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Course Description

From Catalog: SPAN 317 examines the narrative movement known as the “Boom” through analysis and discussion of exemplary short stories and novels from such authors as Borges, Carpentier, Cortazar, Donoso, Fuentes, García Márquez, Rulfo, Sábato, and Vargas Llosa, among others.

Goals: To understand the predominant literary characteristics of contemporary Spanish American Narrative, students are required to analyze three novels in their entirety as well as short stories, excerpts, and films from other representative authors. The main body of primary materials will come from those authors who critics have traditionally labeled as "the Boom" of the 1960s and 1970s with some attention to its precursors and the Post-Boom.

Organization: In doing so, we will be able to answer how contemporary Spanish American novelists express their understanding of "la realidad interior": (Lo filosófico y sicológico); "la realidad exterior": (Lo americano); and "la realidad mágica": (Lo real maravilloso).  The classification of these three distinct realities, however, serves more as an organizational device than a goal. Our ultimate purpose is to have a broad knowledge of the landmark works that constituted the Boom, including its prevalent themes and stylistic devices.

 For specific assignments, click on Class Calendar

 

Goals and Objectives: (Analysis, Synthesis, & Expression)

(I) Analysis:

To reach an understanding of the most prevalent thematic and stylistic trends in the contemporary novel through an in-depth reading of various selected texts. The texts for 2006 include novels by Sábato, Carpentier, and García Márquez.

*{OJO}* Have your reading completed for any given novel by the dates indicated below. If you have not completed the assignment, you may not be allowed to attend, and your grade will be lowered accordingly.

 Due  Author  Title
28 de sept.   Ernesto Sábato El túnel (1948)
17 de oct.  Alejo Carpentier Los pasos perdidos (1953)
7 de nov.   Gabriel García Márquez Cien años de soledad (1967)

Our readings will concern both style and content. Each of these selected novels treats a pertinent and unique aspect of Latin American reality and offers cultural insight into the ideas and theses of representative artists. Beyond content, these novels also provide examples of stylistic trends found throughout the contemporary novel. On days dedicated to these works, each member of the class is expected to participate fully in the discussion.

(II) Synthesis:

To understand the aesthetic impact of the Latin American novel on world literature. To do so, we will "survey" the canonized writers through occasional excerpts of selected writings, secondary sources, or by comparison in our discussions. In addition to the analytical readings of Sábato, Carpentier, and García Márquez, we will also examine narrative excerpts, short stories, or film versions of works from Borges, Cortázar, Donoso, Vargas Llosa, Fuentes, Rulfo, Allende, and Esquivel. Click here for a selected listing of major novels and novelists

(III) Expression:

To improve sophistication of expression (both orally and written) through literary analysis. Much of our time will be spent on improving critical thought and expression through writing exercises, formal papers, and class discussion.


 Policies and Procedures: Grading

Your grade will be based on the following:

60%..........3 Papers, see Guidelines (note: papers are weighted incrementally, eg., 17, 20, 23%)
10%.........1 Final Essay (due Friday, last day of semester)
30%..........In-class grade: Participation, performance, pop-quizzes, oral report

1) Any absence, other than due to illness, will be noted and the final grade will be lowered accordingly for every absence.

2) You must be prepared: If you have not read the work CAREFULLY in its entirety, you may not be permitted to attend class. This will count as an unexcused absence, and your final grade may be lowered accordingly at the professor's discretion.


 Guidlelines for Papers:

3 Papers are required in total for the semester. In consultation with the professor, students may elect to write one of three types of paper: (1) an "Explicación" -- format learned in SPAN 215; (2) a Thematic exposé -- a thesis based on an idea traced throughout the work, substantiated with secondary sources; or (3) a creative work.  While you are encouraged to attempt various types of papers, you must write at least one thematic exposé.

Format: approximately 6-7 pages in length, typed, double-spaced, in Spanish, one copy submitted to the class L:drive and one paper copy.  Use MLA Style sheet for questions of mechanics.

Resources: You may use dictionaries and grammars or other language texts.  As for permissible digital resources, you may use internet or stand alone electronic dictionaries.  (See Dictionaries at "Enlaces útiles")  You may and are encouraged to always use the computer spell check.  You may NOT use any electronic / digital aid that facilitates translation.  (*Automated translation devices or web sites that facilitate translation are seldom sophisticated enough for our purposes and are not permitted.  If you are unsure about what is permissible, ask your instructor.)  You are not allowed to have another person proof your work.  You may and are encouraged to use secondary sources to enhance, support, and/or clarify your arguments, but be careful with proper citation and plagiarism.

 All submitted written work is considered to be your own unless, otherwise indicated, and should be pledged.  Grades on papers turned in late will be lowered.

 

(I) Explicación de texto (or Comentario de texto)

One paper may be written using the "explicación de texto" method used in SPAN 215. Students unfamiliar with the "explicación de texto" method, should consult Como se comenta un text literario by Lázaro Carreter in the library or the translation Writing About Literary Texts in the language lab.

(II) Thematic Exposé

The thematic paper is a conventional form of expository writing in which you trace an idea throughout the work and make an argument for your thesis.  A strong paper will cite specific textual references from the work, but be careful not to rely on superfluous or rambling quotes.  A good / superior paper will most definitely contain secondary sources to substantiate your findings. 

You must prepare your paper in accordance with the The MLA Style Manual, which encourages the use of intratextual or parenthetical documentation and mandates the inclusion of a list of Works Cited (with full pagination) at the end of your work.   You will find a copy of the MLA style Manual in the reference section of the library.  There are also a number of on-line pages that can also assist you, but remember that these are not official: for example see,  MLA examples , MLA citations ,  and MLA Style citations (pdf) among others.

(III) Creative Writing / Short Stories

Given the experimental nature of our texts, you may wish to explore your own creative abilities.  Creative papers require prior consultation and approval from the professor.  If you choose to write a short story, it should emulate the text we are studying. Emulation does not mean a slightly altered repetition of the original; instead, using the original as a point of departure you should be able to capture the essence of the original work. There is no prior expectation that we are all professional writers; however, the exercise allows you to integrate your Spanish in a challenging way as well as prove that you have grasped the structure and nuances of the unit and the target text in particular.

Required Texts

Novels (in entirety):

El túnel, Ernesto Sábato
Los pasos perdidos, Alejo Carpentier
Cien años de soledad, Gabriel García Márquez  

Narrative excerpts:

Rayuela, Julio Cortázar
El otoño del patriarca, Gabriel García Márquez
La muerte de Artemio Cruz, Carlos Fuentes
Cristóbal Nonato, Carlos Fuentes
Yo el Supremo, Augusto Roa Bastos

Short Stories:

“Borges y yo,” Jorge Luis Borges,
“Las ruinas circulares,” Jorge Luis Borges,
“El jardin de senderos que se bifurcan,” Jorge Luis Borges,  
“La muerte y la brújula,” Jorge Luis Borges,
“El milagro secreto,” Jorge Luis Borges,
“La isla a mediodía,” Julio Cortázar
“Axolotl,” Julio Cortázar
“Noche boca arriba,” Julio Cortázar
“Chac Mool,” Carlos Fuentes
“La culpa es de los Tlaxcaltecas,” Elena Garro

Students reports on films:

La ciudad y los perros, Mario Vargas Llosa
Casa de los espiritus, Isabel Allende 
El coronel no tiene quien le escriba, Gabriel García Márquez
Milagro en Roma, Gabriel  García Marquez
Como agua para chocolate, Laura Esquivel
Pedro Páramo, Juan Rulfo

 

Resources on the Web:

Check out fellow students' projects: Go to Barnett's Students' Projects and then click on Latin American Novel Synopses

A listing of novels and sample synopses (from Barnett's pages)

Bibliographical information (from Barne'tt's pages)

H Velez Quinones: Archaeology of the Boom Page

Latin American Literature (History of...) from Encyclopedia Britanica

Latin American Literature (see Boom) from Wikipedia

By day / author:

La narrativa hispanoamericana en el siglo XX. Tema 67:  Overview of XX narrative

Creating the Spanish American Literary Boom by Deborah Cohn or from Letters: The Semiannual Newsletter of the Robert Penn Warren Center for the Humanities, Vanderbilt, Spring 2001, Vol. 9, No. 2

H Velez Quinones: Archaeology of the Boom Page

Jorge Luis Borges

Julio Cortazar

Ernesto Sábato

Augusto Roa Bastos

Alejo Carpentier

Gabriel García Márquez

(Return later for more links for our other authors)

Resources on the L:Drive

The L: drive includes excerpts from the following.  You must be enrolled to have access to the drive.  If you have added the course during add/drop, please see Ruth Floyd in Univ. Computing

  • Anticipios de la novela
  • Narrative Terms (from 215)
  • Existencialismo
  • Rayuela
  • Bastos: Yo el Supremo
  • GGM: Otoño del patriarca
  • La ciudad y los perros
  • Los pasos perdidos

Last Updated on 12/10/07
By Jeffrey C. Barnett
Washington and Lee University