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SPW 6286 Contemporary Spanish-American Narrative II

Dra. Emily Hind. ehind@ufl.edu (352 392 2016)

362 Grinter. Horas de consulta: los martes 2:00-5:00 pm y con cita

CLASE: los jueves 13:55-16:55 en ANDERSON 134

Descripción del curso:

La dificultad de estudiar la literatura contemporánea latinoamericana radica en la necesidad de familiarizarse con los textos recientes además de conocer los antecedentes literarios e históricos. Por ende, este curso estudia lo contemporáneo desde varios ángulos: desde el canon y la crítica literaria correspondiente, desde la historia y desde las tendencias interdisciplinarias más recientes.

Para estos fines, SPW 6286 brindará la oportunidad de estudiar el contexto cultural e histórico de Perú. The Peru Reader compila siglos de antecedentes históricos y literarios para fundamentar la lectura de textos latinoamericanos contemporáneos. Lo que se aprende al contemplar varios siglos de la historia peruana se aplica al dominio de la historia de las Américas en general y prepara a l@s estudiantes a dar clase sobre lo mismo. Además de este acercamiento breve pero eficaz a varios siglos de historia nacional, también se estimulará la lectura de dos textos literarios fundamentales del siglo XX: Cien años de soledad y Pedro Páramo. Para l@s estudiantes que ya dominan estas lecturas, se pedirá que se lean algunos de los ejemplos más representativos de la crítica del siglo XX sobre esas obras maestras.

En cuanto a lo contemporáneo, se brindará la oportunidad de conocer a la poeta Sara Uribe, quien nos visitará de México. Uribe escribe poesía sobre la violencia en México. También nos visitará la Dra. Laura Gutiérrez, quien estudia performance y cambió de un Departamento de Español en Arizona a uno de Danza y Estudios de la Representación en Tejas. El contacto con estas dos personas enriquece el estudio de la narrativa contemporánea porque su obra rebasa la definición de ésta.

La meta principal de SPW 6286 se centra en la tarea de escribir un trabajo académico sobre una de las lecturas contemporáneas, las cuales incluyen la novela gráfica, la novela breve y la novela experimental. Por la extensión de la lista de lecturas contemporáneas, queda claro que cada estudiante tendrá que elegir sus concentraciones. Si ya se domina cierto tema, se debe o buscar la manera de profundizar el conocimiento al respecto o de aprender de textos menos familiares asignados para la clase. Se entregará un plan al principio del semestre estipulando las intenciones de enfoque individual. Así se manejará de manera razonable la tarea francamente imposible de dominar la narrativa contemporánea de la llamada América Latina.

Lecturas de ficción:

2015. Nuevos juguetes de la guerra fría de Juan Manuel Robles (Perú)

2014. Formol de Carla Faesler (México)

2014. Antígona González de Sara Uribe (México)

2013. Chicas muertas de Selva Almada (Argentina)

2013. La sangre de la aurora de Claudia Salazar Jiménez (Perú)

2012. El mal de la Taiga de Cristina Rivera Garza (México)

2005. La hora azul de Alonso Cueto (Perú)

1995. Almas en pena, chapolas negras de Fernando Vallejo (Colombia)

1989-1990. Cosecha verde (La gran patraña). Carlos Trillo y Domingo Mandrafina. (Argentina)

1987. Fauna. Mario Levero. (Uruguay)

1967. Cien años de soledad de Gabriel García Márquez (Colombia)

1955. Pedro Páramo de Juan Rulfo (México)

The Peru Reader. Duke University Press.

Componentes de la clase:

5% Participación y actividades escritas en clase

30% Exposición estudiantil (3 x 10%). (una presentación sobre un texto literario que leeremos; una exposición sobre un aspecto de la crítica entre las lecturas recomendadas; una presentación sobre la historia de algún evento o fenómeno en América Latina)

65% Trabajo escrito: 1% abstract, 1% bibliografía anotada, 1% primer borrador (5-7 páginas), 1% segundo borrador (5-10 páginas), 61% tercer borrador (10-20 páginas)

    • La propuesta (abstract) es de un párrafo.

    • La bibliografía es anotada. La anotación explica, en pocas palabras pero con oraciones completas, la naturaleza de la fuente y si es útil o no para el proyecto. Se debe incluir por lo menos 5 fuentes serias (“peer reviewed”, por ejemplo) en la bibliografía.

Sugerencias para mejorar la escritura…

EVITAR:

VERBOS ABURRIDOS



  1. Se debe evitar los verbos siguientes: 1. ser 2. estar 3. haber 4. poder 5. tener

  2. At minimum, use the full thesaurus on Word.

COMA ANTES DE “Y” EN UNA LISTA (en español)

  1. En una lista en español, NO se usa coma antes de la última palabra. Una lista correctamente escrita se lee: “Se debe evitar los verbos ser, estar y haber.”

PAJA o RELLENO

  1. No se debe escribir sólo para rellenar la página. Diga Ud. lo que tiene que decir, ni más ni menos.

¡OJO!

PUNTO Y COMA



  1. El símbolo “;” es el equivalente a “.” Por eso, “;” se usa para dividir oraciones completas pero NO es una forma elegante de coma (“,”). Por ejemplo, me gusta escribir; no me gusta ver la tele.

“ENTONCES” NO ES LO MISMO QUE “SO

  1. En inglés se puede usar la palabra “so” en medio de una oración sin “;”. En español, la palabra “entonces” suele señalar el comienzo de una nueva oración y necesita “;”.

  2. No confundir resumen con análisis. Si resulta un problema la distinción, emplea el segundo párrafo para resumir la trama del texto para analizar. Así, los demás párrafos se ocuparán con el análisis.

SÍ USAR:

SE PASIVO



  1. Se prefiere el “se” pasivo en lugar de “ser + participio.” Por ejemplo, “se prefiere”; NO es preferido. “Se maneja”; NO “es manejado”.

PÁRRAFOS BIEN NUTRIDOS

  1. Ningún párrafo debe tener menos de dos o tres oraciones ni extenderse más de una página.

CITAS ANCLADAS

  1. Toda cita debe aparecer en el contexto de prosa escrita por Ud. Por ejemplo, alguien me pregunta, “¿Por qué existen tantas reglas?” Como respuesta, anclo la cita entre mis palabras y creo un contexto nuevo: “Porque así se entiende la cita.”

    1. Si no se ancla la cita en la prosa propia, resulta más coherente leer el texto original.

TIEMPO PRESENTE

  1. El español se puebla de fantasmas. Aunque está muerto, Cervantes escribe. Platón piensa. Kennedy dice. El personaje de la novela vive aunque se muere al final.

ESTE/ESTA/ESE/ESA:

  1. I am not a fan of the word “this” or “that” used without a referent. Place a noun after “this” and “that,” and your point will emerge. (Ejemplo: Esa costumbre de incluir el referente mejora muchísimo la escritura.)

  2. Avoid “eso” and “esto”. If you are too lazy to think of the word, so is your reader.

MORE HELP:

  • Believe it or not, a competent conclusion avoids repeating the introduction. When all else fails, list an area for future study as your conclusion. Explain why you didn’t cover the point and why it might be interesting to explore.

  • A strong thesis statement leads to academic glory. Sadly for procrastinating authors, the writing process tends to transform the initial thesis and has even been known to impose the opposite of the original argument. The early and flexible writer gets to change his/her mind without damaging the final result.

  • Do not end a paragraph with a quotation.

    • Formula for excellence: (1) prepare for the citation, (2) cite, and (3) remind the reader what s/he should have understood from the quotation by using vocabulary different from the cited language and the words employed to set up the quotation.

    • Quotations should only preserve ideas expressed with incomparable brilliance in the original phrasing. If you realize that the language cited could be better summarized in your words, do so.

      • You must attribute a paraphrased idea with a parenthetical author/page reference, unless it is clear from the context that you are summarizing a previously cited source. Failure to follow these rules = plagiarism.

    • Each change in voice depletes a reader’s energy, so cite only what you need.

    • A complete and complex (think “long”) sentence when setting up a quotation is usually followed by a colon. A less complete sentence (think “short”) before the quotation tends to use a comma before the quotation.

    • A quotation of four lines or more takes an indented paragraph without quotation marks and with the period at the end of the last sentence—not after the parenthetical reference.

  • When in doubt, ask.

    • The research librarians staff a reference desk and live for questions. Try them. They give free help!

  • Read your paper aloud. You will improve your writing style with this method by orders of magnitude ordinarily reserved to describe mathematical relationships.

We will NOT read all the texts in the “Exposición estudiantil” column.

These titles and themes are suggestions. Each student will complete an individualized plan of study on the first day of class, and that plan will think about:



  1. What interests me?

  2. Which of these interests seem likely to connect with the major contemporary thought in the field?

  3. What are my goals in this class? (For example: Do I want to prepare literary and cultural curriculum for my future classes? Publish my final paper as an article? Prepare for my dissertation? Expand my knowledge of contemporary criticism? Review the most important trends in criticism in the 20th-century? Connect one time [or place] [or genre] to another? Deepen my knowledge of a topic I’ve already explored? Work with an interdisciplinary angle? Mine a more traditional close reading?)

  4. Given the mesh of my interests and those of others whose intellectual trajectory impresses me, which lines of thought make sense to explore in my presentations?

    1. Which literary text among the assigned readings should I present in order to benefit my general knowledge of the field or my final paper?

      1. In the event that others present on my topic, am I willing to switch?

    2. Which aspect of criticism do I want to explore? Shall I read a full book of critique chosen among the listed excellent examples, many of them recent academic prize-winners? Or am I interested in presenting two or more articles, perhaps older ones, to the class, possibly with copies of the full text in order to contemplate the mechanics of the endeavor as well as the overall result?

    3. Which historical even or phenomenon from Latin America would I like to explore in greater depth through research? How might that topic connect with others’ research and a reading of one of the assigned texts? (Some of the listed titles of criticism take exactly this angle. One could read a relevant title and report on its tactics and conclusions.)

una presentación sobre un texto literario que leeremos; una exposición sobre un aspecto de la crítica entre las lecturas recomendadas; una presentación sobre la historia de algún evento o fenómeno en América Latina

The following calendar is subject to change.

Fecha

Lectura

Exposición estudiantil

Tarea para entregar

enero










jueves 5

El programa de curso




Completar el plan para el semestre

Argentina

(más Cuba y Venezuela): Novela gráfica







jueves 12

Para leer bien: Carlos Trillo (Buenos Aires, 1943), Domingo Mandrafina (Buenos Aires, 1945) Cosecha verde (/La gran patraña) (1989-1990).
Para revisar rápidamente a menos que el tema resulte interesante a nivel personal:

On Canvas: Infante, Arturo y Renier Quer. Bim Bom: Historias de lucha. Prólogo Luis Antonio de Villena. Madrid: Diabólico Ediciones, 2016. 80-84.

Villena, Luis Antonio de. “Cómic y jineterismo.” 5-6.

Glosario. 87.

Sierra Madero, Arturo. “El ‘Bim Bom’ y el próximo combate.” 88-89.
On Canvas: Herrera, Daniel. “Plumas en la garganta.” Ilustraciones Gabriel Patiño. En Primeros sueños: Historieta latinoamericana. Ed. Jeudiel Martínez. Caracas: Biblioteca Ayacucho Ilustrada, 2014. 43-53.
On Canvas: Becca, Horacio Jorge, comp. Historia real y fantástica del Nuevo Mundo. Caracas: Biblioteca Ayacucho (Colección Clásica, 176), 1993.

Fernández de Oviedo, Gonzalo. “Cubagua, el petróleo.” 39-40.

Fernández de Oviedo, Gonzalo. “De los hombres marinos que hay en el mar.” 200-201.

Mártir de Anglería, Pedro. “Monstruos marinos.” 202.

Cardim, Fernão. “Los hombres marineros, monstruos del mar.” 222.

Vespucio, Américo. “Carta Pierofrancesco de Médici.” 23-27.

Vespucio, Américo. “La aventura.” 30-31.

Sahagún, Bernardo de. “Los colibríes;” “Una culebra o serpiente de agua muy monstruosa en ferocidad y obras” 209-210

Fernández de Oviedo, Gonzalo. “El tucán o picudo.” 197.



Feitlowitz, Marguerite. A Lexicon of Terror: Argentina and the Legacies of Torture. Rev and with new epilogue. 1998. Oxford UK y Nueva York: Oxford University Press, 2011
Digital Humanities

Kirschenbaum, Matthew. “What is ‘Digital Humanities,’ and Why Are They Saying Such Terrible Things About It?” In Differences: In the Shadows of the Digital Humanities Vol 25 No 1 (2014): 46-63.






México










jueves 19

Uribe, Sara (Querétaro, México 1978). Antígona González. Sur Plus, 2014. ISBN: 978-6078147182
Sitios de booktubers.

Multi-medios

Brown, Wendy. Undoing the Demos: Neoliberalism’s Stealth Revolution. New York: Zone Books, 2015.
Articles on contemporary modes of reading:

Uncritical reading (Michael Warner), reparative reading (Eve Sedgwick), generous reading (Timothy Bewes), disintegrated reading (Rita Raley), surface reading (Sharon Marcus and Stephen Best; also Heather Love), and the hermeneutics of situation (Chris Nealon and Jeffrey Nealon).



Bibliografía anotada (mínimo: 5 fuentes)

Argentina










jueves 26

Almada, Selva (Entre Ríos, Argentina 1973). Chicas muertas. 2013. Buenos Aires: Random House Mondadori, 2014. ISBN: 978-6073130851

9th Annual MLA Prize in Latina and Latino, Chicana and Chicano Literary and Cultural Studies

Gutiérrez, Laura. Performing Mexicanidad: Vendidas y cabarateras on the Transnational Stage. Austin: U of Texas P, 2010.

Propuesta para el trabajo final (un párrafo)

febrero










Colombia










jueves 2

Vallejo, Fernando (Medellín, Colombia 1942). Almas en pena, chapolas negras. 1995. Alfaguara, ISBN: 978-9587046526

Beckman, Erica. Capital Fictions: The Literature of Latin America’s Export Age. 2013.




México










jueves 9

Rivera Garza, Cristina. El mal de la Taiga. México: Tusquets, 2012. ISBN: 9786074213584

Felski, Rita. The Limits of Critique. Chicago and London: U of Chicago P, 2015.




Uruguay










jueves 16

Levrero, Mario (Montevideo 1940). Fauna. 1987. Random House, 2015.  ISBN: 978-8439730927


Penix-Tadsen, Philip. Cultural Code: Video Games and Latin America.

Primer borrador (5-7 páginas)


Cuba/

Lit global / Lit para niños







jueves 23

Robles, Juan Manuel (Lima 1978). Nuevos juguetes de la guerra fría. Seix Barral, 2015. ISBN: 978-8432228902
Lit para niños. Pedagogía.

47th Annual James Russell Lowell Prize (MLA): Levine, Caroline. Forms: Whole, Rhythm, Hierarchy, Network (Princeton Univ. Press, 2015)




marzo










jueves 2

Visita Laura Gutiérrez

Robles, Juan Manuel (Lima 1978). Nuevos juguetes de la guerra fría. Seix Barral, 2015. ISBN: 978-8432228902
The Perú Reader

Intro. + CH 1 Intro “The Ancient Civilizations”

CH I: Article. “The Chavín Cult,” Brian Fagan.

CH I: Poema. “Nazca Pottery,” Javier Sologuren

CH I: Article. “Moon, Sun, Witches,” Irene Silverblatt







martes 7, jueves 9

Descanso. No hay clase.







Perú










jueves 16

Cueto, Alonso (Lima 1954). La hora azul. Barcelona: Anagrama, 2005. ISBN: 978-8433968876

The Perú Reader

CH IV: Intro. “The Advent of Modern Politics.”

CH IV: Article. “Tempest in the Andes,” Luis Valcárcel

CH IV: Memoire. “Water!” Juan Pévez

CH IV: Essay. “Reflections,” José Carlos Mariátegui

CH IV: Poemas. “Un hombre pasa con un pan al hombro,” “Considerando en frío, imparcialmente,” “Traspié entre dos estrellas,” “Los nueve monstruos”



26th Annual Katherine Singer Kovacs Prize (MLA): Lambright, Anne. Andean Truths: Transitional Justice, Ethnicity, and Cultural Production in Post–Shining Path Peru (Liverpool Univ. Press, 2015)
Disability Studies




martes 21

Salazar Jiménez, Claudia (Lima 1976). La sangre de la aurora. 2013. Animal de Invierno ISBN: 978-6124698644
The Perú Reader

CH IV: Discurso. “The APRA,” Víctor Raúl Haya de la Torre

CH IV: Article. “The Massacre of Chan Chan,” Carleton Beals
CH V: Intro. “The Breakup of the Old Order”

CH V: Speech. “The Master Will No Longer Feed Off Your Poverty,” Juan Velasco




Animal Studies
Eco Studies

Segundo borrador (5-10 páginas)


México










jueves 23

Faesler, Carla. Formol. (Ciudad de México, 1967) México: Tusquets, 2014.
The Perú Reader

CH V: Canción. “The 24th of June,” Gabriel Aragón

CH V: Article. “Villa El Salvador,” Cecilia Blondet

CH V: Article. “Recipe for a House,” Mercedes Torribio

CH V: Cuento. “Los gallinzaos sin plumas,” Julio Ramón Ribeyro

CH V: Poema. “Ritmos negros del Perú,” Nicomedes Santa Cruz

CH V: Poema. “Palabra de guerrillero,” Javier Heraud 

CH V: Article. “Liberation Theology,” Gustavo Gutiérrez




1st Annual Matei Calinescu Prize (MLA): Saint-Amour, Paul K. Tense Future: Modernism, Total War, Encyclopedic Form (Oxford Univ. Press, 2015)
Age Studies




jueves 30

Rulfo, Juan (Sayula, México 1917). Pedro Páramo. 1955 Cátedra. ISBN: 9788437604183
The Perú Reader

CH VI: Intro. “The Shining Path.”

CH VI: Poema. “A Frightening Thirst for Vengeance,” Osmán Morote

CH VI: Article. “We Are the Initators,” Abimael Guzmán

CH VI: Article. “The Quota,” Gustavo Gorriti


¿Por dónde comenzar? Los artículos que le interesen sobre Pedro Páramo




abril










martes 4

Rulfo, Juan (Sayula, México 1917). Pedro Páramo. 1955 Cátedra. ISBN: 9788437604183

The Perú Reader

CH VII: Intro. Manchay Tiempo

CH VII: Article. “Vietnam in the Andes,” “Pancho.”

CH VII: Note. “Death Threat.”

CH VII: Article. “Women and Terror,” Raquel Martín de Mejía

CH VII: Article. “Chaqwa,” Robin Kirk

CH VII: Canción. “Huamanguino,” Ranulfo Fuentes


Institutional, Bureaucracy Studies.
Graeber, David. Debt: The First 5000 Years. New York: Melville House, 2011.
Graever, David. The Utopia of Rules: On Technology, Stupidity, and the Secret Joys of Bureaucracy. New York: Melville House, 2015.
Lowndes, Vivien. “Varieties of New Institutionalism: A Critical Appraisal,” Public Administration 74 (1996): 181-197.




Colombia










jueves 6

García Márquez, Gabriel (Aracataca, Colombia 1927). Cien años de soledad. 1967. ISBN: 2908437604946
The Perú Reader

CH VII: Entrevista. “There Have Been Threats,” María Elena Moyano

CH VII: Article. “Peasants at War,” Ponciano del Pino

CH VII: Report. “Time of Reckoning.” Salomón Lerner



1st Annual Matei Calinescu Prize. Honorable mention (MLA): Walkowitz, Rebecca L. Born Translated: The Contemporary Novel in an Age of World Literature (Columbia Univ. Press, 2015)




martes 11

García Márquez, Gabriel (Aracataca, Colombia 1927). Cien años de soledad. 1967. ISBN: 2908437604946
The Perú Reader

CH III: Intro. “Republican Peru.”

CH III: Article. “Women of Lima,” Flora Tristán

CH III: Autobiography. “Amazonian Indians and the Rubber Room,” Manuel Córdova



¿Dónde comenzar? Los artículos le interesen sobre Cien años…




Argentina










jueves 13

De la lista de lecturas para el programa de maestría:

Borges, Jorge Luis. de Ensayos: Discusión (1932): “El escritor argentino y la tradición”; de Historia de la eternidad (1936): “Arte de injuriar”; de Otras inquisiciones (1952): “Kafka y sus precursores”; El hacedor (1960): “Borges y yo”. Cuentos: de Ficciones (1941): “Tlön, Uqbar, Orbis Tertius”, Las ruinas circulares””, “El sur”
The Perú Reader

CH I: Crónica. “The Origins of the Incas,” Garcilaso de la Vega

CH I: Article. “Cloth, Textile, and the Inca Empire,” John Murra

CH I: Article. “Taxation and the Incas,” Pedro de Cieza de León

CH I: Crónica. “Officials and Messengers,” Guamán Poma de Ayala

CH I: Article. “The Search for Machu Picchu,” Hiram Bingham


CH II: Intro. “Conquest and Colonial Rule.”

CH II: Article. “Atahualpa and Pizarro,” John Hemming




¿Dónde comenzar? Los artículos le interesen sobre Borges, con atención especial respecto a la relación con Internet, la realidad virtual, etc.




martes 18

De la lista de lecturas para el programa de maestría:

Cortázar, Julio. de Bestiario (1951): “Casa tomada”; Las armas secretas (1959): “Cartas a mamá”; de Todos los fuegos el fuego (1973) y de Final del juego (1964): “Axolotl” Teatro de la Candelaria. Guadalupe años sin cuenta (1976)
The Perú Reader

CH II: Crónica. “In Defense of the Indians,” Bartolomé de las Casas

CH II: Article. “The Tragedy of Success,” Steve J. Stern

CH II: Diario. “Diary of Colonial Lima,” Josephe de Mugaburu y Honton

CH II: Article. “The Rebellion of Túpac Amaru,” Alberto Flores Galindo

CH II: Article. “All Must Die!” José Antonio de Areche




¿Por dónde comenzar? Los artículos le interesen sobre Cortázar…

Tercer borrador (10-20 páginas)

Lista de textos:

Almada, Selva (Entre Ríos, Argentina 1973). Chicas muertas. 2013. Buenos Aires: Random House Mondadori, 2014. ISBN: 978-6073130851

Cueto, Alonso (Lima 1954). La hora azul. Barcelona: Anagrama, 2005. ISBN: 978-8433968876

Faesler, Carla. Formol. (Ciudad de México, 1967) México: Tusquets, 2014.

García Márquez, Gabriel (Aracataca, Colombia 1927). Cien años de soledad. 1967. ISBN: 2908437604946

Levrero, Mario (Montevideo 1940). Fauna. 1987. Random House, 2015.  ISBN: 978-8439730927

Rivera Garza, Cristina (Matamoros, México 1964). El mal de la Taiga. México: Tusquets, 2012. ISBN: 9786074213584

Robles, Juan Manuel (Lima 1978). Nuevos juguetes de la guerra fría. Seix Barral, 2015. ISBN: 978-8432228902

Rulfo, Juan (Sayula, México 1917). Pedro Páramo. 1955 Cátedra. ISBN: 9788437604183

Salazar Jiménez, Claudia (Lima 1976). La sangre de la aurora. 2013. Animal de Invierno ISBN: 978-6124698644

Starn, Orin e Ivan Degregori. The Perú Reader. Durham: Duke UP, 2005. ISBN: 978-0822336495

Trillo, Carlos (Buenos Aires, 1943) y Domingo Mandrafina (Buenos Aires, 1945) Cosecha verde (/La gran patraña) (1989-1990) 978-8485631612
Uribe, Sara (Querétaro, México 1978). Antígona González. Sur Plus, 2014. ISBN: 978-6078147182

Vallejo, Fernando (Medellín, Colombia 1942). Almas en pena, chapolas negras. 1995. Alfaguara, ISBN: 978-9587046526

Para el primer borrador y el segundo:



Nombre___________________ Rubric for written work /100




Great

Good

Average

Poor

Absent



20

18

15

9

0

Analysis

The thesis is original. Compelling ideas throughout.

The thesis is interesting. At least one original perspective in one of the points.

The essay is focused around a single thesis or idea.

The thesis is split or unclear; the paper wanders off-topic.

No thesis or focus.

Evidence

30

23-27

15-20

11-13

0-10




A variety of support for every claim, and it is strong, concrete, and appropriate.

Supporting evidence for all claims, but it is not as strong or complete in some areas.

Supporting evidence for most of the claims, but some evidence may be unrelated or vague.

Some evidence, but in key places evidence is vague or missing.

Almost no detailed evidence to support the thesis.

Organization

20

16-18

13-15

7-9

0




Each paragraph is focused and in the proper order. Introduction and conclusion are complementary. Excellent transitions.

Each part of the paper is engaging, but better transitions, more/fewer paragraphs, stronger conclusion are needed.

Clear introduction, body, and conclusion, but some paragraphs may need to be focused or moved.

Some organization, but the paper is “jumpy” without a clear introduction and conclusion. Paragraphs are not focused or out of order.

Little or no organization.

Language Maturity

10

8-9

6-7

4-5

0-3




Creative word choice and sentence structure enhance the meaning and focus of the paper. Special attention to precise verbs. No ser, estar, haber, poder, tener

The language is clear with complex sentence structure but contains minor grammatical errors.

Unnecessary use of ser, estar, haber, poder, tener although only in one or two instances.



Writing is clear, but sentence structures are simple or repetitive; repeated grammatical errors. Problems with personal “a.” Cultural errors distract (lacking the article before a title, etc.)

Grammatical mistakes slightly interfere with the meaning of the paper. Basic and imprecise verbs: ser, estar, poder, tener, haber. Or excessively informal expression.

Frequent and serious grammatical mistakes make the meaning unclear.

Style/Voice

10

9

7

4

0




A keen sense of the intended audience. The author’s voice and the writing convey passion.

The paper addresses the audience appropriately and is engaging with a strong sense of voice.

Essay addresses the audience appropriately with some examples of creative expression.

Writing is general with little sense of the audience or communication of the writer’s voice or passion.

Writing is general with no sense of either the writer or audience.

Citations

10

9

7

4

0




All evidence is well cited in appropriate format.

All evidence is cited, but with minor format errors.

Good citations but not enough of them.

Some citations but either incomplete or inappropriate.

Almost entirely without citations.

Nombre______________________ Oral Presentation: SPN 3520 Total: /65




25

18-23

12-15

0-10

Contenido

Extraordinary competence re the data selection or implied background knowledge. No factual errors. Spoke for 3-5 min. Inspired and answered public’s questions. Did not read. Topic met instructor’s approval.

Implicit critique. Thoughtful.



Creates a new object, solution or idea appropriate to the domain.

No factual errors. Spoke for 3-5 min. In spite of good preparation, could not answer the audience’s questions or did not inspire them.




Successfully adapts an appropriate lesson for the particular project. Takes a step beyond textbook data. Did not catch audience’s interest, could not answer questions, and/or did not seem prepared. One factual error.

Does the basic task but no more. Information contains two or more errors. Did not speak for 3-5 min. Demonstrated inadequate preparation. Read from notes or stared at a screen.

Creatividad

6

5

3-4

0-2




Meets the criteria in the other boxes, plus: Transforms ideas or solutions into new forms

Synthesizes ideas or solutions from previous lessons. Exceeds the expected data in significant way.

Connects ideas or solutions in novel ways. Moves slightly beyond expected, “textbook” data.

Recognizes at least one connection among ideas or solutions




20

15-18

8-12

0-5

Gramática y madurez lingüística

Almost perfect grammar. Uses a variety of tenses appropriate to topic.
Precise and varied terms. Reflects range of vocab. studied.

Errors with grammar points already studied in the semester.
In general, precise. Occasional key vocab. missing.

Frequent errors with basic grammar, but mostly comprehensible.

Some words repeat obsessively. Vague.



So many errors that it is difficult to follow the presentation.
Vocab. so imprecise that it is confusing.




6

5

4

2-3

Pronunciación

Careful pronunciation. Correct vowel sounds.

Some markedly non-Hispanic consonants. Occasional problems with the vowels.

Pronunciation notably marked by English, both vowels and consonants.

Difficult to understand. Sounds like English with Spanish-language vocabulary.




8

6

4

0-2

Dominio

Natural. The rhythm is not so fast that it impedes comprehension nor so slow that it seems unprepared.

Natural, but with pauses for forgotten words or speech is so fast that it is difficult to understand.

Noticeable pauses. Shows a lack of preparation.

Resorts to English or employs excessive pauses. Lots of “um.”

MÉRITO

EXTRA 3

2

1

.5

Acepta contradicciones

Integrates alternate, divergent, contradictory perspectives or ideas. Embraces contradiction in an explicit and sensitive manner.

Incorporates alternate, divergent, or contradictory perspectives or ideas in an exploratory way.

Includes (recognizes the value of) alternate, divergent, or contradictory perspectives in a small way.

Acknowledges (in passing or merely glimpsed way) alternate, divergent, or contradictory ideas.

Attendance and make-ups

Requirements for class attendance and make-up exams, assignments, and other work in this course are consistent with university policies that can be found in the online catalog at: https://catalog.ufl.edu/ugrad/current/regulations/info/attendance.aspx.



Accommodations

Students requesting classroom accommodation must first register with the Dean of Students Office. The Dean of Students Office will provide documentation to the student who must then provide this documentation to the Instructor when requesting accommodation. For more information see http://www.dso.ufl.edu/drc.



Grade Scale and Policies

The grade scale for classes in the Department of Spanish and Portuguese Studies is as follows:



A = 100-93

C(S) = 76-73

NOTE: A grade of C- will not be a qualifying grade for major, minor, Gen Ed, Gordon Rule or Basic Distribution Credit courses. For further information regarding passing grades and grade point equivalents, please refer to the Undergraduate Catalog at https://catalog.ufl.edu/ugrad/current/regulations/info/grades.aspx.


A- = 92-90

C-(U) = 72-70

B+ = 89-87

D+ = 69-67

B = 86-83

D = 66-63

B- = 82-80

D- = 62-60

C+ = 79-77

E = 59-0







Course Evaluations

Students are expected to provide feedback on the quality of instruction in this course based on 10 criteria. These evaluations are conducted online at https://evaluations.ufl.edu. Evaluations are typically open during the last two or three weeks of the semester, but students will be given specific times when they are open. Summary results of these assessments are available to students at https://evaluations.ufl.edu/results.



Academic Integrity

UF students are bound by The Honor Pledge which states, “We, the members of the University of Florida community, pledge to hold ourselves and our peers to the highest standards of honor and integrity by abiding by the Honor Code. On all work submitted for credit by students at the University of Florida, the following pledge is either required or implied: “On my honor, I have neither given nor received unauthorized aid in doing this assignment.” The Honor Code (http://www.dso.ufl.edu/sccr/process/student-conduct-honorcode/) specifies a number of behaviors that are in violation of this code and the possible sanctions. Furthermore, you are obligated to report any condition that facilitates academic misconduct to appropriate personnel. If you have any questions or concerns, please consult with the instructor or TAs in this class.



Resources Available to Students

Health and Wellness

  • U Matter, We Care: umatter@ufl.edu; 392-1575

  • Counseling and Wellness Center: http://www.counseling.ufl.edu/cwc/Default.aspx; 392-1575

  • Sexual Assault Recovery Services (SARS): Student Health Care Center; 392-1161

  • University Police Department: http://www.police.ufl.edu/; 392-1111 (911 for emergencies)

Academic Resources

  • E-learning technical support: Learningsupport@ufl.edu; https://lss.at.ufl.edu/help.shtml; 352-392-4357 (opt. 2)

  • Career Resource Center: Reitz Union; http://www.crc.ufl.edu/; 392-1601

  • Library Support: http://cms.uflib.ufl.edu/ask

  • Teaching Center: Broward Hall; 392-2010 or 392-6420

  • Writing Studio: 302 Tigert Hall; http://writing.ufl.edu/writing-studio/; 846-1138

Procedure for Conflict Resolution

Any classroom issues, disagreements or grade disputes should be discussed first between the instructor and the student. If the problem cannot be resolved, please contact the appropriate Level Coordinator or the Department Chair. Be prepared to provide documentation of the problem, as well as all graded materials for the semester. Issues that cannot be resolved departmentally will be referred to the University Ombuds Office (http://www.ombuds.ufl.edu; 392-1308) or the Dean of Students Office (http://www.dso.ufl.edu; 392-1261). For further information refer to https://www.dso.ufl.edu/documents/UF_Complaints_policy.pdf (for residential classes) or http://www.distance.ufl.edu/student-complaintprocess (for online classes).


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