Instructors: Dr. Friis and Dr. Brodeur
Rooms: JHJ 105 and the Seminar Room in
the Roe Art Blbg. on Wednesdays
Email: RONALD.FRIIS@FURMAN.EDU
Office: Furman Hall 235V
Office Phone: x2227
Office Hours: 10:30 - 11:30 M-F, 3-4 W
+ by appointment
Texts:
Ayuso, José Paulino. Antología
de la poesía española del siglo XX. I (1900-1939). Madrid:
Castalia, 1996.
Díez de Revenga, Francisco Javier. Poesía española de vanguardia (1918-36). Madrid Castalia, 1995.
Olivio Jimézez, José. Antología de la poesía hispanoamericana contemporánea 1914-1987. Alianza
Grünfeld, Mihai G. Antología de la poesía latinoamericana de vanguardia (1916-1935). Madrid: Poesía Hiperión, 1995.
Grading Scale:
A+ (99-100) A
(93-98) A- (90-92)
B+ (88-89)
B (83-87) B- (80-82)
C+ (78-79)
C (73-77) C- (70-72)
D+ (68-69)
D (63-67) D- (65-66)
F (0-64)
Evaluation:
4 Participation Grades & Reading quizzes
20%
Mid Term Test 20%
Portfolio 60%
Course Objectives:
To help students develop an understanding of and
appreciation for the avant-garde
in the poetry and painting of Spain and Latin
America.
To introduce students to some fundamental concepts
of literary criticism and to
allow them to refine their skills in the analysis
of texts.
To acquaint students with basic research techniques when appropriate and possible.
To develop further the five basic language skills in Spanish.
Portfolio:
Graded assignments in this course consist of a
traditional written test and reading quizzes (for content) as well as a
portfolio consisting of: a 1 page reflection on a poetic quotation of the
student's choice, a brief but thorough description of a painting, a style
imitation, a translation of a poem, a haiku, a short original poem, a pencil
sketch of an object from a poem and a painting based on a poem.
All of this will be handed in at the end of the term with the final paper and at that time you will be assigned a grade for your entire portfolio. This grade will reflect your linguistic and analytical progress. It goes without saying that you must not lose your work.
Notes:
1) Daily preparation must be thorough. You must
come to class PREPARED AND WILLING TO SHOW IT through ACTIVE participation.
Preparing for class means spending an appropriate amount of time reading
the day's assignment and doing any written work. After this preparation,
you will be ready to discuss the readings in class with the professor and
your peers. Expect to discuss poems and paintings in groups almost every
day. Come to class every single day with something interesting to say.
2) Have access to a good English/Spanish dictionary (Harper Collins, Oxford, Larousse) and refernence books when you write. Every major should purchase John Butt and Carmen Benjamin's A New Refernce Grammar of Modern Spanish.
3) Please arrive to class on time. Lateness is disruptive.
4) It is your responsibility to notify your instructor, preferably beforehand, if you have an excused absence. Work missed due to_excused absences will be accepted within two days of the absence. Work missed_due to unexcused absences cannot be made up.
5) The Instructor reserves the right to change this syllabus.
6) Students with disabilities who need academic accommodation should contact Disabilities Services (x2322). After this meeting, the student should meet with me. This process needs to happen early in the term.
Attendance:
All students are expected to attend every
class session. A student who has more than five (5) unexcused absences
during the term will be dropped from the class roster and assigned a grade
of ìF.î It is the responsibility of the student to present evidence of
illness (a note from the infirmary, for example) or any other type of absence
which he or she believes the instructor may consider ìexcused.î NOTE: A
freshman (under 30 credit hours) absent from 15% of class meetings or other
students (30 credit hours or more) absent from 25% of class meetings for
any reason (excused or unexcused) will be in violation of the maximum established
by the University (page 53 of the Furman University Catalogue) and will
be dropped from the class with a grade of ìF.î
I. 1/4 - 1/7 ----------------------------------
1/4 Introducción a la clase
Contexto histórico, literario
Modernidad, Modernismo,'98
Caras de la vanguardia
el existencialismo, Dámaso Alonso
El cubismo, dada, futurismo, París
modernismo brasileño
Juan Parra de Riego "Al motor maravilloso"
1/5 Brodeur lecture - how to read paintings
1/6 Ultraísmo / creacionismo
Vicente Huidobro < Grünfeld &
JOJ
Alberto Hidalgo
Rafeal Cansinos-Assens
Gerardo Diego
Ayuso 183-87
1/7 Ultraísmo / creacionismo II
Jorge Luis Borges < Grünfeld &
JOJ
traducción de un fragmento de Borges
II. 1/10 - 1/14 -------------------------------------------
1/10 Poesía visual y el haiku I
José Juan Tablada < Grünfeld
+ Olivio Jimenez
Oswald de Andrade < Grünfeld
las greguerías de Ramón Gómez
de la Serna
Oliverio Girondo "Membretes"
Luis Vidales "Geográfica", "Los paraguas"
Manuel Navarro Luna "El grito", "Murciélago"
Alberto Hidalgo - "haikai simplista"
1/11 Poesía visual y el haiku II
Alfonsina Storni
Nicanor Parra
Luis Vidlaes "El hueco"
Norah Lange < Grünfeld
Juan Larrea "Estanque"
1/12 Brodeur lecture - Picasso and Cubism
*Entregar dos haiku*
1/13 Día Picasso
Poemas sobre Picasso, poemas por Picasso
Mariano Brull "tras este plano rosa Picasso"
Jaime Torres Bodet "Desnudo"
1/14 Poesía negrista
Nicolás Guillén < Grünfeld
& JOJ
Luis Palés Matos < Grünfeld
& JOJ
Emilio Ballagas < Grünfeld &
JOJ
Mariano Brull< Grünfeld & JOJ
Alberto Hidalgo "gran guiñol"
Manuel del Cabral "Negro sin nada en tu
casa"
Humberto Díaz Casanueva "El niño
de Robben Island"
Lorca - Poeta en Nueva York
III. 1/17 - 1/21 ----------------------------------------------
1/17 FIESTA - MLK
1/18 surrealismo I *Entregar descripción
de un cuadro*
Carlos Oquendo de Amat - "Poema surrealista
del
elefante y del canto"
Vicente Aleixandre < Ayuso I, <Díez
1/19 Brodeur lecture - Dalí, Miró and surrealism
1/20 surrealismo II
Rafael Alberti < Ayuso I, <Díez
1/21 surrealismo III
Luis Cernuda < Ayuso I, <Díez
IV. 1/24 - 1/28--------------------------------------------
1/24 surrealismo IV *Entregar una página
sobre una cita*
Octavio Paz
1/25 repaso y lectura
1/26 EXAMEN MIDTERM
1/27 Nueva York: Unreal City
Manuel Maples Arce "Vrbe", Salvador Novo
"Ciudad"
Carlos Oquendo de Amat -"New York"
Juan Cunha "Lejos la ciudad lejos"
Lorca "Poeta en Nueva York"
1/28 Lorca
Romancero gitano
V. 1/31 - 2/4----------------------------------------------
1/31 Cecelia J. Cavenaugh "Los dibujos de Federico
García Lorca"
*Hablar con el profesor sobre
el tema del trabajo final*
2/1 La poesía de la guerra civil española
(Paz, Vallejo, Neruda, Miguel Hernández,
Dámaso Alonso)
Jorge Guillén "Despertar español"
José Moreno Villa "Madrid: Frente
de lucha" "Frente"
2/2 Brodeur lecture - Guernika
2/3 César Vallejo - Trilce < Grünfeld
2/4 Retrato, estatua, fotografía
Manuel Navarro Luna
Jorge Carrera Andrade "El hombre del Ecuador
bajo la
torre Eiffel","El objeto y su sombra" <
JOJ
Winétt de Rokha "Fotografía
en obscuro",
Rogelio Sinán "kodak"
José Emilio Pacheco "Contra la Kodak"
Eugenio Florit "Estrofas a una estátua"
Xavier Villarrutia "Nocturno de la estátua"
Salvador Novo "retrato de niño",
"Junto a tu cuerpo
totalmente entregado al mío"
José Coronel Utrecho "El tigre está
en la niña"
Pablo Antonio Cuadra "Urna con perfil político"
VI. 2/7 - 2/11---------------------------------------------
2/7 Pablo Neruda *Entregar objet d'arte*
2/8 Carlos Pellicer < Grünfeld & JOJ
2/9 Brodeur - muralism, Botero and more
2/10 Ekphrasis
Rosario Castellanos
Ricardo Molinari "Poema de la niña
velázqueña" < JOJ
Jorge Guillén "El Greco"
León Felipe "Pie para el niño
de Vallecas de Velázquez"
2/11 Rosario Castellanos y Frida Kahlo
VII. 2/14 - 2/18 ------------------------------------------
2/14 Eros *Entregar
un poema de amor*
Pablo Neruda < XX Poemas de amor
Pedro Salinas < Ayuso I
Aleixandre - "Unidad en ella"2/15
2/16 Retratos
Rossetti, Fuertes, Andreu, Ana Salas
2/17 Pedro Salinas
2/18 Conclusiones
*Entregar portfolio*
Selected Bibliography of Suggested Readings
This is an incomplete list or starting place. I own or have access to many of these books. Please let me know if you want to see them.
Books with a * are on Reserve in the Library.
On Poetry and Painting:
Cecelia J. Cavenaugh. Lorca's Drawings and Poems:
Forming the Eye of the Reader. Lewisburg, PA: Bucknell UP, 1995.
Mary Anne Caws. Surrealist painters and poets: an anthology. Cambridge, Mass. : The MIT Press, 2001.
Mary Ann Caws. The Eye in the Text: Essays on Perception, Mannerist to Modern. Princeton: Princeton University Press, 1981.
Mary Anne Caws. The poetry of Dada and sur-realism: Aragon, Breton, Tzara, Eluard & Desnos. Princeton, N.J: Princeton University Press, 1970.
Ronald Friis. ì'The Fury and Mire of Human Veins:' Frida Kahlo and Rosario Castellanos.î Hispania 87.1 (March 2004): 53-61.
Jean Hagstrum. The sister arts: the tradition of literary pictorialism and English poetry from Dryden to Gray. Chicago: University of Chicago Press, 1958.
Heffernan, James A. W. Museum of Words: The Poetics of Ekphrasis from Homer to Ashberry. Chicago and London: University of Chicago Press, 1993.
Murray Krieger. Ekphrasis: The Illusion of the Natural Sign. Baltimore: The Johns Hopkins University Press, 1992.
Hugo Méndez Ramírez. Neruda's Ekphrastic Experience: Mural Art and Canto general. Lewisburg: Bucknell UP, 1999.
Margaret Persin. Getting the Picture: The Ekphrastic Principle in Twentieth Centruy Spanish Poetry. Lewisburg: Bucknell University Press, 1997.
Margaret Persin. ìLa mirada femenina de Rosario Castellanos.î in Essays in Honor of Frank Dauster. Edited by Kirsten F. Nigro and Sandra M. Cypess. Newark, DE: Juan de la Cuesta, 1995. 51-63.
Rogers, Franklin R. Painting and Poetry: Form, Metaphor and the Language of Literature. Lewisburg: Bucknell UP, 1985.
Salgado, María A. ìEl 'Autorretrato' de Rosario Castellanos: Reflexiones sobre la feminidad y el arte de retratarse en Mexico.î Letras Femeninas 14:1-2 (Spring-Fall), 1998: 64-72.
Weisstein, Ulrich. ìLiterature and the (Visual) Arts: Intertextuality and Mutual Illumination.î in Intertextuality: German Literature and Visual Art from the Renaissance to the Twentieth Century. Edited by Ingeborg Hoesteret and Ulrich Weisstein. Columbia, SC: Camden House, Inc., 1993. 1-17
On the Literary Histories of Spain and Latin America:
* Roberto González Echevarría and Enrique Pupo Walker, Eds. The Cambridge History of Latin American Literature, Volume II. Cambridge: Cambridge UP, 1996.
Octavio Paz. Los hijos del limo: Del romanticismo a la vanguardia. Barcelona: Seix Barral, 1987.
Guillermo de Torre. Historia de las literaturas de vanguardia. Madrid: Guadarrama, 1965.
* Francisco Rico, Víctor G. de la Concha, Eds. Historia y crítica de la literatura española. Barcelona: Editorial Crítica, vol. 7.
Art History, Artists and the Avant-garde:
* Dawn Ades. In the mind's eye : Dada and Surrealism. Chicago : Museum of Contemporary Art, Chicago, New York: Abbeville Press Pub., 1985.
* Dawn Ades. Surrealism : Desire Unbound. Princeton, N.J. : Princeton University Press, 2001.
Matei Calinescu. Five Faces of Modernity. Durham: Duke UP, 1995.
Herrera, Hayden. Frida: A Biography of Frida Kahlo.
---. Frida Kahlo: The Paintings
Hugh Honour and John Fleming. The Visual Arts: A History. 5th Edition. New York: Harry N. Abrams, 1999.
* Robert Hughes. The Shock of the New. New York: Knopf, 1981.
Kahlo, Frida. The Diary of Frida Kahlo: An Intimate Self-Portrait. Intro. by Carlos Fuentes. Henry N. Adams Publishers, 1995.
Kettermann, Andrea. Frida Kahlo 1907-1954: Pain and Passion. Köln: Benedikt Taschen, 1993.
Lindauer, Margaret. Devouring Frida: The Art History and Popular Celebrity of Frida Kahlo.
* Donald Kuspit. The Cult of the Avant-garde Artist. Cambridge University Press, 1993.
JTW Mitchell. Iconology. Chicago: The University of Chicago Press, 1986.
---. ìSpatial Form in Literature: Toward a General Theory,î in The Language of Images Edited by WJT Mitchell. Chicago: The University of Chicago Press, 1980. 271-300.
* Tony Richardson and Nikos Stangos Eds. Concepts of Modern Art. New York: Harper and Row, 1974.
Steiner, Wendy. The Colors of Rhetoric. Chicago: The University of Chicago Press, 1982.
Latin American Art and Artists:
* Dawn Ades. Art in Latin America. New Haven: Yale University Press, 1989.
* Jacqueline Barnitz. Twentieth Century Art of Latin America. Austin: Univerrsity of Texas Press, 2001.
* Dorothy Chaplik. Latin American Art: An Introduction
to Works of the XX Century. Jefferson, NC: McFarland, 1989.