LT/CU360 Spanish Avant Garde Literature: Poetry, Drama & the Unconscious IES Abroad Salamanca Program DESCRIPTION: What Is T

LT/CU360 Spanish Avant Garde Literature: Poetry, Drama & the Unconscious IES Abroad Salamanca Program

DESCRIPTION: What is the real connection between the dream and the unconscious? Is the unconscious responsible for the fantasies we have? Can we directly interpret dreams and give real output to fantasy through literary creation?

This course aims to answer the previous questions from the aesthetic proposals of the so- called "Artistic and Literary Vanguards" of Spain, during the first half of the twentieth century. It also aims to present the effervescent development of poetry and theater during this time. In both cases, special emphasis will be placed on the relations between fantasy, dream and the Freudian theory of the unconscious, as well as the concepts of time and space that stand as repeated metaphors in the texts of the time.

CREDITS꞉ 3

CONTACT HOURS: 45

LANGUAGE OF INSTRUCTION: English

PREREQUISITES: A serious interest in the development of the habit of reading, preferably of poetry, is recommended.

ADDITIONAL COST: None

METHOD OF PRESENTATION: A combination of the following methods will be used during classes: Lectures, discussions, seminar format, and student presentations. Most of the materials (presentations, texts, pictures, etc.) used in class, as well as any other relevant materials, will be available for students on the IES Abroad Salamanca Moodle platform (https://moodle.iesabroad.org).

REQUIRED WORK AND FORM OF ASSESSMENT: The final grade of the subject will be the result of the average of the following grades: • Participation – 10% • Midterm exam – 20% • Final exam – 20% • Research paper – 20% • Group oral presentation – 15% • Course-related trip – 15%

Participation It includes the completion of exercises, group work, summaries, text comments, reports, internet searches and other activities suggested by the teacher in order to favor the correlation in learning and to build a group dynamic that is enriching and enjoyable. The interest to participate positively and actively in class will also be taken into account with personal comments of the readings, summaries and searches that the student does throughout the semester about the authors studied. Responsibility, punctuality, approach of the assigned tasks and the journals that have to be completed will also be considered. The positive attitude of the student will be taken into account, which translates into a high degree of commitment both in class and in the activities programmed outside the classroom.

Midterm exam Students must successfully answer 2 detailed essay questions

www.IESabroad.org Page 1 of 8 Final exam Students must successfully answer 3 detailed essay questions

Research paper Detailed description of a course topic chosen by the student and approved by the teacher, written in MLA style (8th edition). 2,500-3,000 words in length (approximately 10 pages). It will be necessary to submit a draft and to have at least one tutoring session with the instructor prior to the final submission. The student will write a first draft and submit it by week 7. The teacher will review it and return it with the pertinent indications. Once the draft is returned with the teacher's feedback, the student will work on the final version of his or her research. The submission date will be week 10.

The work will be evaluated with a rubric that includes 5 aspects: description of the topic of study, treatment of the topic (scope), analysis of the literary work; grammar and spelling, story sequence.

Group oral presentation The students will present in class, in groups, on the development and the key narrative actions of each of the acts of Three Top Hats by Miguel Mihura and The House of Bernarda Alba by Federico García Lorca.

The screenplay for each group's presentation will have to be submitted to the instructor previously for approval and initial feedback for possible changes.

The number of students of the course will determine the number of groups for the presentations. A group will consist of at least 3 people (minimum) and a maximum of 5 people. The group presentation will be evaluated with a rubric that includes the following aspects: knowledge and domain of the subject; didactic supports, synergy of the group; vocabulary and ability to answer questions from classmates.

Course-related trip • Attendance at a play: the 500-750 word essay will consist of a detailed theatrical critique of the play which the students will attend as a group. Students will be given a guide before the play. • Visit to the Center of Contemporary Art Domus Artium 2002 (DA2). After the guided tour of the exhibition, students should relate this to works read in class, aesthetic theories and the movements of Vanguards of the 20th century. At the end of the activity, they must complete their class journal (300 words) with their impressions and photographs, drawings, etc.

LEARNING OUTCOMES: By the end of this course, students will be able to:

• Distinguish and analyze the texts within the history of Spanish literature of the first half of the 20th century. • Recognize the genres and the fundamental literary characteristics of the texts of the time. • Differentiate among the main authors and works of the time and recognize their textual particularities within the so-called "artistic avant-gardes". • Contextualize the works within the universe of textual transmission of time. • Differentiate and manage the different themes, themes and figures that characterize the poetic and theatrical texts of the first part of the twentieth century. www.IESabroad.org Page 2 of 8 • Critically analyze the different theoretical and methodological problems offered by literature in the light of Freudian psychoanalytic theories. • Distinguish the historical evolution of key concepts: fantasy, dream, unconscious, space, time in the literature of the time.

ATTENDANCE: Attendance is mandatory for all IES Abroad classes. Each student will be allowed only two unexcused absences throughout the whole course. For each unexcused absence beyond this there will be a reduction in the final grade.

Punctuality: Students who are late to class on a regular basis may also receive a reduction in their final grade.

Students are encouraged to actively participate in class and are expected to spend approximately two hours of preparation per session in assigned readings. Any exams, tests, presentations, or other work missed due to student absences can only be rescheduled in cases of documented medical or family emergencies.

CONTENT:

Week Content Assignments Session 1 Introduction to the subject

Explanation of the syllabus. Assignment of tasks and explanation of the working methods. Bibliography commentary. Formation of groups.

Session 2 Subject: Spain in the context of the • "Sociocultural context and the European literary Avant-gardes. The Spanish Avant-garde꞉ Theory and literary manifestos. La new aesthetic Practice" in Harrys, Derek (1995)꞉ consciousness. The Spanish Avant-Garde. Manchester University Press. (p. 149-164) Session 3 History of the Spanish artistic and • Fernández-Medina, Nicolás, and literary Avant-gardes Maria Truglio (eds.).(2016): Modernism and the Introduction to the era and the Avant-garde Body in Spain and aesthetic keys of culture through a Italy. Routledge. (p. 1-20) journey of painting and artistic and literary treatment.

Session 4 Ramón Gomez de la Serna- precursor of • Gómez de la Serna, Ramón the Avant-garde. The Prometheus (1989)꞉ Aphorisms. Latin American magazine and the first futuristic Literary Review Press.(p. 13-21) manifestos. • Sherzer, William (1995)꞉ "The Dilemma of Modernity: Ramón Gómez de la Serna and the Spanish Modernist Novel" in Revista de Estudios Hispánicos; University, Alabama 29.3 (Oct 1, 1995). (p. 541-550)

www.IESabroad.org Page 3 of 8 Session 5 Marinetti and the futuristic manifesto in • Ascunce Arenas, Arántzazu (2012) Spain ꞉ "Spanish School in Paris" in Barcelona and Madrid: Social Networks of the Avant-Garde. Lexington Books. (p.205-212) Session 6 The creationism of Vicente Huidobro꞉ • Huidobro, Vicente (1999)꞉ The why and the how of experimentation "Creationism" in Manifestos and the freedom of language. Manifest, trans. Gilbert Albert- Gilbert. Los Angeles: Green Integer. (p.2-9)

• Huidobro, Vicente (1990)꞉ The Poet is a Little God: creationist verse, trans. Jorge García-Gómez. Xenos Books, Universidad de Wisconsin - Madison. (Selection of 10 poems)

Session 7 The principle of reality and writing: the • De Berg, Henk (2004)꞉ Freud's case of Altazor de Vicente Huidobro Theory and Its Use in Literary and Cultural Studies: An Introduction. Camden House. (p.2-14)

• Huidobro, Vicente (2003)꞉ Altazor or a Voyage in a Parachute, trans. Elliot Weins¡berger. Wesleyan University Press. (p.54-66)

Session 8 Ultraism: reality and metaphors. Juan • ꞉"Juan Larrea selected poems" in Larrea and automatic writing St. Martin, Hardie (2005)꞉ Roots & Wings: Poetry from Spain, 1900- 1975 : a Bilingual Anthology. White Pine Press. (p.240-267)

• Bary, David (1987)꞉ A Tooth for a Tooth: Selected Poems of Juan Larrea (1925-1932). University Press of America. (p.11-22

Session 9 "Examination of conscience" a look at art • Epps, Bradley S., Luis Fernández from the heart of the avant-garde. The Cifuentes (ed) (2005)꞉ Spain pen of Guillermo de Torre. Beyond Spain: Modernity, Literary History, and National Identity. Bucknell University Press. (p.17- 23)

Session 10 The dream, the unconscious and the • Breton, André (1972) Manifestoes imagination with Spanish flavor꞉ of Surrealism. Richard Seaver and Salvador Dalí, Luis Buñuel and the Helen R. Lane, trans. Ann Arbor: Generation of 27. The term surrealism. University of Michigan Press. (p.2- The difficulties of definition. Historic 4) context. www.IESabroad.org Page 4 of 8 • Screening of the film "Un perro andaluz", Luis Buñuel (1929)꞉ 21 minutes • Salvador Dalí꞉ selected paintings

Session 11 Midterm Exam Session 12 "The dehumanization of art" by José • Ortega y Gasset, José (1948)꞉ The Ortega y Gasset Dehumanization of Art, and Notes on the Novel, trans. Helene Weyl. Princeton University Press. (p.192- 201)

Session 13 "The memory of a man is in his kisses"꞉ • Gregory, Eduardo y Juan Herrero Poetic art of the so-called 27th Senés (ed) (2016)꞉ "Introduction: Generation. Vicente Aleixandre, Rafael The Cultural Pathologies of Spanish Alberti y Federico García Lorca. Modernism: Towards a Normalization of the Avant-garde" in Avant-Garde Cultural Practices in Spain (1914-1936): The Challenge of Modernity. Brill Rodopi, Boston, MA. (p. 3-16) Session 14 The poetry of Vicente Aleixandre • Aleixandre, Vicente (2000)꞉Destruction or love, trans. Robert G. Mowry. Susquehanna University Press. (p.17-44)

• Aleixandre, Vicente. (1993)꞉ Shadow of Paradise, trans. Hugh A. Harter. University of California Press. (p.8-18)

Session 15 Course-related trip꞉ Attendance at a play

Session 16 The painting-literature relationship in • Alberti, Rafael (1966)꞉ Selected the work of Rafael Alberti Poems, trans. Ben Belitt. University of California Press. (p.5- 23) • Persin, Margaret Helen (1997)꞉ Getting the Picture: The Ekphrastic Principle in Twentieth-century Spanish Poetry. Bucknell University Press. (p.13-33)

Session 17 Federico García Lorca: between • García Lorca, Federico (1989)꞉ modernity and surrealism. The case of Poet in New York: A Bilingual Poet in New York. Edition, trans. Pablo Medina and Mark Statman. Grove/Atlantic. (25 pages)

• Richter, David (2014)꞉ "Burning in the Void An Aesthetics of Informe

www.IESabroad.org Page 5 of 8 in Lorcas New York" in García Lorca at the Edge of Surrealism: The Aesthetics of Anguish. Bucknell University Press. (p.69-80)

Session 18 Humor and melancholy in the theater of • Edwards, Gwynne (1985)꞉ Miguel Mihura Dramatists in Perspective: Spanish Theatre in the Twentieth Century. University of Wales Press. (p.75- 90)

Session 19 The psychological universe of the women • Smith, Paul Julian (1998)꞉ The of Federico García Lorca꞉ Theatre of García Lorca: Text, a) The symbolism of the female Performance, Psychoanalysis. characters. Cambridge University Press. (p.16- b) Poetic of Lorca's femininity 31)

Three Top Hats by Miguel Mihura • Three Top Hats by Miguel Mihura. Session 20 New York꞉ Dunton, 1968. (121 Group oral presentations pages)

Session 21 The House of Bernarda Alba by Federico • The House of Bernarda Alba: A García Lorca Drama about Women in Villages of Spain. New York꞉ Bloomsbury Group oral presentations Publishing, 2014 (96 pages)

Session 22 The Theory and Psychoanalytic Literary Kristeva, Julia (1999)꞉ "Writing is Criticism. Objections and counter- my method of thinking" in Sense objections to the psychoanalytic and Nonsense of Rebellion: approach of Literature. Literature and Psychoanalysis. Fourth Own Editorial. (28 pages)

Session 23 Debate: what have we learned about the role of culture and language in the human psyche?

General review and preparation for the final exam

Session 24 Final exam

COURSE-RELATED TRIPS: • Attendance at a play

REQUIRED READINGS: • ALEIXANDRE, Vicente (2000)꞉Destruction or love, trans. Robert G. Mowry . Susquehanna University Press.

www.IESabroad.org Page 6 of 8 • ---. (1993)꞉ Shadow of Paradise, trans. Hugh A. Harter. University of California Press. • ALBERTI, Rafael (1966)꞉ Selected Poems, trans. Ben Belitt. University of California Press. • ALLEN, Rupert (1974)꞉ Psyche and Symbol in the Theater of Federico Garcia Lorca. Perlimplin, Yerma, Blood Wedding. University of Texas Press. • ASCUNCE ARENAS, Arántzazu (2012) ꞉ "Spanish School in Paris" in Barcelona and Madrid: Social Networks of the Avant-Garde. Lexington Books. • BARY, David (1987)꞉ A Tooth for a Tooth: Selected Poems of Juan Larrea (1925-1932). University Press of America. • BRETON, André (1972) Manifestoes of Surrealism. Richard Seaver and Helen R. Lane, trans. Ann Arbor: University of Michigan Press. • DE BERG, Henk (2004)꞉ Freud's Theory and Its Use in Literary and Cultural Studies: An Introduction. Camden House • EDWARDS, Gwynne (1985)꞉ Dramatists in Perspective: Spanish Theatre in the Twentieth Century. University of Wales Press. • EPPS, Bradley S., Luis Fernández Cifuentes (ed) (2005)꞉ Spain Beyond Spain: Modernity, Literary History, and National Identity. Bucknell University Press. • FERNÁNDEZ-MEDINA, Nicolás, and Maria Truglio (Eds.) (2016)꞉ Modernism and the Avant-garde Body in Spain and Italy. Routledge. • GARCÍA LORCA, Federico (1989)꞉ Poet in New York: A Bilingual Edition, trans. Pablo Medina and Mark Statman. Grove/Atlantic. • ---. (2014)꞉ The House of Bernarda Alba: A Drama about Women in Villages of Spain, adapted by Emily Mann. New York꞉ Bloomsbury Publishing. • GÓMEZ DE LA SERNA, Ramón (1989)꞉ Aphorisms. Latin American Literary Review Press. • GREGORY, Eduardo y Juan Herrero Senés (ed) (2016)꞉ Avant-Garde Cultural Practices in Spain (1914-1936): The Challenge of Modernity. Brill Rodopi, Boston, MA. • HARRYS, Derek (1995)꞉ The Spanish Avant-Garde. Manchester University Press. • HUIDOBRO, Vicente (1990)꞉ The poet is a little god: creationist verse, trans. Jorge García-Gómez. Xenos Books, Universidad de Wisconsin - Madison. • ---. (1999)꞉ "Creationism" in Manifestos Manifest, trans. Gilbert Albert-Gilbert. Los Angeles: Green Integer. • ---. (2003)꞉ Altazor or a Voyage in a Parachute, trans. Elliot Weins¡berger. Wesleyan University Press. • MIHURA, Miguel (1968)꞉ Three Top Hats, trans. M. Cobourn Wellwart. New York꞉ Dunton. • KRISTEVA, Julia (1999)꞉ Sense and Nonsense of Rebellion: Literature and Psychoanalysis. Fourth Own Editorial. • MORRYS, C.B. (1969)꞉ A Generation of Spanish Poets 1920-1936. CUP Archive. • MURPHY, Daniel (2001)꞉ Vicente Aleixandre's Stream of Lyric Consciousness. Bucknell University Press. • ORTEGA Y GASET, José (1948)꞉ The Dehumanization of Art, and Notes on the Novel, trans. Helene Weyl. Princeton University Press • PERSIN, Margaret Helen (1997)꞉ Getting the Picture: The Ekphrastic Principle in Twentieth-century Spanish Poetry. Bucknell University Press. • RICHTER, David (2014)꞉ "Burning in the Void An Aesthetics of Informe in Lorcas New York" in García Lorca at the Edge of Surrealism: The Aesthetics of Anguish. Bucknell University Press. • SHERZER, William (1995)꞉ "The Dilemma of Modernity: Ramón Gómez de la Serna and the Spanish Modernist Novel" in Revista de Estudios Hispánicos; University, Alabama 29.3 (Oct 1, 1995), pp. 541-550. • SMITH, Paul Julian (1998)꞉ The Theatre of García Lorca: Text, Performance, Psychoanalysis. Cambridge University Press.

www.IESabroad.org Page 7 of 8 • ST. MARTIN, Hardie (2005)꞉ Roots & Wings: Poetry from Spain, 1900-1975 : a Bilingual Anthology. White Pine Press. • WINFIEL, Jerry Phillips (1994)꞉ Twentieth-century Spanish poets. Gale Research.

RECOMMENDED READINGS: • BAZIN, Germain The Avant-garde in Painting. New York: Simon and Schuster. • BERGHAUS, Günter (2000)꞉ International Futurism in Arts and Literature. Walter de Gruyter GmbH & Co KG. • CRANE, Diana (1987). The Transformation of the Avant-garde: The New York Art World, 1940–1985. Chicago: University of Chicago Press. • DALY, Selina, and Monica Insinga (Eds.)(2013)꞉ The European Avant-garde: Text and Image. Newcastle upon Tyne: Cambridge Scholars. • DAVDI-THOLSON, Samuel (1981)꞉ Vicente Aleixandre, a critical appraisal. Bilingual Press. • GALA, C. (2011)꞉ Poetry, Physics, and Painting in Twentieth-Century Spain. Springer Ed. • GALE, Cengage (2000)꞉ A Study Guide for Federico Garcia Lorca's "The House of Bernarda Alba".Gale Research, Detroit. • GIES, David T. (Ed.) (2008)꞉ The Cambridge History of Spanish Literature. Cambridge University Press, • GREENE, Roland, Stephen Cushman, Clare Cavanagh, Jahan Ramazani, Paul F. Rouzer, Harris Feinsod, David Marno, Alexandra Slessarev (Eds.)(2012)꞉ The Princeton Encyclopedia of Poetry and Poetics. Princeton University Press. • GREENE, Roland and Stephen Cushman (Eds.) (2012)꞉ The Princeton Handbook of World Poetries. Princeton University Press. • HARDING, James M., and John Rouse (Eds.)(2006)꞉ Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance. University of Michigan. • KOSTELANETZ, Richard, and H. R. Brittain (2001)꞉ A Dictionary of the Avant-Gardes, second edition. New York: Schirmer Books. New York: Routledge. • KRAMER, Hilton (1973)꞉ The Age of the Avant-garde; An Art Chronicle of 1956−1972. New York: Farrar, Straus and Giroux. • LÉGER, Marc James (Ed.). (2014)꞉ The Idea of the Avant Garde—And What It Means Today. Manchester and New York: Manchester University Press; Oakland: Left Curve. . • MAERHOFER, John W. (2009)꞉ Rethinking the Vanguard: Aesthetic and Political Positions in the Modernist Debate, 1917-1962. Newcastle upon Tyne: Cambridge Scholars Press. • MCDERMID, Paul (2007)꞉ Love, Desire and Identity in the Theatre of Federico García Lorca. Tamesis, Boydell & Brewer. • PRONKO, Leonard Cabell (1962)꞉ Avant-garde: The Experimental Theater in France. Berkeley: University of California Press. • ROBERTS, John ( 2015)꞉ Revolutionary Time and the Avant-Garde. London and New York: Verso. • SCHECHNER, Richard (2002)꞉ "The Five Avant-Gardes or ... [and] ... or None?" The Twentieth-Century Performance Reader, 2nd ed., ed. Michael Huxley and Noel Witts . New York and London: Routledge. • TAPSCOTT, Stephen (1996)꞉ Twentieth-Century Latin American Poetry: A Bilingual Anthology University of Texas Press.