S
PAN
3300.4
Introduction to Hispanic Literature and Literary Analysis
Spring 2018
Utah State University
MWF 9:30-10:20 a.m.
Huntsman 120
3 credits
Felipe Valencia
[email protected]
Office: Geology 417B
Office Hours: MW 3:30-4:30 p.m.
BANNER COURSE DESCRIPTION
Readings in Hispanic literatures, focusing on literary analysis (both oral and written) in the principal literary genres: narrative, drama, and poetry, and cinema.
Prerequisite: B- or better in Span 2020 or permission of the instructor.
EXTENDED COURSE DESCRIPTION
This course introduces students to the study of Hispanic literature, that is, the literature written in Spanish in Spain and Latin America from the past 500 years. It provides them with critical, analytical, and methodological tools for the study of literature and prepares them for advanced discussion in class and rigorous academic writing in Spanish. Furthermore, students will think critically about what literature is and what is involved in its study. The course has four core components:
1) A wide variety of samples from the Hispanic literary tradition, which will expose students to different periods and movements from the rich and multicultural literatures of Latin America and Spain.
2) An introduction to the main literary genres (lyric poetry, narrative, and drama), their conventions, and the theoretical problems posed by each.
3) An introduction to key problems in literary theory and cultural studies.
4) An incremental training in academic writing in Spanish, from short commentaries to a research paper.
Upon successful completion of this course, students will be prepared for more in-depth study of Hispanic texts in the 3600-level survey courses.
COURSE OBJECTIVES
By the end of the semester, students in this course will have learned:
• Many of the most important authors, periods and movements in the literature of Spain and Latin America.
• Familiarity with the principles of literary theory and cultural studies, and the conventions and theoretical problems associated with the main literary genres (lyric poetry, narrative, and drama). • Strategies for close reading, literary analysis, critical thinking, and interpretation of cultural
artifacts.
• The conventions, expectations, and stylistic norms of academic writing, particularly in Spanish. • Improved oral, aural, writing and reading skills in Spanish.
REQUIRED FOR PURCHASE AT THE USUBOOKSTORE
Culler, Jonathan. Literary Theory: A Very Short Introduction. 2nd ed. Oxford: Oxford UP, 2011. Friedman, Edward H., L. Teresa Valdivieso, and Carmelo Virgillo, eds. Aproximaciones al estudio de
la literatura hispánica. 7th ed. New York: McGraw-Hill, 2012.
RECOMMENDED BOOKS FOR PURCHASE
Blackwell, Frieda H., and Paul E. Larson. Guía básica de la crítica literaria y el trabajo de investigación. Rev. Ángel Francisco Sánchez Escobar and Jesús Casado Rodrigo. Boston: Thomson Heinle, 2007.
MLA Handbook for Writers or Research Papers. 8th ed. New York: Modern Language Association of America, 2016.
Real Academia Española. Ortografía básica de la lengua española. Madrid: Espasa, 2012.
COURSE WEBSITES
COURSE COMPONENTS
Components Percentage of the Grade
1. Class participation 15% 2. Homework sheets 15% 3. Discussion questions 15% 4. Exams 15% 5. Written analyses 15% 6. Final paper 25%
7. Meetings with the professor
1. Class participation (15%): Students are expected to come prepared, having read all the assigned texts and completed the required homework, and ready and willing to discuss ideas in a
collegiate atmosphere. This means that students will have a firm grasp on the material and actively talk—pose questions, offer and challenge interpretations, and formulate hypotheses—in the discussions facilitated by the professor. The grade for class participation is split into three separate grades, one for each month (the combination of January and February, March, and April).
2. Homework sheets (15%): The “Hojas de ejercicios” are assignments created by the professor, meant to prepare students more thoroughly ahead of specific lessons. At the beginning of each class in which an “Hoja de ejercicios” is due, the professor will check that the student completed it. All homework sheets are available on Canvas. Ahead of the class in which an exercise sheet is due, the professor will provide a printed copy to students. If the student is absent when the printed homework sheet is distributed, s/he should download it from Canvas and print it.
3. Discussion questions (15%): The discussion questions will be short and very clear questions that reflect students’ own queries or thoughts on the reading assigned for the day, raising issues that s/he would like to have discussed in class. The questions will be uploaded to Canvas by 4:30 p.m. on the day before the indicated session. The professor needs time to examine the questions and incorporate them to the lesson plan. Any question posted after 4:30 p.m. will not count, and the grade for that question shall be 0. Students concerned with having enough time to do the reading and write the question should note that they will know well in advance when their questions are due, and therefore they may plan accordingly. Given the size of the class, students will be divided into four groups (A through D) at the beginning of the semester. For each indicated class, only one group is responsible for formulating questions. All students, however, must read the questions of the day and be prepared to address them before coming to class. The grade for discussion questions is split into the grades for each of the questions.
4. Exams (15%): At the end of the units dealing with narrative and lyrical poetry, students will take in class an exam in which they will be required to demonstrate their command of the terminology and theoretical problems associated with the genre. The grade for the exams is split into the grades for each separate exam.
5. Written analyses (15%): At the end of the units dealing with narrative and drama, students will submit a paper, 3 pages long, in which they will closely analyze a text from the respective genre. In these written analyses, students are expected to correctly use the terminology and
interpretative tools associated with the respective genre. The grade for the written analyses is split into the grades for each separate written analysis. The analyses will be due at 2:30 p.m. on the day indicated for each.
6. Final paper (25%): Students will submit at the end of the semester a final paper, at least 7 pages long, that will provide a sustained interpretation of a literary text supported by research. Students will be expected to offer a compelling and well-argued reading of a text that makes abundant use of the knowledge and critical tools they have acquired throughout the semester and secondary sources as well. The final paper will be due on Tuesday, May 2nd, by 4:00 p.m. MT.
7. Meetings with the professor: Students will hold at least two mandatory meetings with the professor during his office hours throughout the semester:
a. On January 22, 24, 29, or 31, or February 5 or 7, to get acquainted and discuss class expectations, for 15 minutes.
b. On April 16, 17, 18, or 19 to discuss the final paper, for 10 minutes.
GRADING SCALE
A = 94-100% B+ = 87-89% B = 84-86% C+ = 77-79% C = 74-76% D+ = 67-69% D = 64-66%
A- = 90-93% B- = 80-83% C- = 70-73% F = 0-63%
GENERAL POLICIES AND CLASSROOM CONDUCT
• Absences: Students may have three unexcused absences (no questions asked) that do not detract from their participation grade or their final grade. When students use these absences, they should refrain from emailing any explanation to the professor, given that it is pointless. If an assignment is due on the day that the student has decided to take one of his/her three unexcused absences, the assignment must be turned in within the next 24 hours. When the student is absent for a valid reason (listed below), the assignment must be turned in within the next three days. Students are responsible for keeping track of their absences. Each unexcused absence after the first two detracts 0.5% from the final grade.
• Valid excuses to be absent from class:
o Religious holiday: the student is celebrating a religious holiday and has notified the professor in advance.
o Bereavement or medical emergency: the student has a medical or family emergency, and has either gone to the campus health center or spoken to a dean.
o USU athletic engagement: the student is representing USU in a sporting event off-campus, and has shown the professor in advance proper documentation from the athletics department or a letter from his/her coach.
o Military service: the student serves in the United States Armed Forces and has to report for duty, and has brought to the professor in advance a letter from his/her commanding officer.
o Work obligations: the student must attend a mandatory training, and has provided the professor in advance a letter from his/her employer.
o Illnesses that cannot be documented by a doctor’s or nurse practitioner’s note. o Family holidays and vacations.
o Friends’ weddings.
• Tardiness: Tardiness is neither appreciated nor welcome and, if in excess of 10 minutes, will be treated as an absence unless satisfactory explanation is made at the end of the class period, not at a later date or not at all.
• Deadlines: Turning in assignments past the deadline without a valid excuse is inadmissible, and students should not expect the professor to accept the late work. Students should also be aware that the professor is not responsible for reminding them of missed deadlines. The syllabus informs them of all the deadlines.
• Grading: The professor will provide rubrics detailing the expectations for each assignment and how they are evaluated and graded. In Canvas, look for the module “Plantillas de evaluación (grading rubrics)” under Modules.
• Classroom conduct: Students are expected to behave in a respectful and attentive manner toward their peers and the professor. Students should arrive to class on time, listen to the
professor and their peers in silence and with full attention, and refrain from engaging in personal conversations, texting or checking of personal email during class.
• Phones: Unless needed due to a disability, students are not allowed to use phones or recording devices in the classroom. If the student expects an emergency call, the professor must be notified at the beginning of class.
• Laptops and tablets: Devices are only acceptable for note-taking, but students are strongly encouraged to take notes by hand; research shows that it favors absorption. The professor reserves himself the right to ban the use of tablets or laptops in the classroom. Using a device during class for purposes different from those of the course will detract from the participation grade.
• Email etiquette and expectations: Always address messages to the professor to his email address: [email protected]; please do not address messages to him through canvas. When addressing an email to the professor, which you may do in Spanish or English, please be respectful. Always use a form of address rather than just launch into your question (e.g., begin with “Dear Prof. Valencia” or “Hola profesor”). Include as much pertinent information as possible. If you are asking for clarification on an assignment, be clear on what it is that you do not understand, rather than simply saying “What are we supposed to do?” etc. And please keep in mind that you should not expect an answer to an urgent question in an email sent to the professor on a Saturday or a Sunday, or any time after 5:00 p.m. if the question concerns an assignment due the next day. You have a full calendar of assignments in this syllabus; use it to plan in advance. For guidelines on writing emails to college professors, please
visit https://www.math.uh.edu/~tomforde/Email-Etiquette.html.
ACADEMIC INTEGRITY
As per USU policy on Academic Integrity “Each student has the right and duty to pursue his or her academic experience free of dishonesty. The Honor System is designed to establish the higher level of conduct expected and required of all Utah State University students.” Students who violate
university rules on academic integrity are subject to disciplinary penalties. Academic dishonesty/ misconduct shall include, but not be limited to, disruption of classes, threatening the instructor or a fellow student in an academic setting, giving or receiving of unauthorized aid on examinations or in the preparation of reports, notebooks or other assignments, knowingly misrepresenting the source of any academic work and/or plagiarizing of another’s work, or otherwise acting dishonestly for the purpose of obtaining/changing grades.
PLAGIARISM ACCORDING TO THE USUHONOR PLEDGE
Students must agree that they will not cheat, falsify, or plagiarize anybody’s work. Plagiarism includes “representing, by paraphrase or direct quotation, the published or unpublished work of another person as one’s own in any academic exercise or activity without full and clear
acknowledgement. It also includes using materials prepared by another person or by an agency engaged in the sale of term papers or other academic materials” (Code of Policies and Procedures for
Students, Article V, Section V-3.A). The penalties for plagiarism are severe. They include a verbal
warning, written reprimand, re-writing the assignment, grade adjustment, and even failure of the course. Additionally, the University may impose probation, suspension, or expulsion (see Article VI, Section VI-1.A).
DISABILITIES
The professor will accommodate students with disabilities so that their participation in the course is comparable to that of their peers. The USU Disability Resource Center website advises that
“Students with ADA-documented physical, sensory, emotional or medical impairments may be eligible for reasonable accommodations. Veterans may also be eligible for services. All
accommodations are coordinated through the Disability Resource Center (DRC) in room 101 of the University Inn, 435-797-2444 or toll-free at 800-259-2966. Please contact the DRC as early in the semester as possible. Alternate format materials (Braille, large print or digital) are available with advance notice.”
CALENDARIO
(sujeto a cambios por parte del profesor)
Aproximaciones = Friedman, Edward H., L. Teresa Valdivieso, and Carmelo Virgillo, eds.
Aproximaciones al estudio de la literatura hispánica. 7th ed. New York: McGraw-Hill, 2012. Canvas = https://usu.instructure.com/courses/481781
Culler = Culler, Jonathan. Literary Theory: A Very Short Introduction. 2nd ed. Oxford: Oxford UP, 2011.
Primera unidad INTRODUCCIÓN A LA LITERATURA Y LA INTERPRETACIÓN
Fecha Temas Lecturas antes de clase Tarea antes de clase
Lunes 8/1 Presentación del curso
Miércoles 10/1 ¿Qué es la literatura?
Jonathan Culler, “What is literature and does it matter?” (Culler 19-42) Hoja de ejercicios 1: Comprensión de Culler a propósito de la literatura Glosario de Culler: Literatura e interpretación (Canvas)
Jorge Luis Borges, “El etnógrafo” (Aproximaciones 59-60)
“Muere a los 100 años el antropólogo francés Claude Lévi-Strauss” en El País, 3/11/2009 (Canvas)
Viernes 12/1 El problema de la interpretación
Jonathan Culler, “Language, meaning, and interpretation” (Culler 56-69) Hoja de ejercicios 2: Comprensión de Culler a propósito de la interpretación y términos esenciales de la interpretación Miércoles 17/1 Cómo acercarse a un texto. Los términos del análisis literario. “El mono que quiso ser escritor satírico” de Augusto Monterroso
“Rasgos de los buenos lectores” en Guía básica 1-12 (Canvas)
Pregunta de discusión 1A sobre “El mono que quiso ser escritor satírico”
“Términos generales: Elementos literarios” en
Guía 61-62 (Canvas)
Augusto Monterroso, “El mono que quiso ser escritor satírico” (Aproximaciones 76-79)
Segunda unidad LA NARRATIVA
Fecha Temas Lectura antes de clase Tarea antes de clase
Viernes 19/1
¿Qué es la narrativa? “La rana que quería ser una rana auténtica” de Augusto Monterroso
“Las formas narrativas” (Aproximaciones 10)
Hoja de ejercicios 3: Términos esenciales de la narrativa
“Glosario de términos literarios: Narrativa” en Guía 63-64 (Canvas)
Augusto Monterroso, “La rana que quería ser una rana auténtica” (Aproximaciones 76-79) Lunes 22/1 Panorama de los problemas teóricos de la narrativa. Conceptos narratológicos “Análisis de la narrativa” (Aproximaciones 10-19) Aproximaciones 19-21 (Práctica, ejercicios 1 y 2)
Jonathan Culler, “Narrative”
(Culler 83-94) Hoja de ejercicios 4: Comprensión de Culler a propósito de narrativa Glosario de Culler: Narrativa (Canvas) Miércoles 24/1 Narración en primera persona o en tercera persona.
“No oyes ladrar los perros” de Juan Rulfo
“La narrativa
hispanoamericana” y “El ‘Boom’” (Aproximaciones
34-35) Pregunta de discusión 1B sobre “No oyes ladrar los perros” Juan Rulfo, “No oyes ladrar
los perros” (Aproximaciones 68-72)
Viernes 26/1
La diferencia entre narración y
focalización.
“La noche boca arriba” de Julio Cortázar
Julio Cortázar, “La noche boca arriba” (Aproximaciones 61-68) Hoja de ejercicios 5: Diferencia entre narración y focalización Pregunta de discusión 1C sobre “La noche boca arriba”
Lunes 29/1
La diferencia entre trama y fábula. “La mujer que llegaba a las seis” de Gabriel García Márquez
Gabriel García Márquez, “La mujer que llegaba a las seis” (Aproximaciones 83-93)
Hoja de ejercicios 6: Diferencia entre trama y fábula
Pregunta de discusión 1D sobre “La mujer que llegaba a las seis”
Segunda unidad LA NARRATIVA
Fecha Temas Lectura antes de clase Tarea antes de clase
Miércoles 31/1
La diferencia entre autor y narrador.
San Manuel Bueno, mártir de Miguel de
Unamuno
“La generación del 98”
(Aproximaciones 33) Pregunta de discusión 2A sobre San Manuel
Bueno, mártir,
capítulos I-VI Miguel de Unamuno, San
Manuel Bueno, mártir,
capítulos I-VI
(Aproximaciones 110-17)
Viernes 2/2 San Manuel Bueno, mártir de Miguel de
Unamuno
Miguel de Unamuno, San
Manuel Bueno, mártir,
capítulos VII-XIV
(Aproximaciones 117-27)
Pregunta de discusión 2B sobre San Manuel
Bueno, mártir,
capítulos VII-XIV
Lunes 5/2
La autoridad del narrador.
San Manuel Bueno, mártir de Miguel de
Unamuno
Miguel de Unamuno, San
Manuel Bueno, mártir,
capítulos XV-XXI
(Aproximaciones 127-35)
Pregunta de discusión 2C sobre San Manuel
Bueno, mártir,
capítulos XV-XXI
Miércoles 7/2
La diferencia entre lector y narratario. El sentido del final. “Blanca Nieves y Compañía” de Teresa
de la Parra Teresa de la Parra, “Blanca Nieves y Compañía” (Aproximaciones 53-58)
Borrador del Análisis 1, impreso
Viernes 9/2 Repaso para el Examen 1
Análisis 1 sobre “Blanca Nieves y Compañía” de Teresa de la Parra
(Aproximaciones 53-58) Lunes 12/2 Examen 1: Narrativa
Tercera unidad EL DRAMA
Fecha Temas Lectura antes de clase Tarea antes de clase
Miércoles 14/2
¿Qué es el drama? Panorama de los problemas teóricos del drama
“El teatro”, “Análisis del teatro”, “Plano textual” y “Plano espectacular”
(Aproximaciones 252-61) Hoja de ejercicios 7: Términos esenciales del drama
“Glosario de términos literarios: Teatro” en Guía
básica 70-72 (Canvas)
Viernes 16/2
La tensión entre el plano textual y el plano espectacular. El censo de Emilio Carballido
Emilio Carballido, El censo
(Aproximaciones 300-09) Pregunta de discusión 2D sobre El censo
Miércoles 21/2
Diálogos y acotaciones. Actores y actantes.
Resguardo personal de
Paloma Pedrero
Paloma Pedrero, Resguardo
personal (Aproximaciones 327-35) Pregunta de discusión 3A sobre Resguardo personal Viernes 23/2
La fuerza realizativa del lenguaje.
Historia de un hombre que se convirtió en perro
de Osvaldo Dragún
Jonathan Culler,
“Performative language”
(Culler 95-108) Hoja de ejercicios 8: Comprensión de Culler a propósito de la fuerza realizativa del lenguaje
Glosario de Culler: Fuerza realizativa del lenguaje (Canvas)
Osvaldo Dragún, Historia de
un hombre que se convirtió en perro (Aproximaciones
320-27)
Lunes 26/2
La tensión entre drama y teatro. La casa de Bernarda Alba de Federico García Lorca “García Lorca” (Aproximaciones 283) Pregunta de discusión 3B sobre La casa de
Bernarda Alba, acto I
“Federico García Lorca” (Aproximaciones 223-24) Federico García Lorca, La
casa de Bernarda Alba, acto I
(Aproximaciones 335-47)
Miércoles 28/2
Los dos planos de emisión y recepción del drama.
La casa de Bernarda Alba de Federico
García Lorca
Federico García Lorca, La
casa de Bernarda Alba, acto
II (Aproximaciones 348-60)
Pregunta de discusión 3C sobre La casa de
Tercera unidad EL DRAMA
Fecha Temas Lectura antes de clase Tarea antes de clase
Viernes 2/3
Del texto al escenario.
La casa de Bernarda Alba de Federico
García Lorca
Federico García Lorca, La
casa de Bernarda Alba, acto
III (Aproximaciones 360-70) Análisis 2 sobre La casa
de Bernarda Alba de
Federico García Lorca Federico García Lorca, La
casa de Bernarda Alba en
montaje de Calixto Bieito en el Centro Dramático
Nacional (Canvas)
Lunes 12/3 Grupo 1: Ensayo / Grupo 2: Discusión
Miércoles 14/3
Grupo 1:
Representación / Grupo 2: Crítica de la representación
Cuarta unidad LA POESÍA LÍRICA
Fecha Temas Lectura antes de clase Tarea antes de clase
Viernes 16/3
¿Qué es la poesía lírica? La diferencia entre poesía lírica y poesía épica; la lírica y la narración.
“Romance del conde Arnaldos”
“La poesía” (Aproximaciones 138-39)
Hoja de ejercicios 9: Términos esenciales de la poesía
“Romance del conde Arnaldos” (Aproximaciones 176)
“Glosario de términos literarios: Poesía” en Guía
básica 64-70 (Canvas)
Lunes 19/3
Panorama de los problemas teóricos de la lírica
Jonathan Culler, “Rhetoric, poetics, and poetry” (Culler 70-82)
Hoja de ejercicios 10: Comprensión de Culler a propósito de la poesía lírica Glosario de Culler: Poesía
(Canvas)
Conferencia de la Prof.ª Leah Middlebrook (U of
Oregon): hora y lugar por determinar Párrafo sobre la conferencia
Miércoles 21/3 Las figuras y los tropos “El lenguaje literario” (Aproximaciones 152-58) Aproximaciones 158-60 (Práctica, ejercicio B)
Lunes 26/3 Las figuras y los tropos. “La infinita” de Pablo Neruda
“El lenguaje literario”
(Aproximaciones 152-58) Hoja de ejercicios 11: Figuras y tropos Pablo Neruda, “La infinita”
(Aproximaciones 231-32) Miércoles 28/3 La versificación española I: clasificación de versos según el acento y según el número de sílabas; rima; poemas estróficos y no estróficos.
“Romance del conde Arnaldos” y “¿Qué tengo yo, que mi amistad procuras?” de Lope de Vega “Elementos de versificación” (Aproximaciones 139-52) Hoja de ejercicios 12: Versificación española I (acentos, sílabas, rimas, estrofas) “Clasificación de versos” (Aproximaciones 438) “Romance del conde Arnaldos” (Aproximaciones 176)
Lope de Vega, “¿Qué tengo yo, que mi amistad
procuras?” (Aproximaciones 186-87)
Viernes 30/3
La versificación española II: licencias poéticas (sinalefa, hiato y diptongo); el ritmo. “El cisne” de Rubén Darío
“Elementos de versificación”
(Aproximaciones 139-52) Hoja de ejercicios 13: Versificación española II (licencias poéticas y ritmo)
“Clasificación de versos” (Aproximaciones 438) Rubén Darío, “El cisne” (Aproximaciones 206-07)
Cuarta unidad LA POESÍA LÍRICA
Fecha Temas Lectura antes de clase Tarea antes de clase
Lunes 2/4
La distinción entre autor y hablante poético. “Yo no soy yo” de Juan Ramón Jiménez y “¿Qué tengo yo, que mi amistad procuras?” de Lope de Vega
Juan Ramón Jiménez, “Yo no soy yo” (Aproximaciones
213-24) Pregunta de discusión
3D sobre “Yo no soy yo”
Lope de Vega, “¿Qué tengo yo, que mi amistad
procuras?” (Aproximaciones 186-87)
Miércoles 4/4 El apóstrofe y la deixis. “A su retrato” de sor Juana Inés de la Cruz
Sor Juana Inés de la Cruz, “A su retrato”
(Aproximaciones 190-91)
Pregunta de discusión 4A sobre “A su retrato”
Viernes 6/4 La sinceridad. La distinción entre enunciado y enunciación. “Mujer negra” de Nancy Morejón
“Las últimas promociones”
(Aproximaciones 171-72) Pregunta de discusión 4B sobre “Mujer negra”
Nancy Morejón, “Mujer negra” (Aproximaciones 246-49)
Lunes 9/4
La literariedad de la lírica. “Llama de amor viva” de san Juan de la Cruz
“Los grandes místicos”
(Aproximaciones 162-63) Pregunta de discusión 4C sobre “Llama de amor viva”
San Juan de la Cruz, “Llama de amor viva”
(Aproximaciones 181-83)
Miércoles 11/4
La lírica como discurso de la intimidad. “Nocturno III” de José Asunción Silva
“La poética modernista”
(Aproximaciones 165-66) Pregunta de discusión 4D sobre “Nocturno III”
José Asunción Silva, “Nocturno III”
(Aproximaciones 202 y 205-06)
Jueves 12/14 Conferencia del Dr. Edward Hirsch (President, Guggenheim Foundation): hora y lugar por determinar
Párrafo sobre la conferencia Viernes 13/4 Examen 2: Lírica
Quinta unidad EL TRABAJO DE INVESTIGACIÓN
Fecha Temas Lectura antes de clase Tarea antes de clase
Lunes 16/4
Clase en Merrill-Cazier 122 con el
bibliotecario Dylan Burns
“El trabajo de investigación” en Guía básica 39-48
(Canvas) Investigación
bibliográfica
“Plagiarism and Academic Dishonesty” en MLA
Handbook 6-10 (Canvas)
Miércoles 18/4 Tesis y estructura I “Elementos del trabajo” en Guía básica 49-60 (Canvas)
Viernes 20/4 Tesis y estructura II “Ejemplo 4” en Guía básica 85-90 (Canvas) Propuesta y bibliografía del trabajo final
Lunes 23/4 Ortografía del español. Normas de estilo de la MLA
“Las reglas de acentuación gráfica” y “Uso de los signos ortográficos” en Ortografía 38-58 y 59-99 (Canvas)
Esquema del trabajo final, impreso
MLA Handbook 20-58 y
74-85 (Canvas)
Borrador de las 4 primeras páginas del trabajo final, impreso
Miércoles 25/4 Taller del trabajo final I
Comentarios y correcciones al esquema del compañero Comentarios y correcciones al borrador del trabajo final del compañero Viernes 27/4 Taller del trabajo final II Borrador del trabajo final, impreso Martes 1/5 Entrega en Canvas del trabajo final antes de las 4:00 p.m. MT
BIBLIOGRAPHY
Books on course reserve at the Merrill-Cazier Library
Blackwell, Frieda H., and Paul E. Larson. Guía básica de la crítica literaria y el trabajo de investigación. Rev. Ángel Francisco Sánchez Escobar and Jesús Casado Rodrigo. Boston: Thomson Heinle, 2007.
Culler, Jonathan. Literary Theory: A Very Short Introduction. 2nd ed. Oxford: Oxford UP, 2011. Friedman, Edward H., L. Teresa Valdivieso, and Carmelo Virgillo, eds. Aproximaciones al estudio de
la literatura hispánica. 7th ed. New York: McGraw-Hill, 2012.
Real Academia Española. Ortografía básica de la lengua española. Madrid: Espasa, 2012.
Introductions to literary theory
Blackwell, Frieda H., and Paul E. Larson. Guía básica de la crítica literaria y el trabajo de investigación. Rev. Ángel Francisco Sánchez Escobar and Jesús Casado Rodrigo. Boston: Thomson Heinle, 2007.
Culler, Jonathan. Literary Theory: A Very Short Introduction. 2nd ed. rev. Oxford: Oxford UP, 2011. Eagleton, Terry. Literary Theory: An Introduction. Ed. rev. Minneapolis: U of Minnesota P, 2008.
Anthologies of theory and criticism
Leitch, Vincent B., ed. The Norton Anthology of Theory and Criticism. 2nd ed. New York: Norton, 2010.
Rivkin, Julie, and Michael Ryan, eds. Literary Theory: An Anthology. 2nd ed. Malden: Blackwell, 2004.
Histories and reference guides to literary theory and criticism
The Cambridge History of Literary Criticism. 9 vols. Cambridge: Cambridge UP, 1990-2013.
Groden, Michael, Martin Kreiswirth, and Imre Szeman. The Johns Hopkins Guide to Literary
Criticism and Theory. 2nd ed. Baltimore: Johns Hopkins UP, 2005.
Marchese, Angelo, and Joaquín Forradellas. Diccionario de retórica, crítica y terminología literaria. Barcelona: Ariel, 1986.
Dictionaries of contemporary Spanish
Real Academia Española. Diciconario de la lengua española. 23rd ed. Madrid: Espasa, 2014.
Guides to poetry and poetics
Greene, Roland, Stephen Cushman, et al., eds. The Princeton Encylopedia of Poetry and Poetics. 4th ed. Princeton: Princeton UP, 2012.
Guides to rhetoric
Pujante, David. Manual de retórica. Madrid: Castalia, 2003.
Guides to versification in Spanish
Domínguez Caparrós, José. Diccionario de métrica española. Madrid: Alianza, 1999.
Navarro Tomás, Tomás. Métrica española: Reseña histórica y descriptiva. 6th ed. Barcelona: Labor, 1983.
Varela Merino, Elena, Pablo Moíno Sánchez, and Pablo Jauralde Pou. Manual de métrica española. Madrid: Castalia, 2005.
Guides to Spanish orthography and stylistics
Paredes García, Florentino, Salvador Álvaro García, and Luna Paredes Zurdo. Las 500 dudas más
frecuentes del español. Madrid: Espasa, 2013.
Real Academia Española. Ortografía de la lengua española. Madrid: Espasa, 2010. —. Ortografía básica de la lengua española. Madrid: Espasa, 2012.
Guides to academic style
MLA Handbook. 8th ed. New York: Modern Language Association of America, 2016.
MLA Style Manual and Guide to Scholarly Publishing. 3rd ed. New York: Modern Language Association of America, 2008.
ONLINE RESOURCES
Dictionaries of contemporary Spanish
Diccionario de la lengua española. Real Academia Española. <http://dle.rae.es/>
Reference guides to literary theory and criticism
The Johns Hopkins Guide to Literary Criticism and Theory. Ed. Michael Groden, Martin Kreiswirth,
and Imre Szeman. The Johns Hopkins University Press. <http://litguide.press.jhu.edu/>
Stanford Encyclopedia of Philosophy. Center for the Study of Language and Information. Stanford
University. <http://plato.stanford.edu/>
Academic style
The MLA Style Center: Writing Resources from the Modern Language Association. Modern Language
