Graduate Courses

For the MA only, the department accepts up to a limit of two undergraduate courses with a number of 1300 or higher.

The following is a representative, rather than exhaustive, list of graduate courses that have been offered by the department.  In the cases of "topics" courses, the titles of the courses reflect a gamut of thematic possibilities.

Spring 2017 Hispanic grad classes:

Span 2461-Latin American Novel (class # 30611)

John Beverley

Tues 6-8:30pm, 136 CL

We will read and analyze together Roberto Bolanyo's novel 2666, often considered the most important Latin American novel of the new century. Our work will bring us in contact with the question of globalization and its effects on human life, and with new forms of social and cultural theory and practice that appear in its wake.


Span 2452 Contemporary Latin American Film “Visualizing Borderscapes: The Politics of Vision/Space in Contemporary Latin American Cinema” (class # 29689)

Junyoung Veronica Kim

Tues 3-5:25pm, 137 CL

In “The Age of the World Picture” -- his essay written after World War II – Martin Heidegger argues that in the age of modern technology, the world has become a “world picture,” such that understanding, knowing, and conceiving the world is an act inseparable from seeing, picturing, and viewing the world. In modernity, the process of visual objectification that converts the world into a visual object (a “picture,” an “exhibition,” or “target”) becomes the epistemological basis of knowledge, representation, and even subjectivity. Supplementing Heidegger’s argument, scholars such as Timothy Mitchell (“the world as an exhibition) and Rey Chow (“the age of the world target”) have pointed out that this politics of vision is intimately connected to a Western colonial/imperial epistemology (e.g. Orientalism, the coloniality of power), that relies on and constructs a set of naturalized spatial structures through which the knowledge of the world is ordered. The intimate relations between visuality and space provide the premise of this course that explores the ways in which borders – as that which attempt to distinguish, separate, define or even connect one space from another – are visualized, imagined and narrated in contemporary Latin American cinema. The concept of borderscapes, which we will utilize in this course, points to a double paradox of contemporary life: the increased policing of immigration and human movement along local/national/regional borders while goods and information flow across borders quite freely; and the hardening of ethnic, racial, class and gender boundaries, at a time when discourses of multiculturalism and diversity are highly disseminated and celebrated. Taking seriously this notion of borderscapes that acknowledges the dynamic, mobile, relational and heterogenous nature of borders produced by the complex movements of global capitalism and migration, we will examine the ways in which visuality and visual media produce, interrupt and articulate borders. How do contemporary Latin American films visually negotiate the contradictions and multiple spatializations presented by borderscapes? What strategies, interventions, and epistemologies does contemporary Latin American cinema offer? We will address these questions by analyzing several Latin American films from various nations and productions that include Carlos Reygadas’s Japón (2002), Rodrigo Plá’s La zona (2007), Alex Rivera’s Sleep Dealer (2008), Lucrecia Martel’s La mujer sin cabeza (2008), Martín Tsu’s La salada (2014), Fellipe Gamarano Barbosa’s Casa Grande (2014), and Jayro Bustamente’s Ixcanul (2015). Theoretical and critical texts will be culled from Doreen Massey, Michel Foucault, Gilles Deleuze, Paul Virilio, Sandro Mezzadra and Brett Neilsen, Rey Chow, Lisa Marie Cacho, Walter Mignolo and Nicholas De Genova.


Span 2464-Latin American 20th Century Topics “Coloniality, Delirium, Alterity: Hemispheric and Transatlantic Voices” (class number: 26151)

Juan Duchesne

Wed 3-5:50pm, 137 CL

Delirium and alterity (becoming other) are fertile manifestations of relations of coloniality. Relations of coloniality include dominance, complicity, alliance, endosymbiosis, transformation and resistance. Coloniality must be understood as a range of ongoing manifold processes that transcend the formal colonial or neocolonial status of specific countries, and tend to reproduce themselves at all levels of social and cultural practice as part of the global development of modern industrial society, to include class, race, gender, interspecies relations and myriad forms of subalternity. This course will examine a representative hemispheric sample of twentieth and twenty-first century short stories and short novels in this regard: João Guimarães Rosa (Brazil), selected short fiction; Enrique Bernardo Núñez (Venezuela), Cubagua; Clarice Lispector (Brazil), selected short fiction; Antonio di Benedetto (Argentina), Mundo animal –short stories, selection; Frankétienne (Haiti), A punto de reventar; Quince Duncan (Costa Rica), Los cuatro espejos; Andrés Caicedo (Colombia), Calicalabozo –short stories, selection; Alejandro Rebolledo (Venezuela), Pim, pam, pum; Guillermo Fadanelli, Mariana Constrictor –short stories, selection; Carlos Labbé (Chile), Caracteres blancos –short stories, selection; Lucía Puenzo (Argentina), El niño pez; Samantha Schweblin (Argentina), Pájaros en la boca –short stories, selection; Rita Indiana Hernández (Dominican Republic), La mucama de Ominculé; Pedro Cabiya (Puerto Rico), Transfusión; and Eduardo Luis Angualusa (Angola), Barroco tropical. Theoretical reflections by Frantz Fanon, Aníbal Quijano, and Donna Haraway will be part of the discussion. Language of instruction is Spanish. Class discussion will be based on Spanish editions of all fiction, including works originally written in Portuguese (Brazil and Angola) and French (Haiti). Students may handle available translations in English. Class work and papers may be presented in Spanish or English.


Span 2460-Latin American Drama “Decolonial Performance” (class number: 29690)

Armando Garcia

Tues 3-5:25pm, 136 CL

Decolonial Performance is a graduate seminar on theatre and performance artists who wrestle with the legacies of colonialism. The seminar studies theatre manifestos, plays, digital media, documentary films, and performance art by Latin American, Caribbean, Latina/o, and Native American artists. It focuses on contemporary feminist and queer aesthetic practices that highlight the insidious imprints and lasting effects of the early colonial period. For example, performances like James Luna¹s Artifact Piece (1986), where the Luiseño and Mexican American artist was exhibited in a museum glass case as a relic of Indian pasts, seek to alter colonial and postcolonial formations of race, desire, and freedom by rehearsing the colonial subjection of indigenous people in the Americas.

In considering theatre and performance artists, including Xandra Ibarra (La Chica Boom), Aimé Césaire, Kent Monkman (Miss Chief Eagle Testickle), Nao Bustamante, James Luna, Emilio Rojas, and Raquel Carrió and Flora Lauten, our discussions will analyze the significant role that embodied practices have played in the consolidation of racial subjectivity from the colony to the present. The course will situate the artists¹ embodied epistemologies in conversation with key ideations of Black feminist epistemologies, erotic sovereignty, ontology, freedom, racial formations, decoloniality, and queer futurities by Alicia Arrizón, Sylvia Wynter, José E. Munoz, Jodi A. Byrd, Diana Taylor, Juana María Rodríguez, and Gerald Vizenor, among others. The course will be conducted in English. Students have the option of writing their Final papers in Spanish or English.


Span 2657-19th Century Topics-Brazilian Literature (class # 29688)

Bob Chamberlain

Mon 3-5:25pm, 136 CL

Description TBA-