DEPARTMENT OF SPANISH & PORTUGUESE FALL 2013 COURSE DESCRIPTIONS (SUBJECT TO CHANGE)

NEW THIS FALL! LEARN PORTUGUESE! Aprende a falar Portugus!

PORTUGUESE COURSES PORT-UA 1.001 Portuguese for Beginners I Monday, Wednesday & Thursday: 9:30am-10:45am Miriam Ayres Open to students with no previous training in Portuguese and to others on assignment by placement test. 4 points. Beginning course designed to teach the elements of Portuguese grammar and language structure through a primarily oral approach. Emphasis is on building vocabulary and language patterns to encourage spontaneous language use in and out of the classroom.

PORT-UA 850.001 The Help: Gender, Race Relations and Domestic Service in Brazilian Culture (in Portuguese) Tuesday & Thursday: 2:00pm - 3:15pm Marta Peixoto
This is a course taught in PORTUGUESE; in some cases, papers may be written in English. Some of the readings are also available in English translation. We will discuss an array of different kinds of texts: literature (novels, short stories, poems, and a play), historical and anthropological studies, excerpts from manuals for employers, as well as several films, in order to examine gender, race and class relations in Brazil from the late nineteenth- to the twentieth-first centuries though the lens of domestic employment. How has this site of intimate exposure across class and racial differences been variously imagined and constructed? What has been the role of gender and sexuality in relationships of such great power imbalances? How do a culture and a national self-image that have often taken pride in the harmonious managing of differences coexist in domestic spaces with stark socioeconomic disparities? ADVANCED LANGUAGE COURSES SPAN-UA 101 Advanced Spanish Conversation Section 001: Monday, Tuesday & Thursday 9:30am - 10:45am Patricio Orellana Section 002: Monday, Tuesday & Thursday 11:00am - 12:15pm Enrique Del Risco Section 003: Monday, Tuesday & Thursday 2:00pm - 3:15pm Enrique Del Risco Advanced Spanish Conversation is a four-credit advanced-level course designed to expand students speaking skills beyond the practical, day-to-day language functions. The aim is to achieve a more elaborate and abstract use of the language through the practice of pronunciation, vocabulary, idioms, and structures, within the contexts of selected subject areas. Although the main concentration of the course is on the oral component, reading and writing skills are practiced as well, as a basis for oral expression. The goal of the course is to generate active participation through thought-provoking discussions and creative activities that stimulate critical thinking as well as conversation. This is achieved through authentic readings from contemporary sources newspapers, magazines, literature, films, music, videos, etc. that sensitize students to the actual concerns of Spanish. A process of recording, transcribing and editing actual conversations will also help students better their Spanish. Finally, various listening comprehension activities will be included to fine tune the students ear to Spanish sounds. *THIS COURSE IS AN ADVANCED LANGUAGE ELECTIVE AND COUNTS TOWARDS THE SPAN MAJOR AND MINOR* ** NATIVE SPEAKERS, PLEASE REGISTER FOR SPAN-UA 111 (you will need an access code from the department)** SPAN-UA 110.001 Techniques of Translation Tuesday & Thursday, 12:30pm - 1:45pm Mara Jos Zubieta This course will explore the principles and problems of translation through readings and in-class workshops. The theory will concentrate on ideas and issues about translation from the 20th and 21st centuries. Students will develop their skills in Spanish-English translation by working with different types of genre, such as poetry, short story, drama, film, comics, advertisements, and legal documents. The selected works will be translated into the

students native language. Theoretical questions and problems will be addressed in the readings and discussed in class as they arise within the translation exercises. Reading assignments are in Spanish and in English, but the discussions will be conducted entirely in Spanish. In-class workshops will focus on practice that highlights the difficulties of translating from one language into another. Special attention will be paid to the structural differences between English and Spanish; the significance of tone and style; the author's "voice" and the translator's "ear"; and the on-going issues of fidelity, literalness, and freedom. Students will visit three sites in New York City that work with and depend on the Spanish-English bilingual community. These sites are: the Museo del Barrio, El Repertorio Espaol, and the Southern District of New York Interpreters Office. Students will write a report in Spanish on each of these three visits. *THIS COURSE IS AN ADVANCED LANGUAGE ELECTIVE AND COUNTS TOWARDS THE SPAN MAJOR AND MINOR) SPANISH COURSES SPAN-UA 200 Critical Approaches (in Spanish) Section 001: Tuesday & Thursday 9:30am - 10:45am Mara Lourdes Dvila Section 002: Tuesday & Thursday 11:00am - 12:15pm Laura Amelio Section 003: Tuesday & Thursday 12:30pm - 1:45pm David Souto Section 004: Tuesday & Thursday 2:00pm - 3:15pm Germn Garrido Section 005: Tuesday & Thursday 3:30pm - 4:45pm Carlos Padrn Crticial Approaches is a 4 credit course designed to develop writing and analytical skills in Spanish. Structured around the questions, What is literature? What is a text?, the course looks at literary texts divided by genres (poetry, short story, theatre novel, essay) and non-literary texts (autobiography, testimony, documentary film, chronicles), and studies textual structure and narrative point of view and focalization as key analytical considerations. Students in this course develop skills for close textual readings in class discussions and engage in writing as a collaborative process that includes self correction, peer correction and correction by the instructor. The course includes a final research paper that is developed throughout the semester and has readings from the Golden Age in Spain or slave narratives in the Caribbean to modern theatre and the novel. Critical Approaches counts for all Spanish majors and minors in the Department of Spanish and Portuguese and is a prerequisite for most upper level courses in the department. *THIS COURSE IS AN ADVANCED LANGUAGE ELECTIVE AND COUNTS TOWARDS THE SPAN MAJOR AND MINOR* SPAN-UA 225 Creative Writing in Spanish (in Spanish) Section 001: Tuesday & Thursday12:30pm 1:45pm Mariela Dreyfus Section 002: Tuesday & Thursday 3:30pm - 4:45pm Lila Zemborain El objetivo principal de este curso es ayudar a los estudiantes a reflexionar sobre el proceso creativo mientras elaboran y producen sus propios textos. En ambas secciones del curso, poesa y cuento corto, el estudiante podr explorar y ampliar sus hbitos de escritura a travs de ejercicios especficos y de la lectura de textos modelo. Se discutir el trabajo de algunos de los poetas y cuentistas de habla hispana ms influyentes del siglo XX, como Octavio Paz, Vicente Huidobro, Jorge Luis Borges y Silvina Ocampo, as como la obra de otros escritores contemporneos. Simultneamente, el estudiante aprender a refinar y a pulir sus textos. Se prestar especial atencin a la lectura y revisin de acuerdo a las necesidades individuales. *THIS COURSE IS AN ADVANCED LANGUAGE ELECTIVE AND COUNTS TOWARDS THE SPAN MAJOR AND MINOR* COURSES: SPAN-UA.0300.001 The Iberian Atlantic Lecture: Tuesday & Thursday: 9:30-10:45AM James Fernandez & Zeb Tortorici Recitation, section 2. Thursday 11:00 AM12:15 PM Taught in English - Fernandez Recitation, section 3. Thursday 11:00 AM12:15 PM Taught in Spanish - Tortorici No pre-requisite. Recommended early in the major, concurrent with language study. This course has a lecture on Tuesdays & Thursdays (taught in English) and two recitations on Thursdays; one recitation is taught in English and the other in Spanish. If you have completed SPAN-UA.0200 Critical Approaches, you are strongly encouraged to enroll for section 3, taught in Spanish. See note below.

The Iberian Atlantic explores the early modern Iberian Atlantic from Al-Andalus (Islamic 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 tradeas they work themselves into cultural, intellectual, and artistic productionto 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. The course is divided between lectures (in English) and recitations (in either English or Spanish). Recitations are an opportunity to discuss that weeks readings and concepts introduced during lecture in a smaller group, run by the course professor. 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. If you take the English section, you need to write your papers in Spanish. PLEASE NOTE THIS COURSE WILL BE OFFERED FALL 2013 BUT WILL NOT BE OFFERED SPRING 2014. SPAN-UA 305.001 The Cultural History of Latin America (in Spanish) Lecture: Monday & Wednesday 9:30am - 10:45am Dylon Robbins Recitation, section 2. Wednesday 11:00am 12:15pm TBA Recitation, section 3. Wednesday 4:55pm 6:10pm TBA This course provides an introduction to the making of modern Latin America through the study of key cultural practices in literature, visual art, film, and performance from the 19th century to the present. The fall 2013 course will examine three sets of problems as constituted in Latin American cultural production: 1. Representation and Difference, 2. Intimacy and Belonging, and 3. Culture and the State. The course will take up representative examples from throughout the region as points of departure for the discussion of these problems, as well as to challenge conventional assumptions regarding the homogeneity of the region. Particular attention will be given to the development of critical reading skills and textual analysis in writing assignments. Taught in Spanish. Pre-requisite: SPAN-UA.0200 Critical Approaches. This course is writing intensive, providing additional support for essay writing in Spanish through weekly recitations. SPAN-UA 320.001 Advanced PoetryWorkshop (in Spanish) Lila Zemborain Tuesday & Thursday 2:00pm 3:15pm Students refine their skills in poetry writing through close reading of individual poems, excerpts from poetry collections, and complete books of poems written by contemporary Latin American and Spanish poets. In class, students reflect on the creative process of poetry writing while they work on their own poems. Collaborative work and individual meetings with the instructor are key to the dynamics of this workshop. *THIS COURSE IS AN ADVANCED LANGUAGE ELECTIVE AND COUNTS TOWARDS THE SPAN MAJOR AND MINOR* SPAN-UA 355.001 Is Spanish One Language (in Spanish) Monday & Wednesday 3:30pm 4:45pm Judith Nmethy This course 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 Bogot and in Cartagena de Indias? Or when are t, 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 the study of the origins 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 550.001 Topics: Lo Intimo y lo Precario (in Spanish) Monday & Wednesday: 2:00pm - 3:15pm Gabriel Giorgi En este seminario vamos a estudiar algunos de los temas y problemas que caracterizan gran parte de la produccin literaria y cultural latinoamericana de las ltimas dos dcadas. El curso se organiza alrededor de dos ejes, que condensan aspectos singulares de la produccin literaria reciente en Amrica Latina: 1) las escrituras del yo : la cuestin de la relacin entre biografa y ficcin, entre intimidad y exposicin pblica, y de los nuevos modos de construir la subjetividad constituye uno de los temas ms recurrentes en los debates crticos del presente. Exploraremos estas cuestiones en textos de Fernando Vallejo, Sylvia Molloy, Alan Pauls, entre otros, junto a un film de Eduardo Coutinho. 2) figuras de abandono, de la precariedad y del desamparo recurren, de los modos ms diversos, en gran parte de las ficciones literarias recientes, reflejando, de modos directos u oblicuos segn los casos, transformaciones radicales de lo poltico y de la relacin entre poltica y literatura. Vamos a explorar cmo la literatura reformula diferentes modalidades jurdicas, econmicas, afectivas, sociales del abandono como signo del presente, a partir de textos de Rodolfo Fogwill, Martin Kohan, y Roberto Bolao, entre otros, y films de Lucrecia Martel y Federico Len.

SPAN-UA 550.002 Topics: Kitsch, Decadence, and Melodrama in Turn of the Century Latin American Cultures (in Spanish) Monday & Wednesday: 12:30pm - 1:45pm Laura Torres Latin American cultures from both turns of the century are related through apocalyptic narratives associated with modernity or with post-modernity, with decadence or disease, and with the height of market aesthetics. Both turns of the century are characterized by processes of internationalization or globalization, by the exploration of different modes of exhibition and consumption, and by the rise of subjectivities and sensibilities produced by technologies of mass culture. This course proposes a transhistorical understanding of the concept turn of the century that relates the narratives of 19th-century Latin America with debates arising at the end of the 20th. We will organize the course by topics and juxtapose cultural materials from both turns of the century to examine how contemporary texts reflect (un)critically on the cultures of nineteenth century Latin America. Although the main focus of this course will be on literary works, we will use different kinds of materials ranging from paintings to photographs, to soap operas and performances. Some of the works studied will be Jos Asuncin Silvas De sobremesa (1895), Amado Nervos El bachiller (1895), Jos Mara Vargas Vilas Flor de fango (1895), Rubn Daros Los raros (1905), Delmira Agustinis Los calices vacos (1914), Julio Ruelass paintings, Mario Bellatins Saln de belleza (1994), Fernando Vallejos Chapolas negras (1995), Carlos Monsiviss Los rituales del caos (1995), Guillermo Gmez Peas Apocalypsis maana (2002), Coco Fusco and Nao Bustamantes Stuff (1999), Daniela Rosells Ricas y famosas (1999), and Pablo Helgueras Instituto de la telenovela (2002), among others. SPAN-UA 625.001 Transatlantic Avant Gardes (in Spanish) Tuesday & Thursday 11:00am - 12:15pm Jordana Mendelson 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 moments of their production. We will begin with theoretical texts on modernity, and move from there to focus on the different locations in which cross-continental exchange took place among artists and writers from Spain and Latin America. Texts will be read in Spanish; some secondary material may be assigned in English. An interest in the visual arts is highly recommended.

SPAN-UA 763.001 Literature and Revolution in Latin America (in Spanish)

Thursday : 3:30pm -6:10pm

Sibylle Fischer

What makes a revolution, and how do we tell the story? Latin America has a long history of insurgencies against the state, as well as military counter-insurgency. The history we will be tackling in this seminar starts with the revolutionary wars in the early 19th century and the radical struggle against black slavery, and includes the Mexican revolution of 1910, the Cuban revolution of 1959, the revolutionary movements of the 1960s and 70s and their violent suppression by the military, and the recent emergence of political movements in Venezuela and Bolivia that reclaim the revolutionary mantel. We will take a close look at films (mostly) and novels (some) from Latin America that give us accounts of the experience of politics turning violent, of revolutionary wars won and lost, and of dreams realized and squashed. How is that story told, and by what means? Is it a new narrative, told by new means? An iteration of an age-old plot? Are there patterns to be discerned? How does gender figure in the plots of revolution? What is the role of violence? Films to be discussed may include Fernando de Fuentes Revolution trilogy (Mexico, 1930s), Bolvar soy yo (Triana, Colombia 2002), short documentaries by Santiago Alvarez (Cuba 1960s), Luca (Sols, Cuba 1969), Memorias del subdesarrollo (Gutirrez Alea, Cuba 1968), El otro Francisco (Sergio Giral, Cuba 1973), Queimada (Pontecorvo, Italy 1969), Terra em Transe (Glauber Rocha, Brazil 1966), La hora de los hornos (Solanas, Argentina 1968), La sangre del cndor (Sanjins, Bolivia 1969), Che (Soderbergh, U.S.A. 2008), La batalla de Chile and Chile, la memoria obstinada (Guzmn, Chile, 1975-79, 1997), Taita Boves (Lamata, Venezuela 2010). Written texts may include Mariano Azuela, Los de abajo (Mexico 1915), Ribogerta Mench, Me llamo Rigoberta Mench (Guatemala 1983) Carlos Fuentes, Gringo Viejo (Mexico 1985), Alejo Carpentier, El siglo de las luces (Cuba 1962). The seminar will be taught in Spanish, but the films will be available with English subtitles. Requirements: weekly half-page response papers, 2 5-page papers (critical analysis of a film or a novel), and a final exam (take-home). SPAN-UA 765.001 The Man, the Myth, the Martyr: The Many Afterlives of Federico Garca Lorca (in Spanish) Monday & Wednesday: 2:00pm - 3:15pm Bryan Cameron Yo soy revolucionario, porque no hay un verdadero poeta que no sea revolucionario. Federico Garca Lorca As Spains best-known modern poet and playwright, Federico Garca Lorca (1898-1936) has, rather improbably, achieved cult status since his assassination in 1936. Over the last several decades, particularly following the death of Francisco Franco in 1975, the Andalusian iconoclast has become a highly contested cultural icon and political martyr both at home and abroad. The purpose of this seminar will be to examine the nearly mythical aura surrounding both Garca Lorca and his literary production, which has undeniably shaped the reception of his poetic and dramatic works since being killed by Nationalist soldiers at the beginning of the Spanish Civil War. We will open the semester with close readings of Garca Lorcas early poetry, which deals themes related to Andalusia and gypsy identity (Poema del cante jondo; Romancero gitano), before moving on to the apocalyptic dreamscapes presented in the surrealist Poeta en Nueva York and the highly imaginative film screenplay he also composed in New York (Viaje a la luna). Next, we will study the context surrounding Spains Second Republic (1931-1939) before reading theatrical masterworks such as Yerma and La casa de Bernarda Alba, which are often classified as rural tragedies. The course will conclude by analyzing the national and international reception of Garca Lorcas work, especially after his murder in the summer of 1936 a crime that crusaders within Spains Asociacin para la Recuperacin de la Memoria Histrica are still determined to solve by exhuming the poets body from an unmarked grave in the hills of Granada. Over the course of the semester we will explore themes related to gender, sexuality, desire, alterity, modernity, politics, ideology and aesthetic innovation in the early twentieth century. We will also study visual arts, written texts and filmic works by other Spanish intellectuals such as Luis Buuel (1900-1983), Salvador Dal (1904-1989), Rafael Alberti (19021999), Luis Cernuda (1902-1963), Antonio Machado (1875-1939), Dmaso Alonso (1898-1990) and Juan Ramn Jimnez (1881-1958) in an effort to contextualize Garca Lorcas works within a broader framework. Additionally, we will view cinematic representations of Garca Lorca produced after Francos death in order to scrutinize the motives behind his posthumous ascension from lyrical virtuoso to political martyr. In the end, one question persists: What is the relationship between Garca Lorcas work, his politically motivated murder and his astoundingly disparate critical afterlives?

Tentative units of study: The Early Years (1898-1927) Aesthetic and Political Avant-Gardes Representation and Alterity Spain and Modernity Last Days, Death and Garca Lorcas Posthumous Fame SPAN-UA 950.001 Spanish Cinema (in Spanish) Tuesday & Thursday 3:30pm-4:45pm Jo Labanyi The course, taught in Spanish, offers a survey of Spanish cinema from the 1960s to the present, through the study of 12 key films, with particular emphasis on the last two decades. Contextual information will be given about relevant political and social factors. The classes will provide training in the cultural analysis of film texts, paying attention to how they create meaning by implication as well as statement. Gender will be a key issue; the course will introduce students to gender theory, which has been central to the discipline of cinema studies. Class and ethnicity will be important issues in some of the films studied. Several of the films refer indirectly to the Spanish Civil War; others deal with memory in a more personal context. The course also aims to provide an introduction to the analysis of film form. By the end of the course, students should have the ability to analyze camerawork, mise-en-scne (dcor, costume), performance style, editing, and soundtrack, in order to appreciate how the audiovisual medium of film produces meanings through the interrelationship of these elements. Spectatorship will be a major concern throughout the course, raising issues related to the mechanics of the gaze and to processes of identification. We will also consider the ways in which films affect the viewer at the level of bodily sensation (the haptic). In addition to the two classes a week, there will be weekly screenings of the films studied. All students are expected to attend the screenings, unless you have a conflict with another course, in which case you can view the films in the Avery Fisher Media Center (Bobst, 2nd floor). NB most of the films are available only in PAL (European format) and need to be viewed on one of the multi-region DVD players in Avery Fisher. ENGLISH COURSES SPAN-UA 302.001 Muslim Spain Literature and Society (in English) Monday & Wednesday 11:00am-12:15pm Sarah Pearce Cross-listed with: MEIU-UA 706 & COLIT-UA 302 This course will offer intermediate- and upper-level students an introduction to the literatures and cultures of medieval Spain, with particular focus on the those that flourished in areas under Muslim rule. In addition to reading literature, we will consider the ways in which literary texts functioned in society as well as the ways in which in they can be read as a reflection of social and historical concerns. Students will read canonical works of literature alongside other types of writing, such as economic and historical documents and will have consider material and artistic evidence alongside the textual record. Because of the focus on literature in its historical and material context, students will have the opportunity to make use of many cultural and historical resources in New York City and the greater metropolitan area in the form of visits to museums, libraries and other relevant sites. Topics covered may include: interactions between Jews, Christians, and Muslims; the roles of women and the family in the Middle Ages; multilingualism; concepts of kingship and just rule; depictions of heroism and vanity; religious observance and practice; and the rise of early forms of national identity.

SPAN-UA 951.001 Topics: Storytelling as Seduction (in English) Wednesday 3:30pm-6:10pm Gabriela Basterra Cross-listed with COLT-UA 951 What makes storytelling so seductive? Narrative creates the illusion of coherence by arranging experience as meaningful action in time through the invention of a plot. This course studies the ways in which contemporary narratives help us to imagine a significance for ourselves. By relating us to a beginning and to an end, narrative provides a sense of place, time and finality, the illusion of belonging in the world. When we narrate, remarks Paul Ricoeur, we create a 6

horizon of possibilities. Yet the allure of narrative is not always easy to discern. If, for example, we select events and arrange them from the viewpoint of the characters death, obliterating duration and process, those events may be perceived as tragic. But organizing events from the viewpoint of the end is a choice, and not always an innocent one. Other questions: Do narrative roads not taken constitute historical possibilities left uninvented, unexplored? Would the human capacity for action be enlarged by envisioning virtual histories and imagining the what if? When narrative closure is postponed or suspended, is sense suspended, too? Why are narratives of failure so seductive? What happens when a particular experience becomes unavailable to language? How does a trauma acquire the status of cause in psychoanalytic narrations? How do particular ways of sense-making shape the necessary fictions that constitute us as subjects? How do we confront narratives that frustrate our expectations or that resist interpretation altogether, placing themselves beyond our reach? Narratives may include works by Machado de Assis, Franz Kafka, Edgar Allan Poe, Herman Melville, Samuel Beckett, Robert Antelme, Federico Garca Lorca, Fernando Arrabal, Carme Riera, Juan Goytisolo, Ana Mara Moix, Cristina Fernndez Cubas, Javier Tomeo, Juan Jos Mills, Almudena Grandes, Orson Welles. Essays by Immanuel Kant, Sigmund Freud, Michel Foucault, Emmanuel Levinas, Louis Althusser, Walter Benjamin, Roland Barthes, Paul Ricoeur, Maurice Blanchot, Judith Butler, Elaine Scarry, Adriana Cavarero, Hayden White. SPAN-UA 980.001 Internship Lourdes Dvila Students wishing to do a for-credit internship should make an appointment to speak with Professor Dvila. 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 Dvila, 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 995.001 Senior Honors Seminar Thursday 11:00am-1:45pm

Gigi Dopico-Black

The Honors program in Spanish & Portuguese is a unique opportunity for students in one of our five major tracks to undertake a sustained research project. In the course of a year, students will be able to work closely with individual faculty members, while also having the chance to develop their own voice in scholarship and writing. The Honors program consists of a two-term sequence. In the fall semester, Honors students meet weekly in a workshop-type setting where they will develop their topics and projects under the guidance of the Honors Director and in discussion with their peers. By the end of the semester, every student will have a well-developed project, including a workable outline and a bibliography. Every student will also have found an individual faculty advisor with whom to work in the spring semester while finishing the Honors thesis. The spring segment of the Honors Seminar is devoted to the writing of the thesis (40-60 pages). Students will arrange for an independent study with their individual faculty advisors, with meeting times to be determined by each student and his or her faculty member. There are no regularly scheduled class meetings in the spring.

SPAN-UA 998 Independent Study Jordana Mendelson 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 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 the Director of Undergraduate Studies. 7

MAP: MAP-UA 541.001 Cultures and Context: New World Encounters Monday & Wednesday 12:30pm 1:45pm Zeb Tortorici Rcts TBA What was America before it was called America? How did indigenous peoples understand and document their first encounters with Europeans and Africans? We focus on how the convergence of indigenous, African, European, and Asian peoples in the Americas created complex cultures, societies, ethnicities, and forms of religiosity. Beginning with the discovery of the Indies by Christopher Columbus in 1492, we work our way thematically and chronologically through the centuries of conquest and colonial rule, up until the wars of independence in the early nineteenth century. We also examine the historical context before 1492 in the Americas, Africa, Asia, Europe, and the Middle East (with an emphasis on how particular Old World encounters affected New World encounters). MAP-UA 544.001 Cultures and Context: Spain Tuesday & Thursday 3:30pm 4:45pm Rcts TBA Thomas Abercrombie

Spanish modernity, from the Mediterranean to the Atlantic: Spain has not been a major world power in over 200 years, during which its competitors and successor empires (France, Britain, and the U.S.) branded it, via a conglomeration of ideas called the Black Legend, as a backwards and feudal bastion of superstition and intolerance, good only for anthropologists and tourists. A hotbed of state-building in antiquity, Spain emerged as a center of Renaissance learning under Arab and Berber rule. While the rest of Europe languished in feudalism, its seven centuries co-existence of Christians, Muslims, and Jews saw the rebirth of classical knowledge, the spread of literacy, the development of a human-centered cosmology, the emergence of narrative self-making and the novel, and Europes first primarily urban society, where philosophy, the sciences, architecture, and the arts flourished. After Christian princes defeated the last Islamic foothold in the Peninsula in 1492, Castilian language and culture was the backbone of Spains imperial expansion across the Atlantic and produced the first modern, disciplining state, the privileging of individualism, private property, and capitalism, and theses of popular sovereignty, the nation state, and theories of racial inequality. Outpaced in industrialization by the late 18th-century, still Spain (and the new nations of Spanish America) kept pace with liberal reforms that culminated in the clash of competing fascist-capitalist and democratic-socialist ideologies, leading to the Spanish Civil War, World War II, the Cold War, and the re-birth of Spanish democracy in the post-Franco and European Union era, and Spains current avant-garde role in culture and the arts. Materials include history, ethnography, literature, and film.

For more information please email us at: spanish.dus@nyu.edu NS 8-1-13