YALE UNIVERSITY ▼ DEPARTMENT OF SPANISH AND PORTUGUESE
SPRING SEMESTER 2023
EXPANDED BRAZILIAN POETRY
W 3:30-5:20PM
PROFESSOR PATRÍCIA LINO
[email protected] ZOOM ID: 965 449 2228
Office Hours: MW 11:30AM-12:30PM HQ 443
[THE PORTUGUESE VERSION OF THE SYLLABUS IS AVAILABLE HERE.]
SPRING SEMESTER 2023
EXPANDED BRAZILIAN POETRY
W 3:30-5:20PM
PROFESSOR PATRÍCIA LINO
[email protected] ZOOM ID: 965 449 2228
Office Hours: MW 11:30AM-12:30PM HQ 443
[THE PORTUGUESE VERSION OF THE SYLLABUS IS AVAILABLE HERE.]
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Que me desculpem os poetas. Eu não os ataco para molestá-los e com gosto farei homenagem aos altos valores pessoais de muitos deles; mas o cálice dos seus pecados já se encheu. É preciso abrir as janelas desta hermética casa e pôr seus habitantes ao ar fresco, é preciso sacudir a pesada, majestosa e rígida forma que os oprime. Pouco me importa que insultem a mim ou a minha nota. – Por acaso posso esperar que aceitem um julgamento que tira sua razão de ser? – E, além disso, minhas palavras estão destinadas à nova geração. O mundo se veria em situação desesperadora se a cada ano não entrasse um novo contingente de seres humanos, frescos, livres do passado, não comprometidos com ninguém nem com nada, não paralisados por postos, glórias, obrigações e responsabilidades, seres, enfim, não definidos pelo que já fizeram, e portanto livres para escolher. WITOLD GOMBROWICZ "CONTRA OS POETAS". 1947. Trad.: Clarisse Lyra e Rodrigo Lobo Damasceno Nel proceso utilizado para domesticar poetas, el aplauso, el consenso elogioso, la popularidade, son los fatores más peligrosos. El poeta que sucumbe a la tormenta de los aplausos deve pensar que los imbéciles, que formam la gran massa de los chamados entendidos, non se equivocan nunca: somente aclamam lo inofensivo. El poeta deve desconfiar desse aplauso, desse elogio unânime, que usam para fabricar las grades de sua jaula. Por isso Breton lanzó um alerta lúcido a los poetas al dizer: “La aprobación del público debe ser evitada acima de tutti kuanti”. Pues un poeta domesticado por el elogio tem mais valor para los predicadores de la submissione que los inocentes versificadoresque apresentam como substituto. El poeta domesticado se convierte en ejemplo de la inutilidad de ser libre. Como el león domesticado, es una caricatura grotesca dum gran señor de la liberdade, y seus rugidos adquirem entonces tons de canto de rouxinol. ALDO PELLEGRINI transdelirado al portunhol selvagem por DOUGLAS DIEGUES |
CLASS 1 // JANUARY 18, WEDNESDAY
PART 1: INTRODUCTIONS, INTRODUCTION TO THE SYLLABUS
PART 2: EXPANSION, INTERMEDIALITY, OR HYBRIDITY
2.1. What is a poem?; 2.2. What is an expanded poem?; 2.3. Expansion versus book; 2.4. The realistic universality of expanded objects; 2.5. From Simias of Rhodes to Mallarmé; 2.6. Os contemporâneos não sabem ler; 2.7. How to read an expanded poem?
RECOMMENDED TEXTS
ASL Mendonça & Álvaro de Sá, Poesia de Vanguarda no Brasil: de Oswald de Andrade ao Poema Visual, 1983.
Álvaro Faleiros, "Haroldo de Campos e a dobra de Mallarmé", XI Congresso Internacional da ABRALIC, 2008. Available here.
David Gullentops, Poétique du Lisuel, 2001.
Jan Kwapisz, "The Three Preocupations of Simias of Rhodes", Aitia, 2018. Available here.
Katherine Shingler, "Perceiving text and image in Apollinaire's calligrammes", Paragraph, 2011. Available here.
Roland Greene, "Material poetry of the Renaissance / The Renaissance of material poetry: An annotated record of the exhibition", Harvard Library Bulletin 3, 1992. Available here.
HOMEWORK
— Please read the following selection of texts. Available here.
— Please write a comment (minimum 3 pages) on one of the poems and send it to me by email up 2h before our next seminar.
ARATUS. ARATEA. 820.
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JOAN BROSSA. POEMA VISUAL. 1970.
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GUILLAUME APOLLINAIRE. CALLIGRAMMES. 1918.
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CLASS 2 // JANUARY 25, WEDNESDAY
PART 1: THE INFRALEITURA
1.1. What is the infraleitura; 1.2. Corporeality, decolonization, academic performance; 1.3. In expansion: the essayist's own body; 1.4. Some practical examples of infraleitura.
PART 2: PRACTICAL EXERCISE: INFRALEITURA
[made from the poems of Ana Hatherly, Alexandre O'Neill, Mary Ellen Solt, Philadelpho Menezes, Eugen Gomringer, Salette Tavares, Max Bense or Norman H. Pritchard]
PART 3: CITY + SPACE + MIMESIS, MOVEMENT AND THREE-DIMENSIONALITY
3.1. The poem and the emergence of the city; 3.2. Flâneur — flâneuse; 3.3. Mimesis and the spatiotemporal poem; 3.3. Dziga Vertov and the kino-eye; 3.4. Luís Aranha and the poema-olho.
PART 4: CHARLES BAUDELAIRE + CESÁRIO VERDE + ÁLVARO DE CAMPOS + LUÍS ARANHA
4.1. Comparative analysis of Charles Baudelaire, Cesário Verde, Álvaro de Campos, and Luís Aranha's poems.
RECOMMENDED TEXTS
Cameron Finch, “The Subversive Flâneuse: An Interview with Lauren Elkin”. Available here.
Lauren Elkin, Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice, and London, 2017.
Olivia Laing, The Lonely City: Adventures in the Art of Being Alone, 2016.
Sylvia Molloy, “Flâneries textuales: Borges, Benjamin y Baudelaire”, Variaciones Borges 8 (1999). Available here.
Walter Benjamin, “On some motifs in Baudelaire.” In Walter Benjamin: Selected Writings. Vol. 4, 1938-1940.
Walter Benjamin, Charles Baudelaire: A Lyric Poet in the Era of High Capitalism, 1983.
HOMEWORK
— Voluntary creative writing exercise: "poema-olho". If the student chooses to write this poem, she or he must send it to me by email up 2h before our next seminar.
— In case you don't know these texts, please read “Manifesto da poesia pau-brasil" (1924) and "Manifesto antropófago" (1928). Both are available here: in Portuguese and English ("Manifesto da poesia pau-brasil" & "Manifesto antropófago").
— Please read Pau Brasil (1925) by Tarsila do Amaral and Oswald de Andrade. Available here.
— Please write a comment (3 pages minimum) on the relation of the poems with the drawings in Pau Brasil and send it to me by email up to 2h before our next seminar.
PATRÍCIA LINO. INFRALEITURA. DIAGRAMA 3.
DZIGA VERTOV. MAN WITH A MOVIE CAMERA. 1929.
CLASS 3 // FEBRUARY 1, WEDNESDAY
PART 1: ANTROPOFAGIA, EXPANSION, AND ANTICOLONIALISM
1.1. Antropofagia and recycling; 1.2. Antropophagic expansion; 1.3. Intermediality is always political. 1.4. Cinema and collage.
PART 2: READY MADE, COLLECTIVE THINKING, AND UNORIGINALITY
2.1. Marcel Duchamp and Oswald de Andrade; 2.2. Modernists and their collective principle (Semana de Arte Moderna, other interdisciplinary collaborations); 2.3. Artistic appropriations of Theatro Municipal de São Paulo (Emicida, exhibition "Contramemórias"); 2.4. Against the status of the western author.
PART 3: BOOKS OF POEMS WITH DRAWINGS: CHILDHOOD AND HYBRIDITY
3.1. Perfeito Cozinheiro das Almas deste Mundo (1918-19); 3.2. Feuilles de Route (1924); 3.3. Pau Brasil (1925); 3.4. Quelques Visages de Paris (1925); 3.5. Primeiro Caderno do Alumno de Poesia Oswald de Andrade (1927); 3.6. O Mundo do Menino Impossível (1927).
RECOMMENDED TEXTS
Benedito Nunes, “A antropofagia ao alcance de todos”, Obras Completas de Oswald de Andrade, VI, Do Pau-Brasil à Antropofagia e às Utopias, 1970.
Décio Pignatari, “Marco zero de Andrade”, ALFA: Revista de Linguística, v. 5, Unesp, 2001.
Eduardo Viveiros de Castro, Encontros, 2008.
Gérard Genette, Palimpsests: Literature in the Second Degree, 1997.
Gilberto Mendonça Teles, Vanguarda Europeia e Modernismo Brasileiro, 1985.
Haroldo de Campos, “Da razão antropofágica: diálogo e diferença na cultura brasileira”, Metalinguagem & Outras Metas, 1992.
Leila Perrone-Moisés, “Literatura comparada, intertexto e antropofagia”, Flores da Escrivaninha, 1990.
Linda Hutcheon, Uma Teoria da Paródia, 1985.
Marjorie Perloff, Unoriginal Genius: Poetry by Other Means in the New Century, 2010.
Kenneth David Jackson, "A View on Brazilian Literature: Eating the "Revista de Antropofagia", Latin American Literary Review, 1978.
Kenneth Goldsmith, Uncreative Writing. Managing Language in the Digital Age, 2011.
HOMEWORK
— Please read Álbum de Pagu (1929). Available here [Instructions: 1. Enter the website; 2. Click on "Revistas"; 3. Select "02"; 4. Look for the pages of Álbum de Pagu] and here.
— Please read the selected comics by Pagu. Available here.
— Please write a comment (2 pages minimum) about Álbum de Pagu or on the relation of Álbum de Pagu with the author's comics, and send it to me by email up 2h before our next class.
POEMAS-OLHO & OUTROS EXERCÍCIOS
Alan [Poema 1 & Poema 2]
Katherina [Texto 1]
Daniela [Poema 1 & Poema 2]
Inês [Poema 1]
Ilianna [Poema 1]
Alan [Poema 1 & Poema 2]
Katherina [Texto 1]
Daniela [Poema 1 & Poema 2]
Inês [Poema 1]
Ilianna [Poema 1]
OSWALD DE ANDRADE. PRIMEIRO CADERNO DO ALUMNO DE POESIA OSWALD DE ANDRADE. 1927.
CLASS 4 // FEBRUARY 8, WEDNESDAY
PART 1: ÁLBUM DE PAGU + QUADRINHOS
1.1. The interdisciplinary production of women: Patrícia Galvão; 1.2. Interdisciplinarity and feminism: Álbum de Pagu (1929); 1.3. Álbum de Pagu and the art of quadrinhos; 1.4. The feminist comics of Pagu for publication in O Homem do Povo.
PART 2: DIA GARIMPO
2.1. The interdisciplinary production of women: Julieta Barbara; 2.2. A forgotten book of poems with drawings: Dia Garimpo (1939); 2.3. Analysis of “Mãe gentil”.
PART 3: THE 80s-2000s: BOOKS OF POEMS WITH DRAWINGS
3.1. Zuca Sardan, Eustáquio Gorgone de Oliveira, Jorge Lima Barreto, Mário Vaz, Nicolas Behr, Waly Salomão, Ana Cristina Cesar, Manoel de Barros, Hilda Hilst, and Douglas Diegues.
PART 4: SIGNATARI: OSWALD PSICOGRAFADO
PART 5: CREATIVE WRITING EXERCISE: POEMICS
RECOMMEND TEXTS
Pagu, Autobiografia Precoce, 1940.
Augusto de Campos, Pagu: Vida-Obra, 1982.
José Roberto Aguilar; Lucila Meirelles; Pichi Martinari, Julieta é Bárbara, 2011.
Mariano Marovatto, “Dia Garimpo”, Dia Garimpo, 2022.
HOMEWORK
— Please finish the creative writing exercise. Send it to me by email up to 2h before our next seminar.
— Prepare a brief presentation (5-10 min.) of your creative writing exercise for our next seminar.
PAGU. ÁLBUM DE PAGU. 1929.
CLASS 5 // FEBRUARY 15, WEDNESDAY
PART 1: PRESENTATION OF YOUR CREATIVE WRITING EXERCISE
PART 2: NON-COMMUNICATION, ANTI-LOGOCENTRISM, AND CODIFICATION
2.1. The subtractive principle of the composition; 2.2. The erotics of interpretation. 2.3. The emergence of the reader; 2.4. Collaborative authorship.
PART 3: INTRODUCTION TO CONCRETE POETRY
3.1. “Plano-piloto para poesia concreta” (1958); 3.2. The poem as an intricate object; 3.3. Verbivocovisualidade. 3.4. Analysis of Edgard Braga, Ronaldo Azeredo, Augusto de Campos, Felipe Ehrenberg, and Décio Pignatari's poems.
PART 4: AUGUSTO DE CAMPOS, 5 DECADES OF PRODUCTION
4.1. The philosophy of NÃO; 4.2. NÃO as an ars poetica; 4.3. The political concrete poem; 4.4. The criptogramatic concrete poem.
PART 5: EXERCISES OF INFRALEITURA
[made from a selection of Augusto de Campos' poems]
RECOMMENDED TEXTS
Augusto de Campos, Verso, Reverso, Controverso, 2009.
Augusto de Campos, Poesia da Recusa, 2011.
Augusto de Campos, Viva Vaia. Poesia 1949-1979, 2014.
Augusto de Campos, Poesia Antipoesia Antropofagia & Cia., 2015.
Augusto de Campos; Haroldo de Campos; Décio Pignatari, “Plano-piloto para poesia concreta”, 1958. Available here, in Portuguese and here, in Spanish.
Gonzalo Aguilar, Poesia Concreta Brasileira: As Vanguardas na Encruzilhada Modernista, 2005.
Haroldo de Campos, “The Ex-centric’s Viewpoint: Tradition, Transcreation, Transculturation: Second thoughts: the dialectics of subaltern and overaltern literary models", Haroldo de Campos: A Dialogue with the Brazilian Poet, org.: Kenneth David Jackson, 2005.
Marjorie Perloff, Radical Artifice: Writing Poetry in the Age of Media, 1991.
Susan Sontag, “Against interpretation”, Against Interpretation and Other Essays, 1969.
HOMEWORK
— Please conclude the three infraleitura exercises made from Augusto de Campos' poems and send them to me by email up to 2h before our next seminar.
— Create a verbivocovisual poem and send it to me by email up 2h before our next seminar.
PART 1: PRESENTATION OF YOUR CREATIVE WRITING EXERCISE
PART 2: NON-COMMUNICATION, ANTI-LOGOCENTRISM, AND CODIFICATION
2.1. The subtractive principle of the composition; 2.2. The erotics of interpretation. 2.3. The emergence of the reader; 2.4. Collaborative authorship.
PART 3: INTRODUCTION TO CONCRETE POETRY
3.1. “Plano-piloto para poesia concreta” (1958); 3.2. The poem as an intricate object; 3.3. Verbivocovisualidade. 3.4. Analysis of Edgard Braga, Ronaldo Azeredo, Augusto de Campos, Felipe Ehrenberg, and Décio Pignatari's poems.
PART 4: AUGUSTO DE CAMPOS, 5 DECADES OF PRODUCTION
4.1. The philosophy of NÃO; 4.2. NÃO as an ars poetica; 4.3. The political concrete poem; 4.4. The criptogramatic concrete poem.
PART 5: EXERCISES OF INFRALEITURA
[made from a selection of Augusto de Campos' poems]
RECOMMENDED TEXTS
Augusto de Campos, Verso, Reverso, Controverso, 2009.
Augusto de Campos, Poesia da Recusa, 2011.
Augusto de Campos, Viva Vaia. Poesia 1949-1979, 2014.
Augusto de Campos, Poesia Antipoesia Antropofagia & Cia., 2015.
Augusto de Campos; Haroldo de Campos; Décio Pignatari, “Plano-piloto para poesia concreta”, 1958. Available here, in Portuguese and here, in Spanish.
Gonzalo Aguilar, Poesia Concreta Brasileira: As Vanguardas na Encruzilhada Modernista, 2005.
Haroldo de Campos, “The Ex-centric’s Viewpoint: Tradition, Transcreation, Transculturation: Second thoughts: the dialectics of subaltern and overaltern literary models", Haroldo de Campos: A Dialogue with the Brazilian Poet, org.: Kenneth David Jackson, 2005.
Marjorie Perloff, Radical Artifice: Writing Poetry in the Age of Media, 1991.
Susan Sontag, “Against interpretation”, Against Interpretation and Other Essays, 1969.
HOMEWORK
— Please conclude the three infraleitura exercises made from Augusto de Campos' poems and send them to me by email up to 2h before our next seminar.
— Create a verbivocovisual poem and send it to me by email up 2h before our next seminar.
AUGUSTO DE CAMPOS. NÃO. 1990.
CLASS 6 // FEBRUARY 22, WEDNESDAY
PART 1: PRESENTATION OF THE EXERCISES OF INFRALEITURA + VERBIVOCOVISUAL POEMS
HOMEWORK
— Please work on a final essay proposal and send it to me by email up 2h before our next seminar.
PATRÍCIA LINO. DAEDALUS 22/1. 2021.
CLASS 7 // MARCH 1, WEDNESDAY
PART 1: REFLECTIONS AND DEBATE ON THE EXERCISES OF INFRALEITURA
PART 2: AUGUSTO DE CAMPOS, 5 DECADES OF PRODUCTION
2.1. Verbivocovisualidade and social media; 2.2. The concrete poem on instagram.
RECOMMENDED TEXTS
Augusto de Campos, Verso, Reverso, Controverso, 2009.
Augusto de Campos, Poesia da Recusa, 2011.
Augusto de Campos, Viva Vaia. Poesia 1949-1979, 2014.
Augusto de Campos, Poesia Antipoesia Antropofagia & Cia., 2015.
Augusto de Campos; Haroldo de Campos; Décio Pignatari, “Plano-piloto para poesia concreta”, 1958. Available here, in Portuguese and here, in Spanish.
Gonzalo Aguilar, Poesia Concreta Brasileira: As Vanguardas na Encruzilhada Modernista, 2005.
Haroldo de Campos, “The Ex-centric’s Viewpoint: Tradition, Transcreation, Transculturation: Second thoughts: the dialectics of subaltern and overaltern literary models", Haroldo de Campos: A Dialogue with the Brazilian Poet, org.: Kenneth David Jackson, 2005.
Marjorie Perloff, Radical Artifice: Writing Poetry in the Age of Media, 1991.
Susan Sontag, “Against interpretation”, Against Interpretation and Other Essays, 1969.
HOMEWORK
— Students must create an instagram account in groups. Each student must publish a poem on the same account. The form of the poem must adapt to the formal characteristics of the aforementioned online platform.
AUGUSTO DE CAMPOS. O MITO. 2019.
CLASS 8 // MARCH 8, WEDNESDAY
PART 1: PRESENTATION OF THE COLLECTIVE INSTAGRAM ACCOUNT CREATED BY STUDENTS
PART 2: INTRODUCTION TO NEOCONCRETISM
2.1. The material body; 2.2. Co-authorship; 2.3. Corporeal reading.
PART 3: LYGIA CLARK'S BODY WITHOUT ORGANS
3.1. Relational objects; 3.2. Performance and the return to the womb; 3.3. Performance and therapy.
PART 4: FERREIRA GULLAR'S THREE-DIMENSIONAL POEMS
4.1. "Teoria do não-objeto"; 4.2. Livro-poema; 4.3. The three-dimensional poems; 4.4. The spatial poem.
PART 5: AFTER GULLAR: THE COLLABORATIVE POEM-OBJECT
5.1. Nicanor Parra, Joan Brossa, Lenora de Barros.
RECOMMENDED TEXTS
Vári_s autor_s, Poesia Neoconcreta, org.: Luiz Guilherme Ribeiro Barbosa, Renato Rezende, Sergio Cohn, 2021.
HOMEWORK
— Create a three-dimensional or performative poem and send it to me by email up 2h before our next seminar.
— Select one of the debated works of Lygia Clark, write a comment (minimum 2 pages) about it, and send it to me by email up 2h before our next seminar.
LYGIA CLARK. MÁSCARA ABISMO. 1968.
CLASS 9 // MARCH 29, WEDNESDAY
PART 1: PRESENTATION OF THE THREE-DIMENSIONAL AND PERFORMATIVE POEMS
PART 2: INTRODUCTION TO POEMA/PROCESSO
PART 3: A AVE BY WLADEMIR DIAS-PINO
PART 4: TWO MANIFESTATIONS OF POEMA/PROCESSO
3.1. Poemas/processo in comics; 3.2. The enemies of poetry: "Rasga-rasga", Arte no Aterro, screening of Apocalipopótese (1969) by Raymundo Amado, Pirapora, Feira de Arte de Recife; 3.3. Eatable poems (Edgardo Antonio Vigo, Anna Bella Geiger, Artur Barrio, Bartolomé Ferrando, Grupo Escombros); 3.4. Poesia viva (Paulo Bruscky, Unhandeijara Lisboa, Luis Pazos, Letícia Parente, Ivald Granato & Ulises Carrión, Lenora de Barros, Bartolomé Ferrando).
PART 5: THE PERFORMATIVE POEMS OF NEIDE DE SÁ
5.1. Visuality and de-codification; 5.2. Space, fragmentation, and performance; 5.3. The end of the alphabet is the ludotherapeutic poem.
RECOMMENDED TEXTS
Gustavo Nóbrega, Poema/Processo: Uma Vanguarda Semiológica, 2017.
Mário Margutti, Do Poema Visual ao Objeto-Poema. A Trajetória de Neide Sá, 2014.
Paulo Ramos, A Leitura dos Quadrinhos, 2010.
Wlademir Dias-Pino, Processo: Linguagem e Comunicação, 1975.
HOMEWORK
— Create a non-verbal, eatable, or corporeal poem and send it to me by email up 2h before our next seminar.
PART 1: PRESENTATION OF THE THREE-DIMENSIONAL AND PERFORMATIVE POEMS
PART 2: INTRODUCTION TO POEMA/PROCESSO
PART 3: A AVE BY WLADEMIR DIAS-PINO
PART 4: TWO MANIFESTATIONS OF POEMA/PROCESSO
3.1. Poemas/processo in comics; 3.2. The enemies of poetry: "Rasga-rasga", Arte no Aterro, screening of Apocalipopótese (1969) by Raymundo Amado, Pirapora, Feira de Arte de Recife; 3.3. Eatable poems (Edgardo Antonio Vigo, Anna Bella Geiger, Artur Barrio, Bartolomé Ferrando, Grupo Escombros); 3.4. Poesia viva (Paulo Bruscky, Unhandeijara Lisboa, Luis Pazos, Letícia Parente, Ivald Granato & Ulises Carrión, Lenora de Barros, Bartolomé Ferrando).
PART 5: THE PERFORMATIVE POEMS OF NEIDE DE SÁ
5.1. Visuality and de-codification; 5.2. Space, fragmentation, and performance; 5.3. The end of the alphabet is the ludotherapeutic poem.
RECOMMENDED TEXTS
Gustavo Nóbrega, Poema/Processo: Uma Vanguarda Semiológica, 2017.
Mário Margutti, Do Poema Visual ao Objeto-Poema. A Trajetória de Neide Sá, 2014.
Paulo Ramos, A Leitura dos Quadrinhos, 2010.
Wlademir Dias-Pino, Processo: Linguagem e Comunicação, 1975.
HOMEWORK
— Create a non-verbal, eatable, or corporeal poem and send it to me by email up 2h before our next seminar.
MANIFESTANTES DO POEMA/PROCESSO SEGURAM CARTAZES NO CENTRO DO RIO. 1968. [FOTOGRAFIA: JACOB/CPDoc JB.]
CLASS 10 // APRIL 5, WEDNESDAY
PART 1: PRESENTATION OF THE PERFORMATIVE POEMS
PART 2: RECENT MANIFESTATIONS OF THE EXPANDED BRAZILIAN POEM
2.1. Lenora de Barros (1953-); 2.2. Leonilson; 2.3. Arnaldo Antunes (1960-); 2.4. Eduardo Kac (1962-).
RECOMMENDED TEXTS AND LINKS
Arnaldo Antunes, Como é que Chama o Nome Disso, 2006.
Eduardo Kac's website: https://www.ekac.org/.
Lenora de Barros, Relivro, 2011.
Mariana Baltazar, Escrever Leonilson: Expansão da Poesia, 2022.
HOMEWORK
— Select a work of one of the analyzed authors, write a comment (3 pages minimum) on the same work, and send it to me up 2h before our next seminar.
PART 1: PRESENTATION OF THE PERFORMATIVE POEMS
PART 2: RECENT MANIFESTATIONS OF THE EXPANDED BRAZILIAN POEM
2.1. Lenora de Barros (1953-); 2.2. Leonilson; 2.3. Arnaldo Antunes (1960-); 2.4. Eduardo Kac (1962-).
RECOMMENDED TEXTS AND LINKS
Arnaldo Antunes, Como é que Chama o Nome Disso, 2006.
Eduardo Kac's website: https://www.ekac.org/.
Lenora de Barros, Relivro, 2011.
Mariana Baltazar, Escrever Leonilson: Expansão da Poesia, 2022.
HOMEWORK
— Select a work of one of the analyzed authors, write a comment (3 pages minimum) on the same work, and send it to me up 2h before our next seminar.
LENORA DE BARROS. ESTUDO PARA FACADAS. 2012.
CLASS 11 // APRIL 12, WEDNESDAY
PART 1: GENERAL OVERVIEW
PART 2: RECENT MANIFESTATIONS OF THE EXPANDED BRAZILIAN POEM
2.1. André Vallias (1963-); 2.2. Daniel Minchoni (1980-); 2.3. Nívea Sabino (1980-); 2.4. Luiza Romão (1992-).
RECOMMENDED TEXTS AND LINKS
André Vallias' website: https://www.andrevallias.com/.
Daniel Minchoni's instagram: https://www.instagram.com/danielminchoni/.
Nívea Sabino's spotify: https://open.spotify.com/artist/3BPIEZPhDHC0HGKT4733au.
Luiza Romão, Sangria, 2017.
HOMEWORK
— Please focus on the presentation of your final paper.
NÍVEA SABINO. DESIDRATADA A CIDADE. 2020.
CLASS 12 // APRIL 19, WEDNESDAY
FINAL PAPER PRESENTATIONS
CLASS 13 // APRIL 26, WEDNESDAY
FINAL PAPER PRESENTATIONS + HAPPY HOUR
FINAL PAPER PRESENTATIONS + HAPPY HOUR
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
Response papers and the final paper can be written in English, Portuguese, or Spanish. Presentations will be in English.
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 the Afro-Luso-Brazilian cultural world. The final paper should be 10 pages long, Times New Roman, 12’ font, 1-inch margins, double-spaced. Also please email it to me [TBD] in WORD format by May 7 of 2023.
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.