UCLA DEPARTMENT OF SPANISH AND PORTUGUESE
FALL 2025
PORT 46
M W 12:00-1:50
DODD HALL 170
BRAZIL AND PORTUGUESE-SPEAKING WORLD
PROFESSOR PATRÍCIA LINO
[[email protected]]
[ZOOM ID 965 449 2228]
TEACHING ASSISTANT RAQUEL ZANDOMENEGHI
[[email protected]]
FALL 2025
PORT 46
M W 12:00-1:50
DODD HALL 170
BRAZIL AND PORTUGUESE-SPEAKING WORLD
PROFESSOR PATRÍCIA LINO
[[email protected]]
[ZOOM ID 965 449 2228]
TEACHING ASSISTANT RAQUEL ZANDOMENEGHI
[[email protected]]
Brazil and Portuguese-speaking World proposes a post-colonial and interdisciplinary approach to both Brazilian and Portuguese cultures through the analysis of literary texts, film, music, and performance. Studying the Portuguese colonization of Brazil and the ideological ambitions and the projects of fascist regimes in Portugal and Brazil in the early 20th century sets the foundation to understanding multiple cultural, literary, artistic, and social phenomena related to both countries. This class will study these movements by centering minorities — racial identities, gender and sexuality, and social class — and will explore their presence in modern Portugal and Brazil.
FILMS ON KANOPY
To access for free the films on KANOPY, follow the instructions available HERE.
FILMS ON KANOPY
To access for free the films on KANOPY, follow the instructions available HERE.
SEPTEMBER 29 // MONDAY
PART 1: One deep and thought-provoking question
DO WE STILL LIVE ACCORDING COLONIAL THINKING?
Pêro Vaz de Caminha, “Letter of Discovery of Brazil” (1500)
Sérgio Buarque de Holanda, Roots of Brazil (1936, Chaps. 1 & 2)
CLASS EXERCISE
PART 2: A Colonial Portrait of Colonialism
VAZANTE (2017) by DANIELA THOMAS
WATCH VAZANTE HERE OR HERE.
HOMEWORK
1. WRITE a response paper on Vazante. 1 page, size 12, Times New Roman, double-spaced. The guidelines for your response papers can be found here.
2. EMAIL your response paper to TA Raquel Zandomeneghi [[email protected]] 2h before your next class with her.
PART 1: One deep and thought-provoking question
DO WE STILL LIVE ACCORDING COLONIAL THINKING?
Pêro Vaz de Caminha, “Letter of Discovery of Brazil” (1500)
Sérgio Buarque de Holanda, Roots of Brazil (1936, Chaps. 1 & 2)
CLASS EXERCISE
PART 2: A Colonial Portrait of Colonialism
VAZANTE (2017) by DANIELA THOMAS
WATCH VAZANTE HERE OR HERE.
HOMEWORK
1. WRITE a response paper on Vazante. 1 page, size 12, Times New Roman, double-spaced. The guidelines for your response papers can be found here.
2. EMAIL your response paper to TA Raquel Zandomeneghi [[email protected]] 2h before your next class with her.
DANIELA THOMAS. VAZANTE. 2017.
OCTOBER 1 // WEDNESDAY
PART 1: One deep and thought-provoking question
DO WE STILL LIVE ACCORDING COLONIAL THINKING?
VAZANTE (2018) by DANIELA THOMAS
CLASS EXERCISE: MAKING A HERO
PART 2: An Anticolonial Portrait of Colonialism
BACURAU (2019) by KLÉBER MENDONÇA FILHO [WATCH HERE]
HOMEWORK
1. WRITE a response paper on Bacurau. 2 pages, size 12, Times New Roman, double-spaced.
2. EMAIL your response paper to TA Raquel Zandomeneghi [[email protected]] 2h before your next class with her.
KLEBER MENDONÇA FILHO. BACURAU. 2019.
OCTOBER 6 // MONDAY
TWO SIDES OF HISTORY
Brazilian Modernism: early 20s
What is cultural anthropophagy?
Brazilian Modernism
O Homem Amarelo (1917), Anita Malfatti Semana de Arte Moderna, 1922
Mário de Andrade, Tarsila do Amaral, and Oswald de Andrade
The Tupinambá
Jean de Léry, Hans Staden, Montaigne
Pereira dos Santos, Nelson. How tasty was my little Frenchman [Como era gostoso o meu francês] (1971)
Pereira, Luís Alberto. Hans Staden (1999)
CLASS EXERCISE: MODERN FORMS OF ANTHROPOPHAGY
HOMEWORK
1. READ Introduction to "Cannibalist Manifesto" [LINK]
2. READ “Cannibalist Manifesto” (1928) by Oswald de Andrade [LINK]
3. TAKE YOUR CLASS ACTIVITY to your next section with TA Raquel Zandomeneghi.
NELSON PEREIRA DOS SANTOS. COMO ERA GOSTOSO O MEU FRANCÊS. 1971.
OCTOBER 8 // WEDNESDAY
PART 1: TWO SIDES OF HISTORY
Brazilian Modernism: early 20s cultural anthropophagy
TUPI OR NOT TUPI: THAT IS THE QUESTION
PART 2: MODERN FORMS OF COLONIALISM
CASA GRANDE (2015) by FELLIPE BARBOSA
WATCH CASA GRANDE HERE.
DOCUMENTS
Review on Casa Grande, The New York Times (2015) [LINK]
HOMEWORK
1. WRITE a response paper on Casa Grande. 2 pages, size 12, Times New Roman, double-spaced.
2. EMAIL your response paper to your TA Raquel Zandomeneghi up to 2h before your section with her.
3. READ the following poems from The Message (1931) by Fernando Pessoa [LINK]:
— "Prince Henry, the Navigator";
— "Portuguese sea";
— "The Fifth Empire".
PART 1: TWO SIDES OF HISTORY
Brazilian Modernism: early 20s cultural anthropophagy
TUPI OR NOT TUPI: THAT IS THE QUESTION
PART 2: MODERN FORMS OF COLONIALISM
CASA GRANDE (2015) by FELLIPE BARBOSA
WATCH CASA GRANDE HERE.
DOCUMENTS
Review on Casa Grande, The New York Times (2015) [LINK]
HOMEWORK
1. WRITE a response paper on Casa Grande. 2 pages, size 12, Times New Roman, double-spaced.
2. EMAIL your response paper to your TA Raquel Zandomeneghi up to 2h before your section with her.
3. READ the following poems from The Message (1931) by Fernando Pessoa [LINK]:
— "Prince Henry, the Navigator";
— "Portuguese sea";
— "The Fifth Empire".
FELLIPE BARBOSA. CASA GRANDE. 2015.
OCTOBER 13 // MONDAY
PART 1: TWO SIDES OF HISTORY
Portuguese Modernism: early 20s
Portuguese Empire, Fernando Pessoa, the “Quinto Império” (Fifth Empire)
PART 2: PORTUGAL, A STILL-COLONIAL COUNTRY?
Public education, national narratives, recent debates (the statue of Padre António Vieira)
CREATIVE WRITING PARODICAL EXERCISE
HOMEWORK
TAKE your creative writing parodical exercise to your section with TA Raquel Zandomeneghi.
PART 1: TWO SIDES OF HISTORY
Portuguese Modernism: early 20s
Portuguese Empire, Fernando Pessoa, the “Quinto Império” (Fifth Empire)
PART 2: PORTUGAL, A STILL-COLONIAL COUNTRY?
Public education, national narratives, recent debates (the statue of Padre António Vieira)
CREATIVE WRITING PARODICAL EXERCISE
HOMEWORK
TAKE your creative writing parodical exercise to your section with TA Raquel Zandomeneghi.
CÂNDIDO PORTINARI. PADRE ANTÓNIO VIEIRA. 1944.
OCTOBER 15 // WEDNESDAY [TO BE TAUGHT BY RAQUEL ZANDOMENEGHI]
PART 1: CULTURAL STEREOTYPES (WHAT DO THEY MEAN?)
Portugal: Fado, saudade, mar
Brazil: Samba, feijoada, capoeira
PART 2: MODERN FORMS OF COLONIALISM
THE SECOND MOTHER (2015) by ANNA MUYLAERT
WATCH THE SECOND MOTHER HERE.
HOMEWORK
1. WRITE a response paper on The Second Mother. 2 pages, size 12, Times New Roman, double-spaced.
2. EMAIL it to TA Raquel Zandomeneghi up to 2h before your session with her.
PART 1: CULTURAL STEREOTYPES (WHAT DO THEY MEAN?)
Portugal: Fado, saudade, mar
Brazil: Samba, feijoada, capoeira
PART 2: MODERN FORMS OF COLONIALISM
THE SECOND MOTHER (2015) by ANNA MUYLAERT
WATCH THE SECOND MOTHER HERE.
HOMEWORK
1. WRITE a response paper on The Second Mother. 2 pages, size 12, Times New Roman, double-spaced.
2. EMAIL it to TA Raquel Zandomeneghi up to 2h before your session with her.
ANNA MUYLAERT. THE SECOND MOTHER. 2015.
OCTOBER 20 // MONDAY
PART 1
INTRODUCTION TO YOUR ARTIST BOOK PROJECT
PART 2
Resignified objects: poetic and musical inclusive forms
FADO BICHA, SAMBA FEMINISTA, FUNK TRANS
PART 3
Resignified places
AmarElo — IT'S ALL FOR YESTERDAY (2020) BY LEANDRO ROQUE DE OLIVEIRA
WATCH AmarElo HERE.
DOCUMENTS
Review of AmarElo (2020) [LINK]
HOMEWORK
1. WRITE a response paper on AmarElo. 2 pages, size 12, Times New Roman, double-spaced.
2. TAKE your comment to your section with TA Raquel Zandomeneghi.
PART 1
INTRODUCTION TO YOUR ARTIST BOOK PROJECT
PART 2
Resignified objects: poetic and musical inclusive forms
FADO BICHA, SAMBA FEMINISTA, FUNK TRANS
PART 3
Resignified places
AmarElo — IT'S ALL FOR YESTERDAY (2020) BY LEANDRO ROQUE DE OLIVEIRA
WATCH AmarElo HERE.
DOCUMENTS
Review of AmarElo (2020) [LINK]
HOMEWORK
1. WRITE a response paper on AmarElo. 2 pages, size 12, Times New Roman, double-spaced.
2. TAKE your comment to your section with TA Raquel Zandomeneghi.
FADO BICHA. POVO PEQUENINO. 2022.
OCTOBER 22 // WEDNESDAY
PART 1
Resignified objects: poetic and musical inclusive forms
FADO BICHA, SAMBA FEMINISTA, FUNK TRANS
CLASS EXERCISE
PART 2
Resignified places
AmarElo — IT'S ALL FOR YESTERDAY (2020) BY LEANDRO ROQUE DE OLIVEIRA
HOMEWORK
1. TAKE your class exercise to your section with TA Raquel Zandomeneghi.
PART 1
Resignified objects: poetic and musical inclusive forms
FADO BICHA, SAMBA FEMINISTA, FUNK TRANS
CLASS EXERCISE
PART 2
Resignified places
AmarElo — IT'S ALL FOR YESTERDAY (2020) BY LEANDRO ROQUE DE OLIVEIRA
HOMEWORK
1. TAKE your class exercise to your section with TA Raquel Zandomeneghi.
KARETUS, CONAN OSIRIS, ISABEL SILVESTE COM VOZES DE MANHOUCE E JÚLIO PEREIRA. MOLEIRINHA. 2025.
OCTOBER 27 // MONDAY
PART 1
YOUR ARTIST BOOK PROJECT
RE-SIGNIFIED LAND: XINGU PARK
XINGU (2012) by CAO HAMBURGER
WATCH XINGU HERE OR HERE.
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]
NO HOMEWORK
FOCUS ON YOUR ARTIST BOOK PROJECT
PART 1
YOUR ARTIST BOOK PROJECT
RE-SIGNIFIED LAND: XINGU PARK
XINGU (2012) by CAO HAMBURGER
WATCH XINGU HERE OR HERE.
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]
NO HOMEWORK
FOCUS ON YOUR ARTIST BOOK PROJECT
CAO HAMBURGER. XINGU. 2012.
OCTOBER 29 // WEDNESDAY
RESIGNIFIED LAND: THE LAST FOREST
THE LAST FOREST (2021) by LUIZ BOLOGNESI
WATCH THE LAST FOREST HERE.
NO HOMEWORK
FOCUS ON YOUR ARTIST BOOK PROJECT
RESIGNIFIED LAND: THE LAST FOREST
THE LAST FOREST (2021) by LUIZ BOLOGNESI
WATCH THE LAST FOREST HERE.
NO HOMEWORK
FOCUS ON YOUR ARTIST BOOK PROJECT
LUIZ BOLOGNESI. THE LAST FOREST. 2021.
NOVEMBER 3 // MONDAY
PART 1
PORTUGAL: BACK TO COLONIAL RULE?
Salazar, Mocidade Portuguesa, the Portuguese Family, and Carnation Revolution
PART 2
FANTASY OF WHITENESS
WATCH TABU (2012) BY MIGUEL GOMES
WATCH TABU HERE OR HERE.
HOMEWORK
1. ANSWER to this question (— What does REVOLUTION mean to you?) in 3 to 4 lines.
2. EMAIL your answer to Professor Lino [[email protected]].
PART 1
PORTUGAL: BACK TO COLONIAL RULE?
Salazar, Mocidade Portuguesa, the Portuguese Family, and Carnation Revolution
PART 2
FANTASY OF WHITENESS
WATCH TABU (2012) BY MIGUEL GOMES
WATCH TABU HERE OR HERE.
HOMEWORK
1. ANSWER to this question (— What does REVOLUTION mean to you?) in 3 to 4 lines.
2. EMAIL your answer to Professor Lino [[email protected]].
MIGUEL GOMES. TABU. 2012.
NOVEMBER 5 // WEDNESDAY
BRAZIL: BACK TO COLONIAL RULE?
INTRODUCTION TO BRAZILIAN DICTATORSHIP (1964-1985)
AGAINST BRAZILIAN DICTATORSHIP
Sarcastic, inventive, and ironic forms of artistic resistance Linguistic problems, A logocentric World, Or Other Language(s)
MARIGHELLA (2019) by WAGNER MOURA
WATCH MARIGHELLA HERE OR HERE.
HOMEWORK
PREPARE to present your Artist Book next week.
BRAZIL: BACK TO COLONIAL RULE?
INTRODUCTION TO BRAZILIAN DICTATORSHIP (1964-1985)
AGAINST BRAZILIAN DICTATORSHIP
Sarcastic, inventive, and ironic forms of artistic resistance Linguistic problems, A logocentric World, Or Other Language(s)
MARIGHELLA (2019) by WAGNER MOURA
WATCH MARIGHELLA HERE OR HERE.
HOMEWORK
PREPARE to present your Artist Book next week.
WAGNER MOURA. MARIGHELLA. 2019.
NOVEMBER 10 // MONDAY
BRIEF PRESENTATION OF YOUR ARTIST BOOK + CREATIVE EXERCISE: VISUAL POETRY
BRIEF PRESENTATION OF YOUR ARTIST BOOK + CREATIVE EXERCISE: VISUAL POETRY
NOVEMBER 12 // WEDNESDAY
BRIEF PRESENTATION OF YOUR ARTIST BOOK + CREATIVE EXERCISE: VISUAL POETRY
BRIEF PRESENTATION OF YOUR ARTIST BOOK + CREATIVE EXERCISE: VISUAL POETRY
NOVEMBER 17 // MONDAY
URBAN ART + ART EXERCISE
PIXO (2010) by JOÃO WAINER AND ROBERTO T. OLIVEIRA
WATCH PIXO (2010) HERE.
CLASS EXERCISE: DRAW YOUR OWN PIXO
SUGGESTIONS FOR WATCHING
CIDADE CINZA (OS GÉMEOS) (2017).
PIXO NA CIDADE MODELO (2023).
HOMEWORK
1. EMAIL your PIXO to Professor Lino [[email protected]].
URBAN ART + ART EXERCISE
PIXO (2010) by JOÃO WAINER AND ROBERTO T. OLIVEIRA
WATCH PIXO (2010) HERE.
CLASS EXERCISE: DRAW YOUR OWN PIXO
SUGGESTIONS FOR WATCHING
CIDADE CINZA (OS GÉMEOS) (2017).
PIXO NA CIDADE MODELO (2023).
HOMEWORK
1. EMAIL your PIXO to Professor Lino [[email protected]].
PIXO NA CIDADE MODELO. 2023.
NOVEMBER 19 // WEDNESDAY
OUTSIDE CLASS EXERCISE
OUTSIDE CLASS EXERCISE
NOVEMBER 24 // MONDAY
THANKSGIVING
THANKSGIVING
NOVEMBER 26 // WEDNESDAY
THANKSGIVING
THANKSGIVING
DECEMBER 1 // MONDAY
OVERVIEW + FINAL PAPER WORKSHOP
OVERVIEW + FINAL PAPER WORKSHOP
DECEMBER 3 // WEDNESDAY
FINAL PAPER WORKSHOP + POT LUCK
FINAL PAPER WORKSHOP + POT LUCK
Course materials
All course materials are available online.
Grading and Assignments
40% Response papers and activities
60% 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 poetic productions we have studied throughout the quarter. The final paper should be 8-10 pages long, Times New Roman, 12’ font, 1-inch margins, double-spaced. Please email it to Raquel Zandomeneghi [[email protected]] in Word format by December 15.
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 2 unexcused absences, the final 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 (15-20 minutes) will be brief and creative reinterpretations of primary and/or secondary sources, and will be scheduled in advance.