Spanish 95
XX Century Hispanic
Poetry and Painting

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.