POR 334 (SPRING 2022) SYLLABUS

 

UMASS DARTMOUTH

POR 334 – SPRING 2022

 

Introduction to Brazilian Literature II

(The 20th and 21st Centuries)

 

 

Class meetings: Wed 2:00-4:30PM

Classroom: LARTS 105

Professor Dário Borim Jr.

Email: dborim@umassd.edu

Office Hours: Wed 11:00 AM-1:00 PM, Thr 2:00-4:00 PM, & by appointment

Blog: A Paixão e o Poeta, http://apaixaoeopoeta.blogspot.com/

 

Learning Objectives:

The main purpose of this course is to enable students to understand and discuss some of the most significant aspects of the literature produced in Brazil throughout the 20th century and the early decades of the 21st century. The proposed approach to this study is socio-historical. Students will learn to interpret literary texts in light of thematic and stylistic connections with societal values and historical dynamics, as well as some of the artistic trends and manifestations developed in that period.

 

Learning Outcomes:

Students will be able to:

·       Identify and explain cultural practices from the Portuguese-speaking world

·       Analyze major works of literature in Portuguese

·       Develop critical arguments about literary and non-literary expressions

 

Graded Tasks

Attendance and in-class participation: 20%

Reading reports: 20%

Midterm exam: 30%

Final project: 30% (10% based on the oral presentation and 20% on the written work of 5 pages)

 

Academic dishonesty:

The Department of Portuguese defines plagiarism in written assignments as submitting work that contains another author's words and/or ideas without proper acknowledgment (i.e., specific and complete bibliographic references for all direct quotesand paraphrased statements derived from outsidesources). Citing sourcesat the end of an analytical or research paper is not enough. Quotation marks applied to direct quotes and other MLA style referencing tools and conventions must be in place within the main text of each paper. Students who hand in written work containing plagiarized material will be penalized by receiving a failing grade (zero points) for the assignment. The current UMass Dartmouth policy on academic integrity can be found at https://www.umassd.edu/studentaffairs/studenthandbook/.

 

Vaccinations and Testing:

To maintain a safe and healthy environment for living, learning and working on campus, as the Chancellor recently announced, the university is implementing a mandatory vaccination requirement for all students, faculty, and staff. There will be a small percentage of students, faculty, and staff who receive a medical or religious exemption from the vaccination requirement. These individuals will be required to participate in a weekly asymptomatic testing protocol and to wear masks in public areas indoors on campus regardless of whether a campus-wide mask mandate is in force. Additional information on compliance with the testing requirements for vaccine exempt individuals will be forthcoming from Human Resources soon.

 

 

Face Coverings:

As per Chancellor Fuller, all members of the UMass community (and visitors) are now required to wear face coverings indoors. Face coverings must be worn in all public indoor spaces, including classrooms, hallways, elevators, restrooms, breakrooms, entries and exits to buildings, laboratories, meeting rooms, shared offices, and shared work areas. As we did last year, we will rely on the community to help enforce this mandate by modeling good behavior and reminding our colleagues and students of their obligation to comply. Where a gentle reminder is not sufficient, community members are encouraged to contact Human Resources  in cases where faculty and staff non-compliance is an issue. In the classroom, instructors who find themselves encountering student non-compliance are advised to handle these cases as they would any classroom disruption and are empowered to ask non-compliant students to leave the classroom. If necessary, students who fail to comply with the indoor masking mandate may also be reported to the Student Affairs Office of Community Standards and to your Dean’s Office where further action will be taken to ensure compliance. 

Masking:

 

After consulting with Health Services leadership and the Pandemic Emergency Response Team (PERT), UMass Dartmouth has determined that fully vaccinated faculty may unmask while speaking in their classrooms provided they maintain a distance of at least 6 feet from their closest students. Anyone who has received a vaccination exemption must remain masked while indoors and is required to provide proof of a negative COVID-19 test result each week.  A fully vaccinated instructor who chooses not to wear a mask in the classroom should explain why they are doing so, but students and any visitors should remain masked while indoors. Any instructor may, of course, opt to wear a mask while teaching.

 

Calendar of Activities

January 24:

Introduction to POR 334 and to the early 20th-century Brazil

Watch and discuss:

·       Eduardo Bueno’s video Guerra de Canudos: GUERRA DE CANUDOS | EDUARDO BUENO - YouTube

·       The Vestibuler video Melhor vídeo sobre a Belle Époque brasileira - YouTube

 

Jan 31:

Modernism (1st Phase), Moura & Faraco’s Chapter 15

 

February 7:

Modernism (2nd Phase, Poetry), Moura & Faraco’s Chapter 16

 

February 14:

Modernism (2nd Phase, Prose), Moura & Faraco’s Chapter 17

 

Febr 21:

No Class. It’s Presidents’ Day.

Feb 22 (Tuesday, Following Mon Schedule):

Modernism (3rd Phase), Moura & Faraco’s Chapter 18

 

Feb 28:

Discuss Graciliano Ramos’ novel São Bernardo

 

Mar 7:

Watch and discuss Leon Hirszman’s 1972 film São Bernardo

S. Bernardo (São Bernardo, 1972) - YouTube

 

Mar 14:

No class. Spring Break.

 

Mar 21:

Finish discussion of São Bernardo

 

Mar 28:

Late 20th-century poetry and Midterm

 

April 4:

Late 20th-century poetry and prose

 

April 11:

Early 21st-century trends

 

April 18:

No class. Patriots’ Day.

April 20 (Following Mon’s schedule):

Early 21st-century trends

 

April 25:

Last day of classes. Students presentations

 

 

Bibliography

 

Bosi, Alfredo. História concisa da Literatura Brasileira. São Paulo: Cultrix, 2001.

Faraco, Carlos Emílio, and Francisco Marto Moura. Literatura brasileira. São Paulo: Ática, 2004.

Fausto, Boris, and Sérgio Fausto. A Concise History of Brazil. Cambridge, UK: Cambridge UP, 2014.

Gonçalves, Magaly T., Zélia T. de Aquino, and Zina C. Bellodi. Antologia comentada de Literatura Brasileira: poesia e prosa. Petrópolis, RJ: Vozes, 2006.

Green, James et al, eds. The Brazil Reader: History, Culture, Politics. Durham and London: Duke UP, 2019.

Ramos, Graciliano. São Bernardo. Rio de Janeiro: Record, 2013.

 

POR 5/781 – Spring 2021

Seminar in Portuguese: Tropicália

 

Prof. Dário Borim Jr

dborim@umassd.edu

Office Hours: Tue 11:00 AM-1:00 PM & Fri 1:00-3:00 PM

Class Meetings on Zoom: Wednesday 4:00-6:30 PM

Web site: http://apaixaoeopoeta.blogspot.com/

 

Course Content

This seminar will cover the connections, history, make-up, and meanings of Tropicália (or Tropicalismo) as a multicultural phenomenon of the mid 1960s and beyond in music and other visual and performing arts. Readings will include analyses, audiovisual sources, written narratives, and multimedia testimonials by seminal critics and protagonists of the movement themselves, such as Caetano Veloso, Gal Costa, Gilberto Gil, Rita Lee and Tom Zé.

 

Course Objectives

·       Discern and explain Tropicália’s formalist patterns and semantic subtleties through the analyses of some of the most representative cultural products, performances and events

·       Articulate in verbal discussions and in writing theoretically-sound interpretations of cinematic, musical, and theatrical manifestations in synchrony with sociopolitical developments mainly in Brazil but also elsewhere in the world

·       Develop and present research that questions and expands knowledge in the fields of popular music and other arts

 

Learning Objectives of the PhD in Luso-Afro-Brazilian Studies and Theory

·       Demonstrate in-depth knowledge of literary and cultural practices in the Portuguese-speaking world

·       Develop broad knowledge of critical and theoretical approaches relevant to the Portuguese language and Luso-Afro-Brazilian cultures

·       Develop and apply advanced research skills relevant to the chosen field of study

·       Contribute to existing scholarly discourses in the chosen field of study

·       Present research findings effectively in written and spoken communications

  

Assignments and Grading

Oral participation:	10%	Weekly notes:	30%
Oral presentation:	30%	Final paper:	30%

NB:

First draft of the course paper is due April 28. Final version of the paper is due May 12, 6:00 PM. Papers must havee:

*  MLA style documentation

*  16-18 double-spaced pages typed on font 12

*  lists of works cited (rather than bibliography) must include at least five secondary sources

  

Attendance and Advising

 

Regular attendance is of crucial importance in a literature class. Our classes are designed as communicative workshops in which successful learning experience is achieved through active participation. Excessive absences jeopardize one’s learning progress. Therefore, attendance and participation will be carefully recorded and will account for a substantial portion of the final grade. Please come to talk to the instructor for whatever reason you may have. If you would like to suggest changes to our course, for example, or, if a personal crisis seems to be producing a significant impact on your work, I trust I will sympathize and do my best to help. Do not hesitate to ask for extra instruction on course materials. I will hold office hours for that purpose, mostly. If the office hours posted do not fit your schedule, let us arrange another time.

 

Academic Dishonesty

 The Department of Portuguese defines plagiarism in written assignments as submitting work that contains another author's words and/or ideas without proper acknowledgment (i.e. specific and complete bibliographic references for all direct quotes and paraphrased statements derived from outside sources). Citing sources at the end of an analytical or research paper is not enough. Quotation marks applied to direct quotes and other MLA style referencing tools and conventions must be in place within the main text of each paper. Students who hand in written work containing plagiarized material will be penalized by receiving a failing grade (zero points) for the assignment. The current UMass Dartmouth policy on academic integrity can be found at: http://www.umassd.edu/studenthandbook/academicregs/ethicalstandards.cfm.

Weekly Topics

JAN 20

Introduction

·       José Henrique Fonseca and Walter Salles Jr’s Caetano (Parte II, “Eu queria guitarras elétricas”):

https://m.youtube.com/watch?v=XTURCbPlNOA&fbclid=IwAR12nbCsk_cHi_22oHrwGpTu3zWbTXQgRuTzkaapcwz9Fxlbk_qWsETngR4

JAN 27

Historical synthesis

·       Getúlio Mac Cord’s Tropicália: Um caldeirão cultural pp. 3-122.

FEB 3

Manifestos and testimonials

·       Oswald de Andrade’s Manifesto antropófago (1928):

https://www.academia.edu/7013131/Manifesto_antropof%C3%A1gico_manifesto_pau_brasil

·       “Regina Boni” [Depoimento]:

http://tropicalia.com.br/ilumencarnados-seres/depoimentos/regina-boni

·       “Chico Buarque” [Depoimento]:

http://tropicalia.com.br/ilumencarnados-seres/depoimentos/chico-buarque

·       Gal Costa’s “O divino maravilhoso” (2005):

http://tropicalia.com.br/eubioticamente-atraidos/verbo-tropicalista/o-divino-maravilhoso

·       Gilberto Gil’s “Recuso + Aceito = Receito” (19/ago/1970)

http://tropicalia.com.br/eubioticamente-atraidos/verbo-tropicalista/recurso-aceito-receito

·       Torquato Neto’s “Tropicalismo para principiantes” (1968):

http://tropicalia.com.br/eubioticamente-atraidos/verbo-tropicalista/tropicalismo-para-iniciantes

FEB 10

Gláuber Rocha’s Terra em transe

·       The movie: https://m.youtube.com/watch?v=bX4BLrGwWGQ&t=234s

·       Glauber Rocha’s “Tropicalismo, antropofagia, mito, ideograma” (1981):

http://tropicalia.com.br/eubioticamente-atraidos/verbo-tropicalista/tropicalismo-antropofagia-mito

·       Hélio Oiticica’s “A trama da terra que treme” (1968):

http://tropicalia.com.br/eubioticamente-atraidos/verbo-tropicalista/a-trama-da-terra-que-treme

FEB 17

Theater and other visual and performing arts

·       Oswald de Andrade’s O rei da vela (PDF)

·       Sábato Magaldi’s “O país desmacarado.” Andrade 7-16. (PDF)

·       Haroldo de Campos’s “Uma leitura do teatro de Oswald.” Andrade 17-30.

·       José Celso Martinez Correa about Oswald de Andrade’s O rei da vela (1933): Manifesto Oficina (Aug/5/1968):

http://tropicalia.com.br/eubioticamente-atraidos/verbo-tropicalista/o-rei-da-vela-manifesto

·       “José Celso Martinez Corrêa” in Getúlio Mac Cord’s Tropicália: Um caldeirão cultural (pp. 197-224)

·       Oswald de Andrade’s O rei da vela (1933):

https://www.youtube.com/watch?v=OS94YIxWi8Y (Salvador,Univ. da Bahia, Salvador, 2016)

https://www.youtube.com/watch?v=G1DIDRR455M (Rio de Janeiro, Cia dos Atores, 2000)

·       Chico Buarque’s Roda viva (1968):

https://www.youtube.com/watch?v=WiD8P4FI1t0&list=PLTN97D_XfEQGGm3u_cyBwf7cFwTKtY4JS (Santos, Sesc, Teatro Oficina Uzyna Uzona, Aug/2012)

·       III Festival de Música Popular Brasileira da TV Record (1967):

https://www.youtube.com/watch?v=kB5XJR6w2C4

FEB 24

Discuss Rita Lee’s Rita Lee: Uma autobiografia

MAR 3

Discuss Caetano Veloso’s Verdade tropical (1/2)

MAR 10

NO CLASS  (SPRING BREAK)

MAR 17

Discuss Caetano Veloso’s Verdade tropical (2/2)

MAR 24

Discuss Caetano Veloso’s legacy

MAR 31

Discuss Gilberto Gil’s legacy

APRIL 7

Discuss Rita Lee’s and Os Mutantes’ legacy

APR 14

Tom Zé’s and other tropicalists’ legacies

APR 21

NO CLASS (FOLLOW MONDAY SCHEDULE)

APR 28

More criticism

Augusto de Campos’ “É proibido proibir” (1968):

http://tropicalia.com.br/eubioticamente-atraidos/visoes-brasileiras/e-proibido-proibir-os-baianos

Rogério Duarte’s “Momentos do movimento” (1987):

http://tropicalia.com.br/eubioticamente-atraidos/verbo-tropicalista/momentos-do-movimento

Roberto Schwars’ “Alguns esquemas” (1969):

http://tropicalia.com.br/eubioticamente-atraidos/visoes-brasileiras/cultura-e-politica

MAY 5

Individual presentations

MAY 8

Final papers due

 

Multimedia Resources:

Albin, Ricardo Cravo. O livro de ouro da MPB. Rio de Janeiro: Ediouro, 2003.

Andrade, Oswald de. O rei da vela. Rio de Janeiro: Globo, 1990.

Avelar, Idelber and Christopher Dunn, eds. Brazilian Popular Music and Citizenship. Durham and London: Duke UP, 2011.

Bahiana, Ana Maria. Nada será como antes: MPB nos anos 70 – 30 anos depois. Rio de Janeiro: Senac Rio, 2006.

Barros, Patrícia Marcondes de. “Panis et Circenses”: A ideia de nacionalidade no Movimento Tropicalista. Londrina, PR: UEL: 2000.

Basualdo, Carlos, ed. Tropicália: Uma revolução na cultura brasileira. São Paulo: Cosac Naif, 2007.

Borim, Dário. "Black Tropicalist in Power: From the Margins of Counterculture to the Stage of Change." Lusotopie 20, 04 (2004): 181-189.

______. "Light and Obscurity in Tropical Truth." Cape Verde: Language, Literature & Music. Portuguese Literary and Cultural Studies 8 (Sept 2002): 463-470.

______. "Morte e vida Tropicália: o ideário sócio-político na obra de Caetano Veloso. Hispania 85, 3 (Sept 2002): 494-504.

______. “Roçando a língua de Camões: Reverência e dessacralização do idioma português em Caetano Veloso.” Luso-Brazilian Review 41, 2: 126-143.

______. "Tropicalist Mutantes: Dada and Kitsch Under Dictatorship." Music and Dictatorship in Europe and Latin America. Illiano and Massimiliano Sala 521-548.

______. "Unpredictable Coherence: Caetano Veloso Beyond ‘Ethnic' and Easy-Listening Tunes." Facts and Fictions in António Lobo Antunes. Ed. Victor Mendes. Portuguese Literary & Cultural Studies 19/20 (2011): 527-535.

Branco, Edwar de Alencar Castelo. Todos os dias de Paupéria: Torquato Neto e a invenção da Tropicália. São Paulo: Annablume, 2005.

Butterman, Steven F. “Ney é gay, não é?: The Emergence and Performance of Queer Identities in Brazilian Popular Music (MPB) Under Dictatorship.” Illiano and Sala 549-572.

Caldas, Waldemar. A cultura político-musical brasileira. São Paulo: Musa, 2005.

Callado, Carlos. A divina comédia dos Mutantes. São Paulo: Editora 34, 2006.

_______. Tropicália: A história de uma revolução musical. São Paulo: Editora 34, 1997.

Campos, Haroldo de. “Uma leitura do teatro de Oswald.” Andrade 17-30.

Castro, Ruy. Chega de saudade: A história e as histórias da bossa nova. São Paulo: Companhia das Letras 1990.

Campos, Augusto de. Balanço da bossa e outras bossas. São Paulo: Perspectiva, 1993.

Discos do Brasil. https://discosdobrasil.com.br/

Duarte, Pedro. Tropicália ou panis et circencis. O Livro do Disco. Rio de Janeiro: Cobogó, 2020.

Dunn, Christopher. Brutalidade jardim: A Tropicália e o surgimento da contracultura brasileira. São Paulo: UNESP, 2009.

Dunn, Christopher. Contracultura: Alternative Arts and Social Transformation in Authoritarian Brazil. Chapel Hill, NC: U. of North Carolina P., 2016.

______. “From Mr. Citizen to Defective Android: Tom Zé and Citizenship in Brazil.” Avelar and Dunn: 74-95.

Duprat, Régis and Maria Alice Volpe. “Vanguardas e posturas de esquerda na música brasileira (1920 a 1970). Illiano and Sala 573-612.

Favaretto, Celso. Tropicália – alegoria, alegria. São Paulo: Ateliê, 1996.

Fonteles, Bené. Giluminoso: A po.ética do ser. Brasília/São Paulo: Universidade de Brasília/SESC: 1999.

Illiano, Roberto and Massimiliano Sala, eds. Music and Dictatorship in Europe and Latin America. Speculum Musicae Series. Turnhout, Belgium: Brepols, 2010.

Lee, Rita. Rita Lee: uma autobiografia. São Paulo: Globo, 2016.

Mac Cord. Tropicália: Um caldeirão cultural. Rio de Janeiro: Ferreira, 2011.

McGowan, Chris and Ricardo Pessanha. The Brazilian Sound: Samba, Bossa Nova, and the Poupular Music of Brazil. Rev. and expanded ed. Philadelphia, PA: Temple UP, 2009.

Maciel, Luiz Carlos. Geração em transe: Memórias do tempo do tropicalismo. Rio de Janeiro: Nova Fronteira, 1996.

Magaldi, Sábato. “O país desmascarado.” Andrade 7-16.

Martins,J. B.  Antropologia da música brasileira. Sào Paulo: Obelisco, 1978.

Mello, Zuza Homem de. A era dos festivais: Uma parabola. São Paulo: Editora 34, 2008.

Moby, Alberto. Sinal fechado: A música popular brasileira sob censura. Rio de Janeiro: Obra Aberta, 1994.

Motta, Nelson. 101 canções que tocaram o Brasil. Rio de Janeiro: Estação Brasil, 2016.

______. Noites tropicais: Solos, improvisos e memórias musicais. Rio de Janeiro: Objetiva, 2000.

Napolitano, Marcos. “A música popular brasileira (MPB) nos anos de chumbo do regime militar” (1969-1975). Illiano and Sala 641-670.

Naves, Santuza Cambraia et al, eds. A MPB em discussão: entrevistas. Belo Horizonte: UFMG, 2006.

Oliveira, Ana. Gilberto Gil - encontros. Rio de Janeiro: Beco do Azougue, 2008.

______. Tropicália. http://tropicalia.com.br/

Oliveira, Leonardo Davino de. Canção: A música híbrida de Caetano Veloso. Rio de Janeiro: Ibis Libris, 2012.

Perrone, Charles A. Letras e letras da MPB. Rio de Janeiro: Booklink, 2008.

______. Masters of Contemporary Brazilian Song. 1989. Austin, TX: U of Texas P, 1993.

______. “Scions of Tropicalia: Of Signs, Soundings, Song and Science.” Brazil, Lyric, and the Americas. Gainesville, FL: UP of Florida, 2010. 164-178.

Rocha, Glauber. Revolução do Cinema Novo. Rio de Janeiro: Alhambra, 1981.

Santos, Lidia. Tropical Kitsch: Mass Media in Latin American Art and Literature. Trans. Elisabeth Enenbach. Madrid: Iberoamericana, 2006.

Severiano, Jairo. Uma história da música popular brasileira: das origens à modernidade. São Paulo: Editora 34, 2009.

Severiano, Jairo and Zuza Homem de Mello. A canção no tempo: 85 anos de músicas brasileiras, Vol. 1: 1901-1957. São Paulo: Editora 34, 1998.

______. A canção no tempo: 85 anos de músicas brasileiras, Vol. 2: 1958-1985. São Paulo: Editora 34, 1998.

Squeff, Enio and José Miguel Wisnik. Música: O nacional e o popular na cultura brasileira. São Paulo: Brasiliense, 2004.

Tinhorão, José Ramos. História social da música popular brasileira. São Paulo: Editora 34, 1999.

______. Música popular: Um tema em debate. Rev. and expanded. São Paulo: Editora 34, 1997.

Veloso, Caetano. Sobre as letras. Ed. Eucanaã Ferraz. São Paulo: Companhia das Letras, 2003.

______. Letra só. Eucanaã Ferraz, ed. São Paulo: Companhia das Letras, 2003.

______. Verdade tropical. São Paulo: Companhia das Letras, 1997.

Wisnik, José Miguel. Caetano Veloso. Folha Explica. São Paulo: Publifolha, 2005.

______. Sem receita. São Paulo: Publifolha, 2004.