PROFESSOR: PATRÍCIA LINO [patricialino@g.ucla.edu]
ONLINE OFFICE HOURS: T R 12:00-1:00pm*
*All office hours will be hold online through ZOOM and must be scheduled with me at least two days before.
PRACTICE YOUR PORTUGUESE OR SPANISH ONLINE WITH ME: T R 2:00-3:00pm**
**Must be schedule with me at least two days before.
ONLINE OFFICE HOURS: T R 12:00-1:00pm*
*All office hours will be hold online through ZOOM and must be scheduled with me at least two days before.
PRACTICE YOUR PORTUGUESE OR SPANISH ONLINE WITH ME: T R 2:00-3:00pm**
**Must be schedule with me at least two days before.
SYLLABUS
DESCRIPTION
MODERNISM, MODERNITY, AND IDENTITY introduces different types of interaction between Luso-Brazilian literature, culture, and visual arts. Genres studied include short story, poetry, cinema, painting, and performance. This course offers students an introduction to significant works in Luso-Brazilian literature, culture, and visual arts as well as the necessary and adequate tools for the analysis of creative practices (inter-artistic relations or inter-semiotic translations). Readings, videos, images and discussions will provide the historical context necessary for analyzing literary texts and other visual objects, developing critical thinking, promoting collaborative work between students, and writing essays.
NOTE
The syllabus and the videos are my intelectual property. Therefore, any reproduction or unauthorized circulation is forbidden.
MODERNISM, MODERNITY, AND IDENTITY introduces different types of interaction between Luso-Brazilian literature, culture, and visual arts. Genres studied include short story, poetry, cinema, painting, and performance. This course offers students an introduction to significant works in Luso-Brazilian literature, culture, and visual arts as well as the necessary and adequate tools for the analysis of creative practices (inter-artistic relations or inter-semiotic translations). Readings, videos, images and discussions will provide the historical context necessary for analyzing literary texts and other visual objects, developing critical thinking, promoting collaborative work between students, and writing essays.
NOTE
The syllabus and the videos are my intelectual property. Therefore, any reproduction or unauthorized circulation is forbidden.
1. WEEK 1: INTRODUCTION
1.1. CLASS 1 | MARCH 31:
1.1. CLASS 1 | MARCH 31:
|
One deep and thought-provoking question
DO WE STILL LIVE ACCORDING COLONIAL THINKING? HOMEWORK Write the word IDENTITY and all the words you come up with when you think about IDENTITY. Email your exercise to me up to 2h before our next class. READ TO NEXT CLASS “Colonialism as a Continuing Project: The Portuguese Experience” [LINK] |
1.2. CLASS 2 | APRIL 2:
2. WEEK 2: FOCUSED ON OUR GREAT PAST
2.1. CLASS 1 | APRIL 7:
2.1. CLASS 1 | APRIL 7:
|
TWO SIDES OF HISTORY
Brazilian Modernism: early 20s Cultural anthropophagy TUPI OR NOT TUPI: THAT IS THE QUESTION CREATIVE WRITING EXERCISE READ TO NEXT CLASS “Fifth Empire: Catholic Esotericism and Post-Colonial Politics in Contemporary Portuguese Pop-Culture” [LINK] Poems from The Message (1931) by Fernando Pessoa [LINK] Read specifically: — "Prince Henry, the Navigator"; — "Portuguese sea"; — "The Fifth Empire". HOMEWORK Write a small comment (1 page) on one the aforementioned poems. Email it to me up to 2h before our next class. |
2.2. CLASS 2 | APRIL 9:
|
Portuguese Modernism: early 20s
Portuguese Empire, Fernando Pessoa, the “Quinto Império” (Fifth Empire) CREATIVE WRITING EXERCISE HOMEWORK Email your creative writing exercise to me up to 2h before our next class. |
3. WEEK 3: CULTURAL STEREOTYPES
3.1. CLASS 1 | APRIL 14 :
3.1. CLASS 1 | APRIL 14 :
3.2. CLASS 2 | APRIL 16:
4. WEEK 4: RE-SIGNIFYING CULTURAL STEREOTYPES
4.1. CLASS 1 | APRIL 21:
4.1. CLASS 1 | APRIL 21:
|
Re-signified objects: poetic and musical inclusive forms
CREATIVE WRITING EXERCISE EXTRA ACTIVITY ASK A QUESTION OR QUESTIONS TO THE BRAZILIAN SAMBISTA LUCA ARGEL Email your question(s) to Luca Argel [luca.argel@gmail.com]. |
4.2. CLASS 2 | APRIL 23:
|
|
|
PART 1
INTRODUCTION TO YOUR ARTIST BOOK PROJECT. PART 2 RE-SIGNIFIED LAND: XINGU PARK Xingu (2011), Cao Hamburger. 102 min. WATCH XINGU HERE. HOMEWORK Write a comment (1 page) on Xingu. Email it to me up to 2h before our next class. DOCUMENTS Review of Xingu, The New York Times [LINK] "The natural and social history of the indigenous lands and protected areas corridor of the Xingu River basin", US National Library of Medicine [LINK] Crítica: Xingu, vejapontocom [Portuguese; LINK] |
5. WEEK 5: PART TWO: PORTUGUESE DICTATORSHIP (1926-1974)
5.1. CLASS 1 | APRIL 28:
5.1. CLASS 1 | APRIL 28:
5.2. CLASS 2 | APRIL 30:
|
WATCH APRIL CAPTAINS (2000, CAPITÃES DE ABRIL) BY MARIA DE MEDEIROS HERE. 12 PARTS ON YOUTUBE WITH ENGLISH SUBTITLES.
AGAINST PORTUGUESE DICTATORSHIP: ARTISTIC FORMS OF RESISTANCE THE END OF COLONIAL WAR + PORTUGUESE REVOLUTION (1974) BACK TO COLONIAL RULE? — PARTE 2 INTRODUCTION TO BRAZILIAN DICTATORSHIP (1964-1985) |
6. WEEK 6: BRAZILIAN DICTATORSHIP
6.1. CLASS 1 | MAY 5:
6.1. CLASS 1 | MAY 5:
|
AGAINST BRAZILIAN DICTATORSHIP
Sarcastic, inventive, and ironic forms of artistic resistance Linguistic problems, A logocentric World, Or Other Language(s) CREATIVE EXERCISE HOMEWORK Email your visual poem to me up to 2h before our next class. Prepare yourself to show what you did in your artist book and talk about what you intend to write about for your final paper next class. |
6.2. CLASS 2 | MAY 7:
|
PART 1
MEETING IN ZOOM TO DISCUSS THE STATUS OF OUR ARTIST BOOKS. PART 2 FIRST DISCUSSION OF OUR FINAL PAPERS. |
7. WEEK 7: TODAY'S BRAZIL
7.1. CLASS 1 | MAY 12:
7.1. CLASS 1 | MAY 12:
|
Another deep and thought-provoking question
What does it mean to be Brazilian? IDENTITY AND NATIONALITY LULA, DILMA, 2013 BOLSONARO'S POLITICAL CAMPAIGN, 2017 NO HOMEWORK. YOU MUST FOCUS ON YOUR FINAL PAPER. |
7.2. CLASS 2 | MAY 14:
8. WEEK 8: RESISTING BOLSONARO
8.1. CLASS 1 | MAY 19:
8.1. CLASS 1 | MAY 19:
|
To resist: what does it mean?
The Feminist movement, Marielle Franco, and the Black body The LGBTQIA+ community and music WATCH THE CASE OF MARIELLE FRANCO HERE. DOCUMENTS "Marielle Franco: Brazil's favelas mourn the death of a champion", The Guardian [LINK] SUGGESTIONS GAYCATION. BRAZIL. |
8.2. CLASS 2 | MAY 21:
9. WEEK 9: ARTIST BOOK: PRESENTATIONS
9.1. CLASS 1 | MAY 26:
9.1. CLASS 1 | MAY 26:
|
MEETING IN ZOOM.
PRESENTATIONS |
9.2. CLASS 2 | MAY 28:
|
MEETING IN ZOOM.
PRESENTATIONS |
10. WEEK 10: ESSAY ON AN ESSAY
10.1. CLASS 1 | JUNE 2:
10.1. CLASS 1 | JUNE 2:
|
DISCUSSION ON ZOOM
BACURAU (2019) by KLEBER MENDONÇA FILHO |
10.2. CLASS 2 | JUNE 4:
|
FINAL MEETING OR VIRTUAL POT LUCK ON ZOOM
NOTE: Your final papers must be turned in by June 11. 12:00AM (midnight). |
Course materials
All course materials will be available online.
Grading and Assignments
40% Response papers and activities
15% Short film
45% Final paper
100% Total
Grading Scale
A (93-100); A- (90-92); B+ (88-89); B (83-87); B- (80-82); C+ (78-80); C (73-77); C- (70- 72); D+ (68-70); D (63-67); F (63 and below)
Response papers, Presentation, and Final paper
All response papers, presentations, and final paper can be written and presented in English, Portuguese, or Spanish.
Final Paper
At the end of the quarter, students will be required to write a broader, more cumulative essay that draws on and compares artistic productions we have studied throughout the quarter. It should be a topic that allows you to relate the film(s) to larger issues involving Brazilian cultural world. The final paper should be 8-10 pages long, Times New Roman, 12’ font, 1-inch margins, double-spaced. Also please email it to me [patricialino@g.ucla.edu] in PDF format.
Attendance and participation
The course will be conducted as a student-centered seminar, in which students are expected to attend class sessions prepared to contribute to discussions. This means students are expected to complete weekly reading assignments on time. In-class participation, although somewhat subjective, is based upon your response to questions, your willingness to fully engage yourself in the task at hand, and your shown interest towards the subject matter. Above all, the key to be able to participate successfully is preparation. Students are expected to come to class with ideas and questions about the readings and films. Class participation will count significantly towards the final grade. Since we meet only twice a week, after 3 unexcused absences, the participation grade will be deduced (1 point) each time the student misses class. Moreover, students are accountable for all work missed because of an absence.
Oral presentations
Individual oral presentations (10-15 minutes) will be brief and creative reinterpretations of primary and/or secondary sources, and will be scheduled in advance.
All course materials will be available online.
Grading and Assignments
40% Response papers and activities
15% Short film
45% Final paper
100% Total
Grading Scale
A (93-100); A- (90-92); B+ (88-89); B (83-87); B- (80-82); C+ (78-80); C (73-77); C- (70- 72); D+ (68-70); D (63-67); F (63 and below)
Response papers, Presentation, and Final paper
All response papers, presentations, and final paper can be written and presented in English, Portuguese, or Spanish.
Final Paper
At the end of the quarter, students will be required to write a broader, more cumulative essay that draws on and compares artistic productions we have studied throughout the quarter. It should be a topic that allows you to relate the film(s) to larger issues involving Brazilian cultural world. The final paper should be 8-10 pages long, Times New Roman, 12’ font, 1-inch margins, double-spaced. Also please email it to me [patricialino@g.ucla.edu] in PDF format.
Attendance and participation
The course will be conducted as a student-centered seminar, in which students are expected to attend class sessions prepared to contribute to discussions. This means students are expected to complete weekly reading assignments on time. In-class participation, although somewhat subjective, is based upon your response to questions, your willingness to fully engage yourself in the task at hand, and your shown interest towards the subject matter. Above all, the key to be able to participate successfully is preparation. Students are expected to come to class with ideas and questions about the readings and films. Class participation will count significantly towards the final grade. Since we meet only twice a week, after 3 unexcused absences, the participation grade will be deduced (1 point) each time the student misses class. Moreover, students are accountable for all work missed because of an absence.
Oral presentations
Individual oral presentations (10-15 minutes) will be brief and creative reinterpretations of primary and/or secondary sources, and will be scheduled in advance.
