SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 1

SPAN 3300.4
Introduction to Hispanic Literature and Literary Analysis
Spring 2018
Utah State University
MWF 9:30-10:20 a.m. Felipe Valencia
Huntsman 120 felipe.valencia@usu.edu
3 credits 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.
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 2

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 USU BOOKSTORE

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
Canvas site: https://usu.instructure.com/courses/481781
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 3

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
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 4

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
B+ = 87-89% C+ = 77-79% D+ = 67-69%
A = 94-100%
B = 84-86% C = 74-76% 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.
• Invalid excuses to be absent from class (use your free absences for these):
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 5

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: felipe.valencia@usu.edu; 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
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 6

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 USU HONOR 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.”
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 7

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
Jonathan Culler, “What is
literature and does it
matter?” (Culler 19-42)
Glosario de Culler:
Literatura e interpretación
Hoja de ejercicios 1:
(Canvas)
Comprensión de
Miércoles 10/1 ¿Qué es la literatura? Jorge Luis Borges, “El
Culler a propósito de
etnógrafo” (Aproximaciones
la literatura
59-60)
“Muere a los 100 años el
antropólogo francés Claude
Lévi-Strauss” en El País,
3/11/2009 (Canvas)
Hoja de ejercicios 2:
Jonathan Culler, “Language, Comprensión de
El problema de la meaning, and Culler a propósito de
Viernes 12/1
interpretación interpretation” (Culler 56- la interpretación y
69) términos esenciales de
la interpretación
“Rasgos de los buenos
lectores” en Guía básica 1-12
Cómo acercarse a un (Canvas)
texto. Los términos del “Términos generales: Pregunta de discusión
análisis literario. “El Elementos literarios” en 1A sobre “El mono
Miércoles 17/1
mono que quiso ser Guía 61-62 (Canvas) que quiso ser escritor
escritor satírico” de Augusto Monterroso, “El satírico”
Augusto Monterroso mono que quiso ser escritor
satírico” (Aproximaciones 76-
79)
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 8

Segunda unidad LA NARRATIVA

Fecha Temas Lectura antes de clase Tarea antes de clase
“Las formas narrativas”
(Aproximaciones 10)
“Glosario de términos
¿Qué es la narrativa?
literarios: Narrativa” en Guía Hoja de ejercicios 3:
“La rana que quería ser
Viernes 19/1 63-64 (Canvas) Términos esenciales de
una rana auténtica” de
Augusto Monterroso, “La la narrativa
Augusto Monterroso
rana que quería ser una rana
auténtica” (Aproximaciones
76-79)
Aproximaciones 19-21
“Análisis de la narrativa”
(Práctica, ejercicios 1 y
Panorama de los (Aproximaciones 10-19)
2)
problemas teóricos de
Lunes 22/1 Jonathan Culler, “Narrative” Hoja de ejercicios 4:
la narrativa. Conceptos
(Culler 83-94) Comprensión de
narratológicos
Glosario de Culler: Culler a propósito de
Narrativa (Canvas) narrativa
“La narrativa
Narración en primera hispanoamericana” y “El
persona o en tercera ‘Boom’” (Aproximaciones 34- Pregunta de discusión
Miércoles 24/1 persona. 35) 1B sobre “No oyes
“No oyes ladrar los Juan Rulfo, “No oyes ladrar ladrar los perros”
perros” de Juan Rulfo los perros” (Aproximaciones
68-72)
Hoja de ejercicios 5:
La diferencia entre Diferencia entre
narración y Julio Cortázar, “La noche narración y
Viernes 26/1 focalización. boca arriba” (Aproximaciones focalización
“La noche boca arriba” 61-68) Pregunta de discusión
de Julio Cortázar 1C sobre “La noche
boca arriba”
Hoja de ejercicios 6:
La diferencia entre
Diferencia entre trama
trama y fábula. Gabriel García Márquez, “La
y fábula
Lunes 29/1 “La mujer que llegaba mujer que llegaba a las seis”
Pregunta de discusión
a las seis” de Gabriel (Aproximaciones 83-93)
1D sobre “La mujer
García Márquez
que llegaba a las seis”
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 9

Segunda unidad LA NARRATIVA

Fecha Temas Lectura antes de clase Tarea antes de clase
“La generación del 98”
La diferencia entre
(Aproximaciones 33) Pregunta de discusión
autor y narrador.
Miguel de Unamuno, San 2A sobre San Manuel
Miércoles 31/1 San Manuel Bueno,
Manuel Bueno, mártir, Bueno, mártir,
mártir de Miguel de
capítulos I-VI capítulos I-VI
Unamuno
(Aproximaciones 110-17)
Miguel de Unamuno, San Pregunta de discusión
San Manuel Bueno,
Manuel Bueno, mártir, 2B sobre San Manuel
Viernes 2/2 mártir de Miguel de
capítulos VII-XIV Bueno, mártir,
Unamuno
(Aproximaciones 117-27) capítulos VII-XIV

La autoridad del
Miguel de Unamuno, San Pregunta de discusión
narrador.
Manuel Bueno, mártir, 2C sobre San Manuel
Lunes 5/2 San Manuel Bueno,
capítulos XV-XXI Bueno, mártir,
mártir de Miguel de
(Aproximaciones 127-35) capítulos XV-XXI
Unamuno

La diferencia entre
lector y narratario.
El sentido del final. Borrador del Análisis
Miércoles 7/2
“Blanca Nieves y 1, impreso
Compañía” de Teresa Teresa de la Parra, “Blanca
de la Parra Nieves y Compañía”
(Aproximaciones 53-58) Análisis 1 sobre
“Blanca Nieves y
Repaso para el Examen
Viernes 9/2 Compañía” de Teresa
1
de la Parra
(Aproximaciones 53-58)
Lunes 12/2 Examen 1: Narrativa
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 10

Tercera unidad EL DRAMA

Fecha Temas Lectura antes de clase Tarea antes de clase
“El teatro”, “Análisis del
teatro”, “Plano textual” y
¿Qué es el drama?
“Plano espectacular” Hoja de ejercicios 7:
Panorama de los
Miércoles 14/2 (Aproximaciones 252-61) Términos esenciales
problemas teóricos del
“Glosario de términos del drama
drama
literarios: Teatro” en Guía
básica 70-72 (Canvas)
La tensión entre el
plano textual y el plano Emilio Carballido, El censo Pregunta de discusión
Viernes 16/2
espectacular. El censo (Aproximaciones 300-09) 2D sobre El censo
de Emilio Carballido
Diálogos y acotaciones.
Paloma Pedrero, Resguardo Pregunta de discusión
Actores y actantes.
Miércoles 21/2 personal (Aproximaciones 3A sobre Resguardo
Resguardo personal de
327-35) personal
Paloma Pedrero
Jonathan Culler,
“Performative language”
(Culler 95-108)
La fuerza realizativa del Hoja de ejercicios 8:
Glosario de Culler: Fuerza
lenguaje. Comprensión de
realizativa del lenguaje
Viernes 23/2 Historia de un hombre Culler a propósito de
(Canvas)
que se convirtió en perro la fuerza realizativa del
Osvaldo Dragún, Historia de
de Osvaldo Dragún lenguaje
un hombre que se convirtió en
perro (Aproximaciones 320-
27)
“García Lorca”
La tensión entre drama (Aproximaciones 283)
y teatro. “Federico García Lorca” Pregunta de discusión
Lunes 26/2 La casa de Bernarda (Aproximaciones 223-24) 3B sobre La casa de
Alba de Federico Federico García Lorca, La Bernarda Alba, acto I
García Lorca casa de Bernarda Alba, acto I
(Aproximaciones 335-47)
Los dos planos de
emisión y recepción del
Federico García Lorca, La Pregunta de discusión
drama.
Miércoles 28/2 casa de Bernarda Alba, acto 3C sobre La casa de
La casa de Bernarda
II (Aproximaciones 348-60) Bernarda Alba, acto II
Alba de Federico
García Lorca
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 11

Tercera unidad EL DRAMA

Fecha Temas Lectura antes de clase Tarea antes de clase
Federico García Lorca, La
casa de Bernarda Alba, acto
III (Aproximaciones 360-70)
Análisis 2 sobre La casa
Federico García Lorca, La
Viernes 2/3 de Bernarda Alba de
casa de Bernarda Alba en
Federico García Lorca
Del texto al escenario. montaje de Calixto Bieito en
La casa de Bernarda el Centro Dramático
Alba de Federico Nacional (Canvas)
García Lorca Grupo 1: Ensayo /
Lunes 12/3
Grupo 2: Discusión
Grupo 1:
Representación /
Miércoles 14/3
Grupo 2: Crítica de la
representación
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 12

Cuarta unidad LA POESÍA LÍRICA

Fecha Temas Lectura antes de clase Tarea antes de clase
“La poesía” (Aproximaciones
¿Qué es la poesía lírica?
138-39)
La diferencia entre
“Romance del conde
poesía lírica y poesía Hoja de ejercicios 9:
Arnaldos” (Aproximaciones
Viernes 16/3 épica; la lírica y la Términos esenciales de
176)
narración. la poesía
“Glosario de términos
“Romance del conde
literarios: Poesía” en Guía
Arnaldos”
básica 64-70 (Canvas)
Jonathan Culler, “Rhetoric,
Hoja de ejercicios 10:
Panorama de los poetics, and poetry” (Culler
Comprensión de
problemas teóricos de 70-82)
Culler a propósito de
Lunes 19/3 la lírica Glosario de Culler: Poesía
la poesía lírica
(Canvas)
Conferencia de la Prof.ª Leah Middlebrook (U of Párrafo sobre la
Oregon): hora y lugar por determinar conferencia
“El lenguaje literario” Aproximaciones 158-60
Miércoles 21/3 Las figuras y los tropos
(Aproximaciones 152-58) (Práctica, ejercicio B)
“El lenguaje literario”
Las figuras y los tropos.
(Aproximaciones 152-58) Hoja de ejercicios 11:
Lunes 26/3 “La infinita” de Pablo
Pablo Neruda, “La infinita” Figuras y tropos
Neruda
(Aproximaciones 231-32)
La versificación “Elementos de versificación”
española I: clasificación (Aproximaciones 139-52)
de versos según el “Clasificación de versos”
acento y según el (Aproximaciones 438)
número de sílabas; “Romance del conde Hoja de ejercicios 12:
rima; poemas estróficos Arnaldos” (Aproximaciones Versificación española
Miércoles 28/3
y no estróficos. 176) I (acentos, sílabas,
“Romance del conde rimas, estrofas)
Lope de Vega, “¿Qué tengo
Arnaldos” y “¿Qué
yo, que mi amistad
tengo yo, que mi
procuras?” (Aproximaciones
amistad procuras?” de
186-87)
Lope de Vega
La versificación “Elementos de versificación”
española II: licencias (Aproximaciones 139-52) Hoja de ejercicios 13:
poéticas (sinalefa, hiato Versificación española
Viernes 30/3 “Clasificación de versos”
y diptongo); el ritmo. II (licencias poéticas y
(Aproximaciones 438)
“El cisne” de Rubén ritmo)
Rubén Darío, “El cisne”
Darío
(Aproximaciones 206-07)
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 13

Cuarta unidad LA POESÍA LÍRICA

Fecha Temas Lectura antes de clase Tarea antes de clase
La distinción entre Juan Ramón Jiménez, “Yo
autor y hablante no soy yo” (Aproximaciones
poético. “Yo no soy 213-24)
Pregunta de discusión
Lunes 2/4 yo” de Juan Ramón
Lope de Vega, “¿Qué tengo 3D sobre “Yo no soy
Jiménez y “¿Qué tengo
yo, que mi amistad yo”
yo, que mi amistad
procuras?” (Aproximaciones
procuras?” de Lope de
186-87)
Vega
El apóstrofe y la deixis. Sor Juana Inés de la Cruz,
Pregunta de discusión
Miércoles 4/4 “A su retrato” de sor “A su retrato”
4A sobre “A su retrato”
Juana Inés de la Cruz (Aproximaciones 190-91)
La sinceridad. La
“Las últimas promociones”
distinción entre
(Aproximaciones 171-72) Pregunta de discusión
enunciado y
Viernes 6/4 4B sobre “Mujer
enunciación. “Mujer Nancy Morejón, “Mujer negra”
negra” de Nancy negra” (Aproximaciones 246-
Morejón 49)
“Los grandes místicos”
La literariedad de la
(Aproximaciones 162-63) Pregunta de discusión
lírica. “Llama de amor
Lunes 9/4 San Juan de la Cruz, “Llama 4C sobre “Llama de
viva” de san Juan de la
de amor viva” amor viva”
Cruz
(Aproximaciones 181-83)
“La poética modernista”
La lírica como discurso (Aproximaciones 165-66)
Pregunta de discusión
de la intimidad. José Asunción Silva,
Miércoles 11/4 4D sobre “Nocturno
“Nocturno III” de José “Nocturno III”
III”
Asunción Silva (Aproximaciones 202 y 205-
06)
Conferencia del Dr. Edward Hirsch (President,
Párrafo sobre la
Jueves 12/14 Guggenheim Foundation): hora y lugar por
conferencia
determinar
Viernes 13/4 Examen 2: Lírica
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 14

Quinta unidad EL TRABAJO DE INVESTIGACIÓN

Fecha Temas Lectura antes de clase Tarea antes de clase
Clase en Merrill-Cazier
“El trabajo de investigación”
122 con el
en Guía básica 39-48
bibliotecario Dylan
(Canvas)
Lunes 16/4 Burns
“Plagiarism and Academic
Investigación
Dishonesty” en MLA
bibliográfica
Handbook 6-10 (Canvas)
“Elementos del trabajo” en
Miércoles 18/4 Tesis y estructura I
Guía básica 49-60 (Canvas)
Propuesta y
“Ejemplo 4” en Guía básica
Viernes 20/4 Tesis y estructura II bibliografía del trabajo
85-90 (Canvas)
final
“Las reglas de acentuación
gráfica” y “Uso de los signos Esquema del trabajo
Ortografía del español. ortográficos” en Ortografía final, impreso
Lunes 23/4 Normas de estilo de la 38-58 y 59-99 (Canvas)
MLA Borrador de las 4
MLA Handbook 20-58 y 74-
primeras páginas del
85 (Canvas)
trabajo final, impreso
Comentarios y
correcciones al
esquema del
Taller del trabajo final compañero
Miércoles 25/4
I Comentarios y
correcciones al
borrador del trabajo
final del compañero
Taller del trabajo final Borrador del trabajo
Viernes 27/4
II final, impreso
Martes 1/5 Entrega en Canvas del trabajo final antes de las 4:00 p.m. MT
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 15

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.
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 16

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
Association of America. < https://style.mla.org/>
 SPAN 3300: Introduction to Hispanic Literature and Literary Analysis 17

 After carefully reading this syllabus, please detach, sign and return this page to Prof.
Felipe Valencia by Friday, January 12, 2018.

I, ______________________________, have read and understood the requirements

and policies concerning SPAN 3300.4 as stated in the syllabus. I understand what
assignments are due and when, and accept the responsibility to meet all the
requirements and respect all the policies of SPAN 3300.4 as established by Prof.
Felipe Valencia, the instructor of record. I have also explored the course site on
Canvas, and am familiar with its contents.

Signature: _______________________________________________

Date: ___________________________________________________

Semester: Spring of 2018