UCLA DEPARTMENT OF SPANISH AND PORTUGUESE DEPARTMENT
M 122 WINTER 2026
IBERIAN AND LATIN AMERICAN
VISUAL CULTURES
MW 12:00-1:50PM
BUNCHE 3153
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M 122 WINTER 2026
IBERIAN AND LATIN AMERICAN
VISUAL CULTURES
MW 12:00-1:50PM
BUNCHE 3153
EVA HIERNAUX. SPAIN. S/D.
JANUARY 5, MONDAY
CLASS 1
INTRODUCTIONS
INTRODUCTION TO THE SYLLABUS
CLASS EXERCISE
VISUALIZE THE ORDINARY AND SUBSTANTIAL
EDUARDO SALAVIZA. DIÁRIO GRÁFICO. 2000Ss.
JANUARY 7, WEDNESDAY
CLASS 2
[PART 1 :: POETRY]
INTRODUCTION TO VISUAL POETRY
INTRODUCTION TO IBERIAN AND LATIN AMERICAN VISUAL POETRY
BRAZILIAN MODERNISM
CITY + SPACE + MIMESIS, MOVEMENT AND THREE-DIMENSIONALITY
The poem and the emergence of the city; Flâneur — flâneuse; 3.3. Mimesis and the spatiotemporal poem; Dziga Vertov ► kino-eye; Cesário Verde + Luís Aranha ► poema-olho.
CHARLES BAUDELAIRE + CESÁRIO VERDE + ÁLVARO DE CAMPOS + LUÍS ARANHA
BOOKS OF POEMS WITH DRAWINGS
CLASS EXERCISE
EYE-POEM
SÍMIAS DE RODES
JANUARY 12, MONDAY
CLASS 3
IBERIAN AND LATIN AMERICAN VISUAL POETRY
BOOKS OF POEMS WITH DRAWINGS: CHILDHOOD AND HYBRIDITY
Perfeito Cozinheiro das Almas deste Mundo (1918-19); Feuilles de Route (1924); Pau Brasil (1925); Quelques Visages de Paris (1925); Primeiro Caderno do Alumno de Poesia Oswald de Andrade (1927); O Mundo do Menino Impossível (1927).
A NEEDLE IN A PORTUGUESE HAYSTACK
Poemas Propostos (1954) by Jaime Salazar Sampaio.
ÁLBUM DE PAGU + QUADRINHOS
The interdisciplinary production of women: Patrícia Galvão; Interdisciplinarity and feminism: Álbum de Pagu (1929); Álbum de Pagu and the art of quadrinhos; Pagu’s feminist comics.
DIA GARIMPO
The interdisciplinary production of women: Julieta Barbara; A forgotten book of poems with drawings: Dia Garimpo (1939); Analysis of “Mãe gentil”.
THE 80s-2000s: BOOKS OF POEMS WITH DRAWINGS
Zuca Sardan, Eustáquio Gorgone de Oliveira, Jorge Lima Barreto, Mário Vaz, Nicolas Behr, Waly Salomão, Ana Cristina Cesar, Décio Pignatari, Manoel de Barros, Hilda Hilst, and Douglas Diegues.
ESPELHO CEGO
The interdisciplinary production of women: Salette Tavares; A forgotten book of expanded poems: Espelho Cego (1957); Analysis of “Aqui estou”.
CLASS EXERCISE
POEMA-DESENHO
PATRÍCIA GALVÃO
JANUARY 14, WEDNESDAY
CLASS 4
IBERIAN AND LATIN AMERICAN VISUAL POETRY
NON-COMMUNICATION, ANTI-LOGOCENTRISM, AND CODIFICATION
The subtractive principle of the composition; The erotics of interpretation. The Reader is born, long live the Reader!; 2.4. Collaborative authorship.
INTRODUCTION TO CONCRETE POETRY
“Plano-piloto para poesia concreta” (1958); The poem as an intricate object; Verbivocovisualidade; Analysis of Edgard Braga, Ronaldo Azeredo, Augusto de Campos, and Décio Pignatari's poems.
INTRODUCTION TO EXPERIMENTAL POETRY
PO.EX: pioneers and their first attempts; Salette Tavares (Espelho Cego, 1957), Alexandre O’Neill (“Divertimentos com sinais ortográficos”, 1960), Abílio-José-Santos (Voo do Morcego, 1962) and António Aragão (Poema Primeiro, 1962); António Aragão, Herberto Helder and their literary magazine: Poesia Experimental; Analysis of Ana Hatherly, Alberto Pimenta, António Aragão, Herberto Helder, Salette Tavares, and Silvestre Pestana’s poems.
CLASS EXERCISE
VERBIVOCOVISUAL POEM
PEDRO XISTO
JANUARY 19, MONDAY
CLASS 5
MARTIN LUTHER KING'S DAY
JANUARY 21, WEDNESDAY
CLASS 6
NON-COMMUNICATION, ANTI-LOGOCENTRISM, AND CODIFICATION
The subtractive principle of the composition; 2.2. The erotics of interpretation. The Reader is born, long live the Reader!; 2.4. Collaborative authorship.
PART 3: INTRODUCTION TO CONCRETE POETRY
“Plano-piloto para poesia concreta” (1958); 3.2. The poem as an intricate object; Verbivocovisualidade; Analysis of Edgard Braga, Ronaldo Azeredo, Augusto de Campos, and Décio Pignatari's poems.
PART 4: INTRODUCTION TO EXPERIMENTAL POETRY
PO.EX: pioneers and their first attempts; Salette Tavares (Espelho Cego, 1957), Alexandre O’Neill (“Divertimentos com sinais ortográficos”, 1960), Abílio-José-Santos (Voo do Morcego, 1962) and António Aragão (Poema Primeiro, 1962); António Aragão, Herberto Helder and their literary magazine: Poesia Experimental; Analysis of Ana Hatherly, Alberto Pimenta, António Aragão, Herberto Helder, Salette Tavares, and Silvestre Pestana’s poems.
CLASS EXERCISE
VERBIVOCOVISUAL POEM
ANA HATHERLY
JANUARY 26, MONDAY
CLASS 7
AUGUSTO DE CAMPOS, 5 DECADES OF PRODUCTION
The philosophy of NÃO; NÃO = Ars Poetica; The political concrete poem; The criptogramatic concrete poem.
ANA HATHERLY, 5 DECADES OF PRODUCTION
Baroque poetry and the history of visual poetry (A Experiência do Prodígio, 1983 -- O Ladrão Cristalino, 1997 -- Claro-Escuro, 1988); Re-signified hands; 3.3. Words, calligraphy, and textual collages.
SCREENING OF REVOLUÇÃO (1976) BY ANA HATHERLY
In this short film Hatherly registers the excitement and spirit of freedom experienced on the streets of Lisbon after the Carnation Revolution, offering a plastic, sensorial and emotionally charged experience of this important moment in Portuguese history through the representation of streets, murals and graffiti.
CLASS EXERICSE
INSTAPOEM
AUGUSTO DE CAMPOS
JANUARY 28, WEDNESDAY
CLASS 8
INTRODUCTION TO NEOCONCRETISM
The material body; 2.2. Co-authorship; Corporeal reading.
LYGIA CLARK'S BODY WITHOUT ORGANS
Relational objects; Performance and the return to the womb; Therapeutical performance.
FERREIRA GULLAR'S THREE-DIMENSIONAL POEMS
"Teoria do não-objeto"; Livro-poema; The three-dimensional poems; The spatial poem.
AFTER GULLAR: THE COLLABORATIVE POEM-OBJECT
Analysis of Osmar Dillon, Neide de Sá, Nicanor Parra, Joan Brossa, and Lenora de Barros’ works.
CLASS EXERCISE
THREE-DIMENSIONAL POEM
LENORA DE BARROS
FEBRUARY 2, MONDAY
CLASS 9
POEMA-PERFORMANCE: BRAZIL AND ARGENTINA
RECENT MANIFESTATIONS OF THE EXPANDED BRAZILIAN POEM
Lenora de Barros (1953-); Leonilson (1957-1993); Arnaldo Antunes (1960-); Ricardo Aleixo (1960-); 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.
CLASS EXERCISE
PERFORMATIVE POEM
LUIS PAZOS
FEBRUARY 4, WEDNESDAY
CLASS 10
ARTIST BOOK :: PRESENTATIONS
HOMEWORK
1. WATCH RELATOS SELVAJES (2014) BY DAMIÁN SZIFRON.
2. PLEASE WRITE A COMMENT ON RELATOS SELVAJES AND SEND IT TO ME [[email protected]] UP 2H BEFORE OUR NEXT CLASS.
FEBRUARY 9, MONDAY
CLASS 11
[PART 2 :: CINEMA]
COMEDY
RELATOS SELVAJES (2014) BY DAMIÁN SZIFRON
DISCUSSION + CLASS EXERCISE
RIR A LAS CARCAJADAS
HOMEWORK
1. WATCH BARDO (2022) BY ALEJANDRO GONZÁLEZ IÑÁRRITU.
CLASS 11
[PART 2 :: CINEMA]
COMEDY
RELATOS SELVAJES (2014) BY DAMIÁN SZIFRON
DISCUSSION + CLASS EXERCISE
RIR A LAS CARCAJADAS
HOMEWORK
1. WATCH BARDO (2022) BY ALEJANDRO GONZÁLEZ IÑÁRRITU.
FEBRUARY 11, WEDNESDAY
CLASS 12
COMEDY
BARDO (2022) BY ALEJANDRO GONZÁLEZ IÑÁRRITU
CLASS EXERCISE
GENERATIONAL GUILT
HOMEWORK
1. WATCH LA LLORONA (2019) BY JAYRO BUSTAMANTE.
2. ENUMERATE IN 10 WORDS THE FEELINGS OR SENSATIONS LA LLORONA CAUSED ON YOU.
FEBRUARY 16, MONDAY
CLASS 13
PRESIDENT'S DAY
FEBRUARY 18, WEDNESDAY
CLASS 14
HORROR
LA LLORONA (2019) BY JAYRO BUSTAMANTE
CLASS EXERCISE
HUNTING MYTHS
HOMEWORK
PLEASE WATCH DIARIOS DE MOTOCICLETA (2004) BY WALTER SALLES.
CLASS 14
HORROR
LA LLORONA (2019) BY JAYRO BUSTAMANTE
CLASS EXERCISE
HUNTING MYTHS
HOMEWORK
PLEASE WATCH DIARIOS DE MOTOCICLETA (2004) BY WALTER SALLES.
FEBRUARY 23, MONDAY
CLASS 15
DRAMA
DIARIOS DE MOTOCICLETA (2004) BY WALTER SALLES
CLASS EXERCISE
ENTRADAS DIARÍSTICAS
HOMEWORK
1. WATCH A ILHA DAS FLORES HERE.
2. WATCH LOS RUBIOS HERE.
FEBRUARY 25, WEDNESDAY
CLASS 16
DOCUMENTARY
A ILHA DAS FLORES (1989) BY JORGE FURTADO
LOS RUBIOS (2003) BY ALBERTINA CARRI
CLASS EXERCISE
SEQUENTIAL THINKING
HOMEWORK
1. PLEASE WRITE A COMMENT (2 PAGES) ON LOS RUBIOS.
2. PLEASE WATCH THE BOY AND THE WORLD (2015) BY ALÊ ABREU.
MARCH 2, MONDAY
CLASS 17
ANIMATION
THE BOY AND THE WORLD (2015) BY ALÊ ABREU
CLASS EXERCISE
I WRITE TO SEE
MARCH 4, WEDNESDAY
CLASS 18
SHORT FILM GROUP WORKSHOP
MARCH 9, MONDAY
CLASS 19
SHORT FILM GROUP PRESENTATIONS
CLASS 19
SHORT FILM GROUP PRESENTATIONS
MARCH 11, WEDNESDAY
CLASS 20
FINAL PAPER WORKSHOP + POT LUCK
CLASS 20
FINAL PAPER WORKSHOP + POT LUCK
Course materials
All course materials will be available online.
Grading and Assignments
70% Response papers, Artist Book, Short Film and Other Activities
30% 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 [[email protected]] in WORD format by March 23.
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
70% Response papers, Artist Book, Short Film and Other Activities
30% 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 [[email protected]] in WORD format by March 23.
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.