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.