Spanish Literature II 3305-LH2-21
The course constitutes a survey of the dominant trends and conventions present in Spanish lyric poetry, and can be divided into three thematic blocks corresponding to particular eras taken chronologically. The first of these embraces the beginnings of traditional lyric poetry in the Iberian peninsula, late medieval poems of Jorge Manrique, Renaissance court poetry and mystic poetry, as well as baroque aesthetics such as culteranismo and conceptismo in liric poetry. The second block is centred round Romanticism and the modernist turn (the Generation of ’98), which are considered essenial for modern poetry. The final segment is devoted to the twentieth and twenty-first-century liric poetry, with particular emphasis on the works of the Genereation of ’27, then post-war poetry, up until the contemporary poetic works and song lyrics analyzed as lyric poetry variation. The purpose of the course is to present the principal changes in Spanish literaturę that took place over the centuries, and to acquaint students with key texts from Spanish lyric poetry and to develop their abilities in interpreting, analysing and understanding the structure of literary works in verse which had a considerable influence on Iberian culture and on European culture as a whole.
Topics of individual classes:
1. Arte mayor and arte menor - the eternal dualism. Introduction to the medieval lyric of the Iberian peninsula (the Andalusian kharja, the traditional Castilian lyric: the villancico and zéjel, romanceros, and the learned poetry of clerics)
2. Jorge Manrique, "Coplas a la muerte de su padre"
3. The Renaissance court poetry and (Garcilaso de la Vega, Fray Luis de León)
4. Mystic poetry (St John of the Cross and St Teresa)
5. Baroque poetry: culteranismo (Luis de Góngora)
6. Conceptismo in baroque poetry (Francisco de Quevedo)
7. Pre-Romanticism and romantic poetry in Spanish literature (José de Espronceda, "El estudiante de Salamanca" (excerpts), Gustavo Adolfo Bécquer, Rosalía de Castro)
8. Modernist turn: the Generation of ’98. (Juan Ramón Jiménez, Antonio Machado)
9. The Generation of ’27
10. Federico García Lorca: "Romancero gitano", "Poeta en Nueva York"
11. The post-war poetry (among others Claudio Rodriguez, José Hierro)
12. Contemporary Spanish poetry (among others Juan Manuel Romero, Vicente Luis Mora, Teresa Soto)
13. Song lyrics as an example of poetic text (Rosalía, El mal querer) and phenomenon of Instapoetry
Course coordinators
Type of course
Mode
Prerequisites (description)
Learning outcomes
Knowledge:
Participants identify and define the periods in the history of Spanish literature (from classical literature to the present day), as well as the movements, conventions, themes and allusions present in Spanish lyric and epic poetry. They analyse and interpret poetic texts in Spanish, taking into account the relevant historical and literary context. They are familiar with literary genres, including both epic verse and lyric genres (jarcha, cantiga de amigo, villancico, zéjel, sonnet, cantar de gesta, romanca). They distinguish and define the aesthetics characteristic of different periods, and describes aesthetic movements and trends such as the poetry of the Mester de Cleresía, courtly poetry, mysticism, culteranismo, conceptismo, modernism, the aesthetics of the Generation of ’98 and the Generation of ’27, and Instapoetry. They list as well the main male and female poets of a given period and describes their work. (K_W02, K_ W03, K_W04, K_W05)
Academic Skills:
The student reads and comprehends a poetic text in Spanish, places it within its historical context, and identifies elements consistent with the intellectual culture of the period. They carry out a metrical and stylistic analysis of epic and lyric verse forms (jarcha, cantiga de amigo, villancico, zéjel, sonnet, cantar de gesta, romanca). They draft a short-written piece analysing the metre and style of a poetic work in Spanish, identify the rhetorical devices used and describe their functions, and prepare an oral presentation on the texts covered in the course. In the analysis and interpretation of Spanish poetry, they employ basic theoretical approaches, research paradigms and concepts specific to literary studies and the history of lyric and epic poetry. They compare the treatment of a given motif (e.g. courtly love, conventions in love poetry, the portrayal of women, self-referential poetry, metaphysical and religious themes) based on poems from different eras or poems by different authors from a single period and recognises the connections between Spanish poetry and historical and cultural processes. (K_U01, K_U02, K_U03, K_U04, K_U05, K_U06, K_U07)
Social skills:
Students plan and organise their work; they work both independently, analysing poetic texts, and in small groups, where they are assigned tasks and discuss a given topic, before presenting the group’s findings in a concise presentation lasting a few minutes. They reflect on the results of their work, drawing on the conclusions presented by the other groups. They produce a written analysis of the text (in the form of a written assignment) and also contribute during lessons, proposing their own interpretations that go beyond canonical readings, demonstrating critical reading, sometimes linked to their own social and cultural context. They formulate at least one position, with justification, for every 15 minutes of class time. Students are prepared to participate actively in Spanish culture and to follow contemporary processes and phenomena occurring in Spanish poetry. They understand the need for continuous improvement and development. (K_K01, K_K02, K_K03, K_K04)
Assessment criteria
Teaching methods:
• Flipped classroom
• Jigsaw classroom technique
• Presentation
• Discussion
• Introductory lecture
Assessment criteria:
Seminar participants will be assessed on the basis of the following criteria:
- Attendance: 87%, i.e. two unexcused absences are permitted during the semester (15 sessions). Students may make up for an absence by attending an office hour and presenting an interpretation of one of the works analysed in class. In the event of attendance below 50%, the student will receive a grade of ‘not classified’ (NK).
- Participation = scoring criterion, max. 10 points: participation in discussion – the students formulate at least one position with justification per 15 minutes of class time (5 points) + written assignments covering metrical and stylistic analysis (5 points); pass mark 30%. Points for participation are bonus points added to the exam score; completion of three assignments is required. Participation takes into account both the willingness to speak in class and the difficulties faced by students who are anxious or avoid speaking in public.
- Exam: a written final exam consisting of two parts – an analytical section (18 points) and a historical-literary section (18 points); pass mark 50%
Grading scale: over 36 points [over 100%] – 5! (distinction); 35–33 points [100%–90%] – 5 (very good); 32–30 points [89%–83%] – 4.5 (good+) 29–27 points [80%–75%] – 4 (good); 26–23 points [72%–64%] – 3.5 (satisfactory +) ; 22–18 points [61%–50%] – 3 (satisfactory).
Marking scheme for questions (written exam, open-ended questions):
6 points – a comprehensive answer demonstrating excellent knowledge of the historical and literary context and the theoretical terms introduced in class, very strong skills in analysing and interpreting poetic text, and the ability to combine an analysis of the formal aspects of the poem with the creation of meaning. The answer demonstrates an original way of thinking, in-depth reflection on the text, even going beyond the ideas explored during the course, and no factual errors.
5 points – a comprehensive answer, demonstrating a very good knowledge of the historical and literary context and the theoretical terms introduced in class, strong skills in analysing and interpreting poetic texts, and the ability to combine an analysis of the poem’s formal structure with the creation of meaning. The answer shows reflection on the text and contains no factual errors.
4 points – a generally comprehensive answer, demonstrating a very good knowledge of the historical and literary context, mastery of the content covered and theoretical terms introduced in class; a good level of metrical and stylistic analysis. However, the answer does not go beyond the conclusions drawn during the course; there are no factual errors, but there may be minor inaccuracies or omissions regarding details.
3 points– a general answer which nevertheless demonstrates an understanding of the historical and literary context and a grasp of the core content covered in class; an adequate level of metrical and stylistic analysis; the answer does not fully and effectively apply the theoretical terms covered in class; there may be a single error or inaccuracy regarding historical and literary knowledge.
2 points– an incomplete, very general answer demonstrating knowledge of basic information regarding the historical and literary context; insufficient reference to knowledge of metre and style. Failure to use theoretical terms in the answer or their completely incorrect use, demonstrating a lack of understanding of the theoretical terms covered in class, inaccuracies regarding historical and literary knowledge.
1 point– a brief and general answer, providing a single correct piece of information relevant to the topic, but revealing a lack of knowledge of the historical and literary context, the principles of metre, and the stylistic structure of the poem; no use of theoretical terms in the answer or their completely incorrect use, demonstrating a lack of understanding of the terms covered in class, factual errors and inaccuracies regarding historical and literary knowledge.
0 points – no answer or a very general and perfunctory answer, revealing a lack of knowledge of the historical and literary context, the rules of metre, and stylistic structure; failure to use terminology in the answer or its completely incorrect use, demonstrating a lack of understanding of the issues covered in class, factual errors and inaccuracies regarding historical and literary knowledge.
Using AI tools:
We follow the general URK guidelines, which are given: dokumenty.uw.edu.pl/dziennik/DURK/Lists/Dziennik/Attachments/134/DURK.2023.98.UURK.98.pdf
Bibliography
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