El testigo,” “Ya no” a) Underline important facts about author. b) Read “El testigo” and “Ya no.” c) Write answers to Mirada hacia adentro and Interpretación. d) Write answers to Proyecciones. III. Mario Benedetti (Uruguay 1920­ ) “Te quiero” a) Read “Te quiero.” b) Do the Práctica y comunicación sections. #14 Week of April 21 I. Nancy Morejón (Cuba, 1944­ ) “Renacimiento,” “Mujer negra” a) Underline important facts about author. b) Read “Renacimiento.” c) Answer Cuestionario. d) Read “Mujer negra.” e) Answer Cuestionario. II. Graduate Students Only. Nancy Morejón “Madre,” “Elogio de la danza,” “Ambar,” “Intuición,” “Elogio de Nieves Fresneda,” “La rebambaramba,” “Pareja negra,” “Suite recobrada,” “Caminos” a) Underline important facts about author. b) Read “Madre,” “Elogio de la danza,” “Ambar,” “Intuición,” “Elogio de Nieves Fresneda,” “La rebambaramba,” “Pareja negra,” “Suite recobrada,” and “Caminos.” c) Brief Analysis: Discuss the predominant themes in Morejón’s poetry. Write at least a paragraph. #15 Week of April 28 I. Term Paper Due
#11 Week of March 31 I. Ernesto Cardenal (Nicaragua, 1925­ ) “Epigramas,” “Oración por Marilyn Monroe,” “Como latas de cerveza vacías” a) Underline important facts about author. b) Read “Epigramas.” c) Answer Cuestionario. d) Read Aproximaciones al texto: la poesía and answer questions. e) Write answers to Palabras y conceptos. f) Read Sobre el autor and underline important facts. g) Read “Oración por Marilyn Monroe.” h) Write answers to Comprensión. i) Write answers to Interpretación. j) Underline important facts about author. k) Read “Como latas de cerveza vacías.” l) Write answers to parts 9.18 and 9.19. II. GRADUATE STUDENTS ONLY. Gioconda Belli (Nicaragua, 1948­ ) “Desafío a la vejez” a) Underline important facts about author. b) Read poem. c) Write answers to 9.20 and 9.21. #12 Week of April 7 I. Nicanor Parra (Chile 1914­ ) “Epitafio,” “Los profesores,” “La situación se torna delicada,” “Padre Nuestro” a) Underline important facts about author. b) Study Palabras y expresiones. c) Write answers to Antes de empezar parts A, B, and C. d) Read “Epitafio.” e) Write answers to Leyendo el texto parts A and B. f) Write answers to A partir de la lectura parts A and B. g) Underline important facts about author. h) Read “Los profesores.” i) Write answers to Cuestionario. j) Answer the Palabras y conceptos questions. k) Underline important facts about author. l) Read “Padre nuestro.” m) Write answers to Comprensión. n) Brief Analysis. Write at least one paragraph in response to the first question in Aplicación. o) Write a list to answer the Mi computadora personal question. p) Read “La situación se torna delicada.” q) Write lists to respond to ¿Cuáles serían las consecuencias? r) Answer the questions in ¿Progresamos o retrocedemos?
h) Read “La canción del bongó.” i) Write answers to Actividad 17: De lo poético a lo prosaico. j) Read Cartelera: David Alfaro Siqueiros. k) Read “No olvides a Siqueiros.” l) Write answers to Primera lectura. m) Write answers to Citas. n) Do preparation activity called La flauta. o) Read “Solo de flauta.” p) Write answers to Sentimientos. #8 Week of March 10 I. Rosario Castellanos (México, 1925­1974) “Economía doméstica,” “Autorretrato,” “Memorial de Tlatelolco,” “Valium 10” a) Underline important facts about author. b) Study Palabras y expresiones. c) Write Antes de empezar parts A, B, C, D, and E. d) Read “Economía doméstica.” e) Write Leyendo el texto parts A and B. f) Write A partir de la lectura parts A, B, C, and D. g) Underline important facts about author. h) Write answers to Guía y actividades de pre­lectura. i) Read “Autorretrato” and “Memorial de Tlatelolco.” j) Write answers to Comprensión and Expansión. k) Brief Analysis. Choose one of the topics from Temas de discusión o análisis. Write at least one paragraph. l) Read “Valium 10.” m) Write answers to ¿Qué dice la lectura? #9 Week of March 17 SPRING BREAK #10 Week of March 24 I. Octavio Paz (México, 1914­1998) “Viento entero,” “Dos cuerpos,” “Movimiento,” “Recapitulaciones,” “El sediento,” “Cifra” a) Underline important facts about author. b) Write answers to Guía y actividades de pre­lectura. c) Read “Dos cuerpos,” “Movimiento,” and “Recapitulaciones.” d) Write answers to Comprensión and Expansión. e) Underline important facts about author. f) Read “Viento entero.” g) Answer Cuestionario. h) Underline important facts about author. i) Read “El sediento.” j) Answer Cuestionario. k) Read “Cifra.” l) Answer Cuestionario.
#6 Week of February 25 I. Pablo Neruda “Confieso que he vivido,” “Poema XX,” “Oda a la vida,” “Margarita Naranjo,” “Oda a los calcetines,” “Me gustas cuando callas,” “La United Fruit Co.” a) Read Capítulo 6 Pablo Neruda and underline important facts. b) Study Vocabulario. c) Do the Ejercicios de vocabulario. d) Read Selección autobiográfica. e) Read “Poema XX.” f) Answer Reacción y análisis. g) Read “Oda a la vida.” h) Answer Reacción y análisis.” i) Read “Margarita Naranjo.” j) Answer Reacción y análisis. k) Study Vocabulario for “Oda a los calcetines.” l) Read the poem. m) Write answers for ¿Qué dice la lectura? n) Write answers for Temas de reflexión. o) Complete Palabras y conceptos for “Me gustas cuando callas.” p) Read the poem. q) Answer Comprensión. r) Answer Interpretación. s) Read Aproximaciones al texto: la poesía. t) Complete Palabras y conceptos. u) Read “La United Fruit Co.” v) Do activities under Comprensión. w) Write answers to Interpretación. II. Graduate Students Only. Pablo Neruda “Poema 13,” “Poema 15,” “Poema 20,” “Barcarola,” “Alturas de Machu Picchu,” “Oda a un reloj en la noche,” “Oda a Federico García Lorca” a) Underline important facts about author. b) Read “Poema 13,” “Poema 15,” and “Poema 20.” c) Write answers to Lenguaje. d) Read “Barcarola,” “Alturas de Machu Picchu,” “Oda a un reloj en la noche,” and “Oda a Federico García Lorca.” e) Write answers to Lenguaje. # 7 Week of March 3 I. Nicolás Guillén (Cuba, 1902­1989) “Balada de los dos abuelos,” “No sé por qué piensas tú,” “La canción del Bongó,” “No olvides a Siqueiros,” “Solo de flauta” a) Underline important facts about author. b) Write answers to Guía y actividades de pre­lectura. c) Read “Balada de los dos abuelos” and “No sé por qué piensas tú.” d) Write answers to Comprensión and Expansión. e) See Lectura 3: Literatura. Answer question in Actividad 15: La poesía y la canción. f) Study Approaching Poetry. g) Answer questions in Actividad 16: Lectura de un poema.
II. Alfonsina Storni “Tú me quieres blanca,” “Cuadrados y ángulos,” “El dulce daño,” “Han venido” a) Do the Antes de leer section for “Tú me quieres blanca.” b) Read the poem. c) Write answers to Después de leer. d) Do the Preparación section for “Cuadrados y ángulos.” e) Read the poem. f) Write answers to the Díganos. g) Answer the Desde el punto de vista literario. h) Do Antes de leer section for “El dulce daño.” i) Read the poem. j) Answer questions that follow the poem. k) Answer the Después de leer questions. l) Write answers to Prepárese a leer for “Han venido.” m) Answer Después de la lectura. #5 Week of February 18 I. Pablo Neruda (Chile, 1904­1973) “No me lo pidan,” “Explico algunas cosas,” “Oda al niño de la liebre,” “Sensación de dolor,” “Poema 10,” “Oda al tomate,” Oda al gato” a) Underline important facts about author. b) Write answers to Guía y actividades de pre­lectura. c) Read “No me lo pidan,” “Explico algunas cosas,” and “Oda al niño de la liebre.” d) Write answers to the Comprensión and Expansión questions. e) Brief Analysis. Choose one of the topics from Temas de discusión o análisis. Write at least one paragraph. f) Write answers to Preparación for “Sensación de dolor.” g) Read the poem. h) Write answers to the Díganos. i) Write answers to Preparación for “Poema 10.” j) Read the poem. k) Write answers to the Díganos. l) Write answers to the Desde el punto de vista literario questions. m) Read introduction to the poem “Oda al tomate.” n) Do the activities in the Antes de leer section. o) Read the poem. p) Write answers to the questions that follow. q) Write answers to Después de leer. r) Underline important facts about author. s) Read “Oda al gato.” t) Write answers to Cuestionario. II. Term Paper Tentative Bibliography Due.
#2 Week of January 28 I. César Vallejo (Perú, 1892­1938) “El momento más grave de la vida,” “Piedra negra sobre una piedra blanca,” “Masa” a) Underline important facts about author. b) Write answers to Guía y actividades de pre­lectura. c) Read “El momento más grave de la vida,” “Piedra negra sobre una piedra blanca,” “Masa.” d) Write answers to Comprensión. e) Write answer to Preparación for “Masa.” f) Read “Masa.” g) Write answers to Díganos. II. Graduate Students Only. César Vallejo (Perú, 1892­1938) “La cena miserable,” “El pan nuestro,” “Los heraldos negros,” “España, aparta de mí este cáliz.” a) Underline important facts about author. b) Read “La cena miserable,” “El pan nuestro,” “Los heraldos negros,” and “España, aparta de mí este cáliz.” c) Choose one of the poems for which to write answers to Contenido and Lenguaje. #3 Week of February 4 I. Vicente Huidobro (Chile, 1893­1948) “Arte poética,” “La capilla aldeana,” “Aeroplano” a) Underline important facts about author. b) Read “Arte poética.” c) Write answers to Cuestionario. d) Read “La capilla aldeana.” e) Write answers to Cuestionario. f) Underline important facts about author. g) Study Palabras y expresiones. h) Write answers to Antes de empezar parts A, B, C, and D. i) Read “Aeroplano.” j) Write answers to Leyendo el texto parts A, B, D, D, E, and F. II. Graduate Students Only. Vicente Huidobro (Chile, 1893­1948) “Altazor, un viaje en paracaídas” a) Underline important facts about author and about Creacionismo. b) Read “Altazor, un viaje en paracaídas. » c) Write answers to Comunicación. III. Term paper abstract due. #4 Week of February 11 I. Alfonsina Storni (Argentina, 1892­1938) “Hombre pequeñito,” “El ruego,” “La que comprende” a) Underline important facts about author. b) Write answers to Guía y actividades de pre­lectura. c) Read “Hombre pequeñito,” “El ruego,” and “La que comprende.” d) Write answers to Comprensión and Expansión. e) Brief Analysis. Choose one of the topics from Temas de discusión o análisis. Write at least one paragraph.
Communication: Since language is communication, keep the lines of communication open. For example, if you’re having problems keeping up due to your heavy work schedule or you were “less than perfect” because you were up all night writing a paper, let me know. Don’t let me draw false conclusions about you! Cooperate and be flexible with me and your Conversation Partner. Have fun improving your Spanish and learning about the rich and varied cultures in which you can use it! Schedule of Readings and Assignments: #1 Week of January 21 I. Cómo leer un poema a) Underline important facts. II. Algunos términos literarios a) Read the list of definitions and example. b) Write answers to Repaso. III. Delmira Agustini (Uruguay, 1886­1914) “Lo inefable” a) Underline important facts about author. b) Do the Preparación section. c) Read “Lo inefable.” d) Write answers to Díganos. e) Write answers to Desde el punto de vista literario. IV. Graduate Students Only. Delmira Agustini (Uruguay, 1886­1914) “Desde lejos,” “El intruso,” “La barca milagrosa,” “Las alas” a) Underline important facts about author. b) Read “Desde lejos.” c) Write answers to Contenido and Lenguaje. d) Read “El intruso,” “La barca milagrosa,” and “Las alas.” e) Write answers to Contenido and Lenguaje. V. Gabriela Mistral (Chile, 1889­1957) “Yo no tengo soledad,” “Miedo,” “Doña Primavera,” “Meciendo” a) Underline important facts about author. b) Write answers to Guía y actividades de pre­lectura. c) Read “Yo no tengo soledad,” “Miedo,” “Doña Primavera.” d) Write answers to Comprensión and Expansión. e) Brief Analysis. Choose one of the topics from Temas de discusión o análisis. Write at least one paragraph. f) Read Aproximaciones al texto: La poesía. g) Read Word Order and write answers to parts C and D. h) Write answers to parts A and B of Palabras y conceptos. i) Underline important facts about the author. j) Read “Meciendo.” k) Write answers to Comprensión A, B, C, and D. l) Write answers to Interpretación part A.
and customs through group learning, discussions, journals, oral presentations, drama, and multi­media projects into instruction. Knowledge #2 The teacher understands foreign language instructional principles and techniques and knows how to integrate cultural knowledge, literature, history, and customs through group learning, discussions, journals, oral presentations, drama, and multi­media projects into instruction. Performance #2 The teacher immerses students in foreign language communication through informative, directive, expressive, imaginative, and other interactive means. Performance #4 The teacher, to promote students’ critical understanding, presents alternative, diverse concepts and representations of foreign language culture, and encourages the students to assume cultural perspectives other than their own. Examples of Required Performance: Participate in class discussions and maintain a Class Journal, conduct research on the Internet for lab assignments. Standard #7 The teacher of a foreign language models a variety of effective communication and instructional techniques to address the diverse needs of students. Knowledge #1 The teacher understands the value of listening, speaking, reading, and writing in the communication process. Performance #2 The teacher demonstrates the ability to communicate with accuracy and appropriateness in written form: vocabulary, mechanical skills, physical and organization form, style and tone, voice, development of ideas, sentence structure and fluency, and discourse. Examples of Required Performance: Write short essays for Class Journal and a developed essay for a Term Paper. Standard #8 The teacher of a foreign language integrates knowledge of and encourages interactions with the local cultures and the general school curriculum through a foreign language. Knowledge #1 The teacher understands the culture(s) of a foreign language. Knowledge #2 The teacher knows how to integrate aspects of the foreign language with other curricula. Performance #2 The teacher helps students research the foreign language culture(s). Performance #3 The teacher accesses opportunities within and outside of the community to increase cultural awareness. Examples of Required Performance: Write a developed essay for a Term Paper, participate in class discussions and maintain a Class Journal, conduct research on the Internet for lab assignments. Class Policy: This course assumes that students want to work independently in a guided fashion. It includes numerous activities that require one to engage, explore, explain, elaborate, and evaluate. Assignments should be completed on time. Late assignments will be graded accordingly. Each assignment will add some new dimension to your knowledge of the language and its related cultures. You are expected to make a commitment to your learning.
Term Papers: Students choose one of these topics: 1) Contrasta las actitudes de dos poetas ante la vida tal como se expresan en sus obras. 2) Comente la idea de la individualidad en las obras de por lo menos dos de los poetas. 3) Señale cómo algunas de las obras leídas son una respuesta colectiva de Latinoamérica a Estados Unidos. 4) Compare y contraste la percepción que se tiene del personaje masculino y del personaje femenino. 5) Comente el tema de la soledad y/o el abandono. 6) Compare y contraste el tema de la reconciliación y/o el de la fraternidad en las obras de por lo menos dos poetas. 7) Describa los símiles, metáforas e imágenes contenidos en las obras de un/a poeta y analice su función temática. 8) Discuta la denuncia y/o crítica social de por lo menos dos poetas. State Standards: Students make progress towards meeting standards required for the PreK­12 Teaching Field in Foreign Language, including: Standard #1 The teacher of a foreign language has knowledge in specific areas related to the target language, its literature, and its culture appropriate to the developmental needs and interests of students. Knowledge #1 The teacher is aware that language manifests itself in all aspects of life. Knowledge #2 The teacher knows how the target culture and target language interrelate. Knowledge #3 The teacher understands linguistic and cultural realities as dynamic and complex and views perspectives of language and culture in relation to practices and products. Knowledge #4 The teacher knows both formal and informal aspects of the target language: geography, history, economics, the arts, religion, politics, daily living and customs, social sciences, literature, and origins of the language. Performance #1 The teacher presents the target language, its literature, and its culture in contextually meaningful situations. Performance #2 The teacher explains the interrelated connections between the target language and the target culture. Examples of Required Performance: Write short essays in Class Journal and a developed essay for a Term Paper, participate in class discussions, conduct research on the Internet for lab assignments. Standard #5 The teacher of a foreign language demonstrates knowledge of second­language instructional methods, resources, and classroom management techniques conducive to critical and creative thinking. Knowledge #2 The teacher understands foreign language instructional principles and techniques and knows how to integrate cultural knowledge, literature, history,
Major Topics: Overviews from literary history provide background information, as do brief biographical sketches of each author that include the context and significance of his/her work. The writers whose poetry will be the focus of the course are: Delmira Agustini (Uruguay), Claribel Alegría (El Salvador), Gioconda Belli (Nicaragua), Mario Benedetti (Uruguay), Ernesto Cardenal (Nicaragua), Rosario Castellanos (Mexico), Nicolás Guillén (Cuba), Vicente Huidobro (Chile), Gabriela Mistral (Chile), Nancy Morejón (Cuba), Pablo Neruda (Chile), Nicanor Parra (Chile), Octavio Paz (Mexico), Alfonsina Storni (Argentina), César Vallejo (Peru), Idea Vilariño (Uruguay). Class Format: Students work independently to turn in weekly assignments on Fridays as described below in the Schedule of Readings and Assignments. They also meet individually with a native speaker Conversation Partner. Grading: The standard grading scale is applied to these evaluative instruments: Class Journal 13 entries @ 25 points 325 464­515=A Term Paper 100 412­463=B Brief Analyses 6 @ 15 points each 90 361­411=C Total 515 309­360=D 0 ­308=F Important Dates: ☼Class journals should contain all of the pre­reading, post­reading, and textual analyses for each poem. The assignments outlined for each week constitute said journal. These are turned in electronically by Friday of each week. Points are earned for completeness, organization, and timeliness. ☼The term paper is a work in progress throughout the semester. Students choose a research topic from a list of suggestions or a topic arrived at in consultation with the professor. They turn in an abstract worth 10 points during the third week of classes, the week of February 4. The abstract should be a paragraph headed by the tentative title you have chosen for your paper. This is followed by a paragraph that clearly states the topic and how you plan to approach it, i.e., works you will read and analyze. Such later becomes the opening paragraph to your paper. A tentative bibliography using MLA format and worth 10 points is due during the fifth week, the week of February 18. Once you have finished writing your paper, you will draw from those and other sources as you prepare your Works Cited page using MLA format. See this website for details on writing your paper and creating you Works Cited (Obras citadas) page: http://library.concordia.ca/help/howto/mla.html The final paper worth 80 points during the week of April 28. ☼Brief analyses assignments are listed for six of the weeks given below. They require students to expound in writing on literary aspects of poems.
PITTSBURG STATE UNIVERSITY College of Arts and Sciences SPRING 2008 Course Number and Title: MLL 651­01 Spanish American Poetry Department Assignment: Modern Languages and Literatures Credit Hours: 3 Pre­requisite: Instructor Consent Meets: Arranged Faculty Member: Judy Berry­Bravo, Ph.D., Chair Modern Languages and Literatures Professor of Spanish and Portuguese Office: 429 Grubbs Hall Office Hours: 8:00­10:00 a.m. M­F Telephone: 235­4708 (voice mail) E­mail: jberry­[email protected] Textbook: Booklet from Professor Recommended: Pequeño Larousse Ilustrado (Spanish­Spanish dictionary) or Gran diccionario moderno Larousse (Spanish­English dictionary) Course Description: For students with significant experience studying Spanish in formal settings and with the capability of conducting directed studies on an independent basis. The course is designed to facilitate the transition from reading for comprehension to reading for interpretation. As their knowledge of Spanish increases, the strategies they use to understand literary texts should approximate more and more those that native speakers employ automatically when they read their own language. Once students have mastered the necessary skills for ascertaining the meaning of a text, they develop critical reading and interpretive skills.