{"id":12,"date":"2015-01-02T22:55:44","date_gmt":"2015-01-03T05:55:44","guid":{"rendered":"https:\/\/blogs.ubc.ca\/latstudies201\/?page_id=12"},"modified":"2018-01-04T14:15:47","modified_gmt":"2018-01-04T21:15:47","slug":"syllabus","status":"publish","type":"page","link":"https:\/\/blogs.ubc.ca\/latstudies201\/syllabus\/","title":{"rendered":"Syllabus"},"content":{"rendered":"<p>&nbsp;<\/p>\n<p><strong>Latin American Studies 201<\/strong><\/p>\n<p><strong>Folk Culture\u00a0to Mass Media:\u00a0Dimensions of Popular Culture and\u00a0Resistance in the Southern Cone and Cuba in the 1970s and 1980s<\/strong><\/p>\n<p><strong>Winter 2018<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>Tuesdays and Thursdays 2:00\u20133:20<\/p>\n<p>UCLL (University Centre) 101<\/p>\n<p><u>Instructor:<\/u><\/p>\n<p>Barbara Fraser-Valencia<\/p>\n<p><a href=\"mailto:bkfraser@uvic.ca\">barbara.fraser@ubc.ca<\/a><\/p>\n<p>Office Hours: Thurs 12:30-1:30 PM, or by appointment<\/p>\n<p>Office Location: BuTo 807<\/p>\n<p>&nbsp;<\/p>\n<p><u>Evaluation:<\/u><\/p>\n<p>Blog Comments 20%<\/p>\n<p>Transcultural Analysis Paper 15%<\/p>\n<p>Cracked Article and Presentation\u00a0 20%<\/p>\n<p>Research Paper 20%\u00a0\u00a0 (Proposal 5%)<\/p>\n<p>Final Exam 20%<\/p>\n<p>&nbsp;<\/p>\n<p><u>Description:<\/u><\/p>\n<p>Latin America in the 1970\u2019s and 1980s was a ferment of social transitions and artistic negotiations. In Chile and Argentina\u00a0popular culture played a significant\u00a0role in the social revolutions that took place in the late sixties and early seventies, while in the eighties,\u00a0mass-media and popular culture became contested territory between the countries\u2019 dictatorships and a disperse resistance movement operating through film, literature, rock music, comic strips and ritualized protests. In Cuba, meanwhile, the Castro regime\u2019s questionable policies against homosexuals, the unexamined sexism of revolutionary culture, and the regime\u2019s own lack of accountability were criticized by many of the same artists, filmmakers and musicians who had supported it during the 1960s and early 1970s. The 1980s also saw the continent shift towards economic privatization, commercialism and postmodernism with its de-centering of subjectivity, collapse of artistic hierarchy, and its fundamental distrust towards totalizing truths. In this course we will explore the popular artwork created in this de-stabilized milieu and how it sought to counter the dominant discourses of the regimes in which it emerged.<\/p>\n<p><u>\u00a0<\/u><\/p>\n<p><u>Assignments<\/u><\/p>\n<ul>\n<li><em>Blog comments<\/em><\/li>\n<\/ul>\n<p>Each week, you will write a 200-300 word blog contribution discussing your impression of the previous week\u2019s readings and topics.\u00a0 These are due Sundays, before the beginning of the next week.\u00a0 Blog comments are marked as done\/not done<\/p>\n<p>&nbsp;<\/p>\n<ul>\n<li><em>Transcultural Analysis <\/em>In this 3-5 page paper you will choose a cultural piece from any Latin American country (please stick to 20<sup>th<\/sup> Century) and discuss its transcultural influences based on the theoretical readings of the first two weeks of the course. You may also choose to look at the work\u2019s relationship to social power structures.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<ul>\n<li><em>Cracked Listicle Collaboration Project\u00a0\u00a0<\/em>com is a popular culture\/humor website with an intellectual bent. Their articles, many of which are reader-submissions, cover a wide-range of topics dealing with society, culture and art. In this project you will work together in groups of 4 to collaborate on a Cracked style article which you will also present in class. Cracked articles use a 5 point \u201clisticle\u201d format for presenting information in a condensed manner. Thus, each group member ideally should be responsible for one entry. Information included in the article must be sourced and a bibliography of sources included.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<ul>\n<li><em>Final Paper\u00a0\u00a0<\/em>Length: 15 pages). For the Final Paper you have the option of choosing one artist\/movement studied in class and doing an analysis of his\/her work, or doing a comparison between two artists, or two countries with similar movements (Chilean vs. Argentine Rock for example). You must prepare a Final Essay Proposal to be handed to me giving me a general idea of your topic and a bibliography of some preliminary sources. (1 primary and at least 3 secondary) Prior to handing in the final paper we will also hold an in-class workshop session in which you will bring in a 3 page preliminary draft version of your paper.\u00a0 In your final paper, I expect at least 5 secondary sources, 3 of which were not used in class.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><u>Requirements:<\/u><\/p>\n<p>This course has no prerequisites.\u00a0\u00a0The course\u00a0is conducted in English, though some familiarity with Spanish is recommended.\u00a0 Translations of course material will be provided as necessary.<\/p>\n<p>Late submission penalty: Papers submitted late without proper justification will lose 2% of the final mark per day it is late. University policies: For academic honesty and standards, grading practices, policies and regulations at UBC, please visit: http:\/\/www.calendar.ubc.ca\/vancouver\/<\/p>\n<p>Policies for Attendance and Missed or Late Assignments:\u00a0 Regular attendance is expected of all students. I will not accept late assignments unless you have a note from a doctor or have discussed the reason with me prior\u00a0to the due date.<\/p>\n<p><u>Blog and Texts<\/u><\/p>\n<p>There is no text for this course.\u00a0 Readings are provided through UBC Open Access and will be uploaded to the blog the Thursday prior to the week we are discussing them. Your blog comment discussions will be held in the comment section of each weeks post.\u00a0 The address is\u00a0<a href=\"https:\/\/blogs.ubc.ca\/latstudies201\">https:\/\/blogs.ubc.ca\/latstudies201<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><u>Schedule<\/u><\/p>\n<p><strong>Week 1<\/strong>\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 01\/02- 01\/05<\/p>\n<p>Introduction,.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Week 2<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 01\/08-01\/12<\/p>\n<p>Transculturation and Hybridity in Latin America<\/p>\n<p>Readings:\u00a0 Ortiz, Fernando.\u00a0<em>Cuban Counterpoint: Tobacco and Sugar<\/em>. Durham, NC: Duke University Press, 1995.<\/p>\n<p>Cornejo Polar, Antonio. \u201cMestizaje, transculturaci\u00f3n, heterogeneidad.\u201d Revista de Cr\u00edtica Literaria Latinoamericana 40 (1994): 368\u2013371.<\/p>\n<p>Brunner, JJ. \u201c Notes on Modernity and Postmodernity in Latin American Culture\u201d<em>Latin American Cultural Studies Reader<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Week<\/strong>\u00a03\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 01\/15-01\/19.<\/p>\n<p>Marxism, Postmodernism and Popular Culture<\/p>\n<p>Readings: Hebdige \u00a0\u00a0\u00a0\u00a0\u00a0 <em>Subculture:\u00a0 The Meaning of Style\u00a0\u00a0 <\/em>NY: Routledge, 1979.<\/p>\n<p>Dorfman and Mattleart\u00a0 <em>How to Read Donald Duck<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Week\u00a04.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong>01\/22-01\/26<\/p>\n<p>Chile:\u00a0 Popular Culture out of Dictatorship<\/p>\n<p>Readings: Marjorie Agosin:\u00a0\u00a0<em>Scraps of Life:<\/em>\u00a0<em>Chilean Arpilleras<\/em><\/p>\n<p>Paula Thorrington Cronovich \u201cOut of the Blackout and into the Light: How the Arts Survived Pinochet\u2019s Dictatorship\u201d\u00a0<em>Iberoamericana,<\/em>\u00a013:51, (2013).<\/p>\n<p>Selections from\u00a0<em>Purgatorio\u00a0<\/em>and\u00a0<em>Canto a su amor desaparecido\u00a0<\/em>by Ra\u00fal Zurita.\u00a0 Exposition of Arpilleras, Works by\u00a0<em>CADA\u00a0<\/em>\/\u00a0<em>Escena de Avanzada<\/em>.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Week 5:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong>01\/29-02\/02<\/p>\n<p>Nueva Canci\u00f3n to\u00a0<em>Los Prisioneros<\/em>:\u00a0Popular Music and Social Critique in Chile\u00a0from the 1960s to the 1980s.<\/p>\n<p>Readings: Robert Neustadt: \u201cMusic as Memory and Torture: Sounds of Repression and Protest<\/p>\n<p>In Chile and Argentina\u201d.\u00a0<em>Chasqui<\/em>. Vol. 33, No. 1 (May, 2004),<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Week 6<\/strong>: \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 02\/05-02\/0<\/p>\n<p>The \u201cNo\u201d campaign and the politics of Mass Media.<\/p>\n<p>Caetlin Benson-Allott \u201cAn Illusion Appropriate to the Conditions No (Pablo Larra\u00edn, 2012)\u201d.\u00a0<em>Film Quarterly<\/em>\u00a0Vol. 66, No. 3 (Spring 2013), pp. 61-63<\/p>\n<p>Screening of\u00a0<em>No\u00a0<\/em>(2012 Chile) Pablo Larra\u00edn<strong>\u00a0\u00a0<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Transcultural Analysis Paper Due February 9<sup>th<\/sup> \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Week 7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong>02\/12-02\/16<strong>\u00a0<\/strong><\/p>\n<p>Discussion of No<strong>\u00a0<\/strong><\/p>\n<p>Introduction to Argentina<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Week 8\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong>02\/19-02\/23<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Reading Week<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Week 9:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong>02\/26-03\/02<\/p>\n<p>Graphic Arts in Argentina:\u00a0<em>Mafalda\u00a0<\/em>Quino,\u00a0<em>El Eternauta II\u00a0<\/em>Hector Germ\u00e1n Ostenheld,\u00a0<em>Clemente\u00a0<\/em>Caloi,\u00a0<em>B\u00e1rbara\u00a0<\/em>Juan Zanotto.\u00a0<em>Las puertitas del Sr. L\u00f3pez.\u00a0<\/em>Horacio Altuna.<\/p>\n<p>Reading:\u00a0 Ernesto Torres \u201cUnder the Shadow of the Dictatorship: Comics and Culture During the Process of National Reorganization\u201d\u00a0<a href=\"http:\/\/www.camouflagecomics.com\/pdf\/08_torres_en.pdf\">http:\/\/www.camouflagecomics.com\/pdf\/08_torres_en.pdf<\/a><\/p>\n<p><strong>Groups for Cracked Project.<\/strong><\/p>\n<p><strong>\u00a0Final Paper Proposal Due<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Week 10: \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong>03\/05-03\/09<\/p>\n<p>Popular Music in Argentina:\u00a0 \u201cNuevo Cancionero,\u201d\u00a0\u201cRock Nacional\u201d, and the New Rock of the 1980\u2019s<\/p>\n<p>Reading: Pablo Vila \u201cRock Nacional and Dictatorship in Argentina\u201d\u00a0<em>Popular Music\u00a0<\/em>Vol. 6,2. May 1987, pp 129-148<\/p>\n<p><strong>Week 11:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong>03\/12-03\/16<\/p>\n<p>Argentine Film:\u00a0\u00a0 Screening of\u00a0<em>The Official Story\u00a0<\/em>Luis Puenzo (Argentina 1985)<\/p>\n<p>Reading:\u00a0 Taylor, L. \u201cImage and Irony in The Official Story.\u201d Literature Film Quarterly, 17 (3), 207. (1989).<\/p>\n<p><em>\u00a0<\/em><\/p>\n<p><strong>Week 12:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong>03\/19-03\/23<\/p>\n<p>Cuban Revolution<\/p>\n<p>Readings:\u00a0 Ernesto Cardenal: Selections from\u00a0<em>In Cuba<\/em><\/p>\n<p><strong><em>Cracked Presentations<\/em><\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Week 13\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong>03\/26-03\/30<strong>\u00a0\u00a0\u00a0<\/strong><\/p>\n<p>Cuban Youth Culture and Nueva Trova Music<\/p>\n<p>Readings:\u00a0 Robin Moore:\u00a0 Transformations in Cuban Nueva Trova:\u00a0 1965-1995.\u00a0<em>Ethnomusicology\u00a0<\/em>47:1. 2003.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Week 14\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong>04\/02-04\/06<strong>\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong><\/p>\n<p>Assigned Reading: William O. Deaver Jr.\u00a0<em>Fresa y chocolate:\u00a0<\/em>A Subtle Critique of the Revolution in Crisis\u00a0<em>The Coastal Review.\u00a0<\/em>4 (Spring-Summer 2013)<\/p>\n<p>Screening and discussion of\u00a0<em>Fresa y Chocolate\u00a0<\/em>Tom\u00e1s Gutierrez Alea: (Cuba, 1993).<\/p>\n<p><em><strong>Final Essays Due<\/strong><\/em><\/p>\n<p><sub>\u00a0<\/sub><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; Latin American Studies 201 Folk Culture\u00a0to Mass Media:\u00a0Dimensions of Popular Culture and\u00a0Resistance in the Southern Cone and Cuba in the 1970s and 1980s Winter 2018 &nbsp; Tuesdays and Thursdays 2:00\u20133:20 UCLL (University Centre) 101 Instructor: Barbara Fraser-Valencia barbara.fraser@ubc.ca Office &hellip; <a href=\"https:\/\/blogs.ubc.ca\/latstudies201\/syllabus\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":558,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-12","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.ubc.ca\/latstudies201\/wp-json\/wp\/v2\/pages\/12","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ubc.ca\/latstudies201\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.ubc.ca\/latstudies201\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/latstudies201\/wp-json\/wp\/v2\/users\/558"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/latstudies201\/wp-json\/wp\/v2\/comments?post=12"}],"version-history":[{"count":17,"href":"https:\/\/blogs.ubc.ca\/latstudies201\/wp-json\/wp\/v2\/pages\/12\/revisions"}],"predecessor-version":[{"id":286,"href":"https:\/\/blogs.ubc.ca\/latstudies201\/wp-json\/wp\/v2\/pages\/12\/revisions\/286"}],"wp:attachment":[{"href":"https:\/\/blogs.ubc.ca\/latstudies201\/wp-json\/wp\/v2\/media?parent=12"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}