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Department of Spanish and Portuguese – Fall 2019 Portuguese 535 – Brazilian Literature
BRAZILIAN LITERATURE AND THE REPRESENTATION OF NATIONAL IDENTITY
RACE — CLASS — GENDER — MIGRATION Instructor and Director of the Portuguese Program: Prof. Ricardo Vasconcelos Contact: [email protected]; Arts and Letters 117. Professor Vasconcelos’s Academia website:
I. COURSE DESCRIPTION AND STUDENT LEARNING OUTCOMES This course focuses on the fictional representation of the formation of modern and contemporary Brazilian national identity in Brazilian literature, with a particular focus on the novel. The course aims to familiarize students with key social components to the definition of a common Brazilian identity — namely race, class, gender and migration —, using literature as a gauge for the perception Brazilian citizens have of these topics. We will read and debate Aluísio Azevedo’s O Cortiço (The Slum, 1890), a naturalist novel written at the time of the abolition of slavery. O Cortiço focuses on the development of Rio as an early melting pot of Afro-Brazilian, Indigenous and European heritage, one that defines the basis for contemporary Brazilian society. We will study Jorge Amado’s acclaimed Capitães da Areia (Captains of the Sands, 1937), a novel about the children that live in the streets of Salvador da Bahia. We will use an intersectional approach that focuses on class asymmetries, gender barriers, and racial discrimination, all topics that are addressed by the novel, as it renders a compelling account of the life of these disenfranchised children and their forms of cultural expression, such as capoeira. The course will also study Clarice Lispector’s A Hora da Estrela (1977), the story of Northeastern migrant Macabéa in Rio de Janeiro, told in an intimist and existentialist tone that forces us to reflect on the impact of internal migration in the life millions of anonymous Brazilians. Luiz Ruffato’s short novel Estive em Lisboa e Lembrei de Você (2009) portrays the diasporic experience of some of the 2,5 million Brazilian emigrants scattered around the world, by focusing on the dreams, hopes, blunders and successes of Serginho, from Cataguazes, MG, who emigrates to Portugal in search for a better life.
All readings are completed in Portuguese. Portuguese undergraduates will complete all class work in Portuguese. Graduate students will complete their assignments in their language of specialization (typically Portuguese, Spanish, or English). This course meets the Spanish MA requirement of “Knowledge of Portuguese.” By the end of the course, students will: 1. become familiar with the main characteristics of the works and authors discussed; 2. systematize how factors such as race, class, gender and (e)migration are used in Brazilian literature to address issues related to Brazilian national identity; 2
3. characterize key periods of social change in Brazilian society, and assess the relations between the literary works read and these moments; 4. communicate, orally and in written, at the advanced-mid level in Portuguese, as per ACTFL guidelines (applicable to Portuguese Minors only). Graduate students from other programs will, in turn, have developed a reading knowledge of Portuguese.
II. COURSE MATERIALS Four novels/short novels are required in this course. They are the following (in the order we will read them in class):
Azevedo, Aluísio. O cortiço. Pref. Paulo Franchetti, ed. e notas Leila Guenther. Ateliê Editorial, 2012. Impresso. (ISBN: 8574805793; 9788574805795)
Amado, Jorge. Capitães da areia. Companhia das Letras, 2008. (ISBN: 85359111693; 9788535911695).
Lispector, Clarice. A hora da estrela. Rocco: 1999 (ISBN: 853250812X; 9788532508126).
Ruffato, Luiz. Estive em Lisboa e lembrei de você. Companhia das Letras, 2009.
Although there are many editions of some of these novels, it is important to try to keep the ones indicated, for better class functioning. This is particularly the case for the edition of Aluísio Azevedo’s O Cortiço, which has a vast glossary that will help you understand the 19th century vocabulary easily, and for the edition of Ruffato’s Estive em Lisboa e lembrei de você, which was published in Portugal with a slightly different title and some language modifications — we want to stick to the Brazilian edition.
In the first weeks of class, you will read a sample of Brazilian texts, including letters, manifestoes, short stories, provided by the author.
During the course of the semester, your professor will provide other smaller reading assignments, namely through Blackboard.
III. COURSE REQUIREMENTS AND ASSIGNMENTS 1. Homework: Students will read in advance for each class the literary works indicated in the calendar. If indicated, they will also answer interpretation questions posted in advance on Blackboard, so as to prepare for class discussions; or prepare their own questions on the book section. These (answers or questions) will have to be kept by the student, to present in a portfolio in the end of the semester.
2. Participation: Your participation grade [undergraduates] reflects a number of items, such as volunteering answers, answering all questions when called on, cooperating in group and pair work, preparing all readings in advance, arriving timely to class. You will be asked to assess your participation and your instructor will give you feedback on your self-assessment and provide his own assessment. 3
3. Individual Presentations: Students will give one 10-minute presentation on a topic related to a class reading assignment for the day. Each student is expected to speak spontaneously (i.e., not read from a script but speak using a few notes) for about 5 minutes, and the presentation will be followed by a question/answer period also of about 5 minutes. These presentations should stem from research made by students; typically, students choose to present a scholarly article that is directly related to the reading of the day; students may choose these, or use recommendations by the professor (undergraduate students should seek the professor’s help in this). For this question/answer period, the presenter should prepare 2 questions for the class, so as to guide the discussion, and all colleagues are expected to ask at least 2 questions of other presenters during the semester. A sign-up sheet will be passed out on the first day of class, for students to choose the dates of their presentations.
4. Papers: All students will write 3 response papers on the literary works read, as per the dates in the detailed calendar, and a research final paper. Detailed guidelines about the format and evaluation of the papers are provided on Blackboard. Note that graduate students in the Spanish MA Spanish or Portuguese.
For instructions on the MLA style, which will be required in papers, consult the MLA Handbook for Writers of Research Papers (7th Ed. New York: 2009). For a fast reference, consult the online resources available at http://owl.english.purdue.edu/owl/resource/747/01/
5. Grade breakdown: Undergraduates MA Graduates
• Homework – 15% • Homework – 15% • Participation – 10% • Presentations – 10% • Presentation – 10% • 3 response papers (min. 5 pages) – 45 % • 1 Take-home exam — 10% • Final paper (10 to 12 pages) – 30 % • 3 response papers (3 pages) – 35 % [Written work developed in Portuguese or • Final paper (approx. 6 pages) – 20 % Spanish]
6. Attendance: Students should be aware that absenteeism directly affects their participation (and necessarily their student participation grade) and more importantly the development of knowledge that arises from class discussions. You are investing time and money to be in this class – don’t take your yourself away from it!
IV. GENERAL CLASS POLICIES 1. Academic Conduct and Integrity: Students are expected to follow SDSU’s code of academic conduct. This class requires that you familiarize yourself with the section on “Cheating and Plagiarism” in SDSU’s University Policies (http://arweb.sdsu.edu/es/catalog/2012- 13/graduate/parts/060-070_University%20Policies.pdf; pages 66-67). The infringement of these rules will lead to the disciplinary actions described therein. You can also get more information about these in the website of SDSU Center for Student Right and Responsibilities (http://studentaffairs.sdsu.edu/SRR/cheating-plagiarism.html).
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2. Electronic Devices: All cellular phones, IPods, etc. must be turned off during class time. Flashing cell phones, vibration mode, text-messaging, etc. are not OK. You are investing time and money to be in this class – please don't take your mind away from it.
3. Students with Disabilities: If you are a student with a disability and believe you will need accommodations for this class, it is your responsibility to contact Student Disability Services at (619) 594-6473. To avoid any delay in the receipt of your accommodations, you should contact Student Disability Services as soon as possible. Please note that accommodations are not retroactive, and that accommodations based upon disability cannot be provided until you have presented your instructor with an accommodation letter from Student Disability Services. Your cooperation is appreciated.
4. Usage and Style of Email Messages: Learning how to write polite and professional e-mail messages in Portuguese is considered an integral part of the course. Therefore only emails written in Portuguese according to the style requirements explained below will be answered (students in the Spanish MA can of course write in Spanish or English). All emergency messages written in English will of course be given full attention. Your instructor will check his e-mail messages once every workday; hence, you can expect an answer from him between 24 and 48 hours after you have sent him an email (except for weekends). Take this opportunity to learn the courteous greeting and salutation expressions in Portuguese that are adequate to the recipient of your message, as described below:
Choose an appropriate subject heading that describes the content of your email. Begin your message with: “Bom dia / Boa tarde, Professor Vasconcelos / Professor Ricardo:” (neutral) “Prezado Professor Vasconcelos:” (formal) “Olá, Sofia:” (very informal yet polite; make sure that your instructor is OK with an informal tone.)* *Note that a colon (“:”), rather than a comma, is normally used after the greeting. In the main body of the text, summarize in Portuguese your question, concern, or information.
End your message with: “Atentamente” (neutral, professional) “Saudações cordiais” (neutral, professional) “Agradeço desde já a sua melhor atenção para esta mensagem. Atentamente,” (very formal; the first part is used if your message contained a question or a request) “Cordialmente” (professional but friendly) “Até breve” (friendly) “Um abraço / Um beijo” (very friendly, only if you know the person very well).
Then write your name.
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V. DETAILED CALENDAR OF READINGS AND ASSIGNMENTS
Semana CONTEÚDOS E TAREFAS Quarta-feira Semana 1 23 de janeiro Apresentação do Programa. Indígenas e europeus: a carta de Pêro Vaz de Caminha ao Rei D. Manuel I de Portugal. O índio como mito e referência cultural: de O guarani, de José de Alencar, ao Manifesto Antropofágico, de Oswald de Andrade.
Semana 2 30 de janeiro A escravatura no Brasil “Pai contra mãe”, de Machado de Assis. Uma abordagem interseccional: “Uma galinha”, de Clarice Lispector.
Semana 3 6 de fevereiro Complete take-home exam O Cortiço, de Aluísio Azevedo, caps. 1 a 4 Semana 4 13 de fevereiro O Cortiço, de Aluísio Azevedo, caps. 5 a 9 Semana 5 20 de fevereiro O Cortiço, de Aluísio Azevedo, caps. 10 a 15 Semana 6 27 de fevereiro O Cortiço, de Aluísio Azevedo, caps. 16 até ao fim.
Semana 7 Ensaio 1: segunda-feira, 4 de março, 1pm, via Turnitin. 6 de março Capitães de Areia, de Jorge Amado, pp. 9-62. Semana 8 13 de março Capitães de Areia, de Jorge Amado, pp. 63-134.
Semana 9 20 de março Capitães de Areia, de Jorge Amado, pp. 135-195.
Semana 10 27 de março Capitães de Areia, de Jorge Amado, pp. 196-270. Férias da Férias da Primavera Primavera Semana 11 Ensaio 2: terça-feira, 9 de abril, 1pm, via Turnitin. 10 de abril A hora da estrela, Clarice Lispector, pp. 9 a 45. Semana 12 17 de abril A hora da estrela, Clarice Lispector, pp. 45 até ao fim Seleção de crónicas de Clarice Lispector. Semana 13 24 de abril Estive em Lisboa e lembrei de você, Luiz Ruffato, pp.15 a 49
Semana 14 Ensaio 3: segunda-feira, 29 de abril, 1pm, via Turnitin. 1 de maio Estive em Lisboa e lembrei de você, Luiz Ruffato, pp. 49 até ao fim. Semana 15 8 de maio Seleção de poesia brasileira.
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VI. Recommended Histories of Brazil and Portugal Disney. A. R. A History of Portugal and the Portuguese Empire. Vol. II – Portugal. Cambridge: Cambridge UP, 2009. Print. ---. A History of Portugal and the Portuguese Empire. Vol. II – The Portuguese Empire. Cambridge: Cambridge UP, 2009. Print. Fausto, Boris. A Concise History of Brazil. Trans. Arthur Brakel. New York: Cambridge UP, 1999. Print. Skidmore, Thomas. Brazil: Five Centuries of Change. 2nd Edition. New York: Oxford UP, 2010. Print. Saraiva, José Hermano. Portugal – A Companion History. Manchester: Carcanet, 1997. Print. Marques, A. H. Oliveira. History of Portugal. New York: Columbia UP, 1976. Print.
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VII. A FINAL REMINDER Please take responsibility for the energy you bring to the classroom. As with any class, what you put into it has an implication in what you get out of it. This is a class for those who are willing to put the time, energy, effort, and most importantly a good attitude into their learning!