Pow4382/6930 (section 1D45/1D49) Brazilian Drama



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POW4382/6930 (section 1D45/1D49)
Brazilian Drama
MWF 7th 1:55-2:45 PUGH 120

http://www.atribunarj.com.br/frente-fria-chega-ao-estado-do-rio-com-riscos-de-temporais/
INSTRUCTOR INFORMATION

Instructor: Dr. Mary Elizabeth Ginway

Office: Dauer 149

Email: eginway@ufl.edu

Phone: 273-3745

Office hours: Th 3-5 F 3-4


STATEMENT ON LANGUAGE USE IN THE CLASSROOM

Following departmental policy, this course will be taught in Portuguese. Research in language teaching and learning has shown that language instruction must provide significant levels of meaningful communication and interactive feedback in the target language in order for students to develop language and cultural proficiency. The American Council on the Teaching of Foreign Languages recommends that language educators and their students use the target language as exclusively as possible (at least 90%) at all levels of instruction. The Department of Spanish and Portuguese Studies follows this recommendation in all coursework.


COURSE GOALS AND OBJECTIVES

The course opens students to the dramatic traditions of Brazil, including tragedy, melodrama, comedy, political theater, telenovela and the religious auto. The class examines the work of the theatrical groups as well as productions of the stage, television and film within the context Brazil’s social and political culture and key historical moments in the nineteenth and twentieth centuries.


By the end of the class students will

  • Improve written and spoken Portuguese via class activities and assignments

  • Learn to classify and analyze different dramatic modes and their theories

  • Understand the social, political and historical context of theatrical works in Brazil

  • Create a project based on personal interests

Develop a project on Brazilian theater, perform
COURSE MATERIALS
Works to be studied include: Ivanir Calado Tia Moira (1996); Dois perdidos numa noite suja (1966) Plínio Marcos; Martins Pena, Juiz de Paz na Roça (1838); Dias Gomes, O pagador de promessas (1960); José de Alencar, Mãe (1859); Nelson Rodrigues, Vestido de noiva (1943); Ariano Suassuna, Auto da compadecida (1956); [filme 2002], Roberto Athayde, Apareceu a Margarida (1973); Glauber Rocha, Deus e o diabo na terra do sol [roteiro/filme] available in a copypack: Gatortextbooks, 375-4500, call before pickup.

Other materials works will be found on Canvas, under Files.


ASSESSMENT










Grade Scale and Policies

The grade scale for all 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


Graded Course Components
Undergraduates:
Graded component 1 = 20%

  • Graded component 1 Notebook: 20% This is a loose-leaf folder of four short 1-2- page response papers; they may be re-written for a better grade if handed in on time. These should address a theme, theory or interpretation of texts read in class.

Graded component 2 = 25 %

  • Description: Exams: 25% These exams are to verify that they student has read the material and mastered class concepts and material. Short answer and essay format. The final will be a take-home exam.

Graded component 3 = 20%

  • Description: Paper: 20% This is a longer paper 3-5 pages on a topic developed by the student and approved by the instructor, showing understanding and interpretation of a dramatic work, using proper form and bibliographical information. Graduating majors choosing to complete will be evaluated based on a written paper and a presentation in order to complete the Individual Student Assessment (see last page)

Graded component 4 =20 %

  • Description: Presentation/ Performance/Creative Project: 20% Choose among the following: a regular presentation during the semester [about a play’s performance, the life and works of the dramatist, or another dramatic work], or it can be a creative presentation done the last week of class [the performance of a scene from a play, an original video based on a play, or a scene with annotated director’s notes, costume descriptions, and other staging instructions]. Alone, in pairs or groups

Graded component 5 =15 % Participation/blogs

Preparation, Participation, attendance: Preparation you will be asked to write a blog/discussion 3 times during the semester and will be given at different intervals throughout the semester (10%); paying attention, asking questions, participating in discussions, listening respectfully, going to office hours, using time in class to work on project fruitfully, sharing ideas and resources with other students (5%). While attendance to all classes is expected, health and emergencies may interfere. Students must attend office hours and or/ set a meeting to make arrangements for make-up work. Three unexcused absences without penalty. After that a point will be subtracted from the final grade.


6930 Graduate students will be required to read critical and theoretical texts distributed throughout the semester on Canvas and commented on through the discussions tab
Graduate students Annotated bibliography; the presentation will be about one extra play [recommendations: As doutoras (1889) França Júnior [http://www.cervantesvirtual.com/obra-visor/as-doutoras--0/html/ffc9e518-82b1-11df-acc7-002185ce6064_1.html#I_2_]; A moratória (1955) by Jorge Andrade, Eles não usam black-tie (1958), [film 1981] Gianfrancesco Guarnieri,, Morte e vida severina (1956) João Cabral de Melo Neto (music by Chico Buarque); Lisbela e o prisioneiro (1964) [film 2003] Jorge Furtado) Osman Lins; A gota d’água (1975) by Chico Buarque and Paulo Pontes, Ópera do malandro (1980) Chico Buarque or another play/filme by Nelson Rodrigues or Aviso prévio (1987) Consuelo de Castro, and must be tied into critical or theoretical readings. Criticism and theories about drama include essays by Esther Hamburger, José de Alencar, Machado de Assis, João Faria, Fred Clark, David George, Sábato Magaldi, Severino Albuquerque, Fernando Rocha, among others; theory by Aristotle, Antonin Artaud, Mikail Bakhtin, Bertolt Brecht, Augusto Boal and Glauber Rocha. Graduate students will also be expected to use outside sources and for their final paper.


  • Graded component 1: Research Paper = 30%

  • Graded component 2: Annotated Bibliography = 25%

  • Graded component 3: Canvas Discussion of critical/theoretical material = 25%

  • Graded component 4: Paper outline/Presentation = 10%

  • Graded component 5: Discussion/Participation= 10%


Graded component 1 = 30%

Description 1: Research Paper 10-12 pages, with bibliography, including 3-5 of the articles in the bibliography, along with 10 others: due on or before final exam date



Graded component 2 = 25%

Description 2: Annotated bibliography; you will cite one of the weekly assigned articles and write a 200-300-word summary for the first 10 weeks.



Graded component 3 = 25%

Description 3: FIVE Canvas blog/ discussion of critical/theoretical material



Graded component 4 = 10%

Description 4: Presentations: the first should be on one mode of dramatic performance or author not studied in class; the second is an outline of Research paper



Graded component 5 = 10%

Preparation, Participation, attendance: paying attention, asking questions, participating in discussions, listening respectfully to undergraduates, using time in class to work on project fruitfully, sharing ideas and resources with other students. While it is expected that graduate students attend all classes, health and emergencies may interfere. Students must attend office hours and or/ set a meeting to make arrangements for make-up work. After two absences, one point will be subtracted from the final grade.


CALENDAR

This calendar is subject to change for pedagogical or logistical motivations. To the extent possible, students will be notified in advance of any such changes via CANVAS: ANNOUNCEMENTS.




DATE

READING/ASSIGNMENTS (to be discussed that day)




Jan 08

Apresentações; ementa da aula; teatro e sociedade brasileira













Jan 10

Definições de teatro e experiencia dramática: Canvas and Search:

Brazilian theater




http://enciclopedia.itaucultural.org.br/busca?categoria=teatro




Jan 12

Telenovelas e a experiência cotidiana: Thomas Tuft Living with the Rubbish Queen [A rainha da Sucata, 1990];

Canvas





GS: Thomas Tufte; Décio Pignatari, Evolução da literatura dramática; artigos para a bibliografia anotada 1 due each following Monday




Week 2

Telenovela













Jan 15

MLK













Jan 17

“Tia Moira” (1996) Ivanir Calado Partes 1-5/

Canvas










Jan 19

“Tia Moira”/ 6-11, Esther Hamburger, Intro; Blog 1 telenovela all

Canvas




GS: Hamburger, “Verde Amarelo e azul,” “Novela e mudança, O Brasil atenado (2005)] Bibliografia anotada 2




Week 3

Teatro politico: violência verbal e social













Jan 22

Dois perdidos numa noite suja (1966) Plinio Marcos

https://docs.google.com/file/d/0BzDRHSAcaY6aZkNxOGdLZGE1dUE/edit

Quadros 1 e 2




http://memoriasdaditadura.org.br/pecas/dois-perdidos-numa-noite-suja/index.html





Jan 24

Dois perdidos

Quadros 3 e 4




GS Ch “The Violent Double” Violent Acts Severino Albuquerque (1991) 229-69





Jan 26

Dois perdidos

Segundo Ato




GS article: Dois perdidos e engajamento politico https://ssl4799.websiteseguro.com/swge5/seg/cd2008/PDF/IC2008-0146.PDF

Bibliografia anotada 3







Em “O mau vizinho” (1994) Regina Rheda retrata Plinio Marcos




Week 4

Comédia e sátira social




Jan 29

O Juiz de Paz na Roça (1838) Martins Pena http://www.bdteatro.ufu.br/download.php?pid=TT00149


1-15










Jan 31

Juiz de Paz

15-30










Feb 2

A negação do Brasil, first part

GS: Sábato Magaldi “Criação do teatro brasileiro”; Northrop Frye, “Mythos of Spring: Comedy” Bibliografia anotada 4



Short paper 1










Week 5

Tragédia e o teatro artistotélico abrasileirado







  1. http://www.viagemdeferias.com/salvador/cultura/sincretismo-religioso-bahia.php

  2. Ligas camponesas

http://mundoeducacao.bol.uol.com.br/historiadobrasil/as-ligas-camponesas.htm

  1. Tragédia aristotélica




Feb 5

O pagador de promessas (1960) Dias Gomes Ato I













Feb 7

O pagador Ato II







GS: Aristotle, “Tragedy,” Anatol Rosenfeld, “A obra de Dias Gomes”]




Feb 9

O pagador Ato III

GS: bibliografia anotada tragédia 5







Week 6

Melodrama e o teatro realista







https://www.youtube.com/watch?v=WBl5dqeohTk


A que horas ela volta

Feb 12

Mãe (1859) José de Alencar













Feb 14

Mãe













Feb 16

Mãe Blog 2 teatro e comentário social







GS: Faria, José de Alencar; Machado de Assis: “Ideias sobre o teatro” drama realista; Miriam Garcia Mendes, “A personagem negra no teatro brasileiro; Ismail Xavier “Melodrama, ou a sedução moral negociada” Bibliografia anotada 6




Week 7

Teatro modernista













Feb 19

Vestido de noiva (1943) Nelson Rodrigues Ato 1

Paper 2










Feb 21

Vestido de noiva













Feb 23

Vestido de noiva




GS: Fred Clark, Impermanent Structures; Luiz Arthur Nunes, “Melodrama and Naturalism;” Teatro Brasileiro de Comédia; artigo Fernando Rocha, “Nelson Rodrigues through the Keyhole” Luso-Brazilian Review 47.1 (2010): 71-88;

Bibliografia anotada 7

Week 8

Teatro político e o teatro da crueldade













Feb 26

Apareceu a Margarida (1973) Roberto Athayde













Feb 28

Apareceu a Margarida







Blog 3 teatro moderno




March 2

Apareceu A Margarida

Paper 3 teatro experimental




GS: Violent Acts/Severino Albuquerque/Artaud Theater and its Double; João Roberto Faria, Anos 70, Teatro na estante; Bibliografia anotada 8




Week 9

Spring Break Mar 5-9













Week 10

Revisão e projetos













Mar 12

Grupos e projetos possíveis/revisão

Long Paper topic




Blog 3




Mar 14

Revisão







Mar 16

Exame/bibliografia anotada completada













Week 11

Arena, comédia fontes populares, sátira menipéia













Mar 19

Auto da compadecida (1955) Ariano Suassuna













Mar 21

Auto













Mar 23

Auto







GS: Quackenbush “The Auto;” Mikhail Bakhtin: Menippean satire;




Week 12

Rede Globo e comédia tradicional













Mar 26

Auto filme

Paper 4










Mar 28

Auto
















Mar 30

Auto

Outline of long paper

GS: Outline of play




GS: Magaldi, Arena contra Tiradentes; Boal; Augusto Boal, The Theatre of the Oppressed Experiência de teatro popular




Week 13

Brecht, teatro épico e a estética de fome













Apr 02

Deus e o diabo







GS Blog 4




Apr 04

Deus e o diabo













Apr 06

Deus e o diabo

LONG PAPER




GS: Brecht on theatre; Ismail Xavier, Esthetic of Hunger




Week 14

Grupos teatrais e oficinas fílmicas













Apr 09

TEN [Teatro Experimental do Negro] Petrônio Domingues

Canvas










Apr 11

O legado Arena/

http://www.atribunarj.com.br/frente-fria-chega-ao-estado-do-rio-com-riscos-de-temporais/

















Apr 13

Nós do morro [vídeo e teatro]







GS: David George: The ModernBrazilian Stage




Week 15

Projetos estudantis







Grad student Blog 5




Apr 16

Apresentações













Apr 18

Apresentações













Apr 20

Apresentações













Week 16

Projetos













Apr 23

Apresentações pós-graduação













Apr 25

Apresentações pós-graduação/Revisão













Apr 30

EXAM 30A Takehome due 9:30 am/Papers for Graduate students






UNIVERSITY POLICIES AND RESOURCES

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.


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

Suggested wording: “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 (Under)Graduate 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).



FOR GRADUATING MAJORS ONLY, see below:
Academic Learning Compact – Department of Portuguese and Portuguese Studies for Graduating Majors Only

Evaluation of written project and oral presentation

Name _________________________________ Term ______________

Class ____________________ Assessed by ______________________


SLO

Excellent

Good

Basic

Rudimentary

Insufficient

POINTS

Interpretation and analysis

(50%)


Demonstrates profound knowledge of the cultural correlates, literary antecedents, and/or linguistic structures being studied; knowledge is applied to the chosen text(s) in an insightful way; provides well-structured arguments or accurately analyzed evidence to support conclusions

[50-45 points]

Demonstrates considerable knowledge of the cultural correlates, literary antecedents, and/or linguistic structures being studied; knowledge is applied to the chosen text(s) competently; provides acceptable arguments or analyzed evidence to support conclusion
[44-40 points]

Demonstrates some knowledge of the cultural correlates, literary antecedents, and/or linguistic structures being studied; knowledge is applied to the chosen text(s) with some accuracy; provides some arguments analyzed evidence but conclusions are only vaguely supported
[39-35 points]

Demonstrates only piecemeal knowledge of the cultural correlates, literary antecedents, and/or linguistic structures being studied; knowledge is applied to the chosen text(s) in a hit-or-miss way; arguments or evidence lead only tangentially to conclusions


[34-30 points]

Unable to demonstrate coherent knowledge of the cultural correlates, literary antecedents, and/or linguistic structures being studied; knowledge is inadequately applied to the chosen text(s); arguments or evidence presented do no lead to any coherent conclusion
[29-0 points]




Written language

(25%)


Excellent command of the Portuguese language; near-native in terms of grammar and vocabulary; mastery of stylistic conventions of written Portuguese; free of orthographic or stylistic errors

[25-23 points]

Good command of the Portuguese language; above average in terms of grammar and vocabulary; shows understanding of stylistic conventions of written Portuguese; minimal orthographical or stylistic errors
[22-20 points]

Only moderate command of the Portuguese language; frequent errors in grammar and vocabulary; shows only basic knowledge of stylistic conventions of written Portuguese; some orthographical and stylistic errors
[19-18 points]

Minimal command of the Portuguese language; deficient in terms of grammar and vocabulary; written Portuguese is lacking stylistic grace; considerable orthographical and stylistic errors


[17-15 points]

Shows no command of the Portuguese language; excessive errors in terms of grammar and vocabulary; language errors interfere with meaning; shows no understanding of stylistic conventions of written Portuguese; numerous orthographical errors

[14-0 points]




Spoken language

(25%)


Excellent command of the Portuguese language; near-native in terms of grammar, vocabulary, pronunciation and fluency; presents topic with confidence and ease; answers questions with ease and appropriate register

[25-23 points]

Good command of the Portuguese language; above average in terms of grammar, vocabulary, pronunciation and fluency; presents topic with confidence but may falter on occasion; answers questions competently with appropriate register
[22-20 points]

Only moderate command of the Portuguese language; frequent errors in grammar, vocabulary, pronunciation and fluency; occasionally lacks confidence in presenting topic; answers some questions but is flustered, may not maintain appropriate register

[19-18 points]

Minimal command of the Portuguese language; deficient in terms of grammar, vocabulary, pronunciation and fluency; shows little confidence in ability to present topic; has difficulty answering questions on topic and does not use appropriate register


[17-15 points]

Shows no command of the Portuguese language; excessive errors in terms of grammar, vocabulary, pronunciation and fluency; language errors interfere with meaning; unable to present to audience in coherent way; cannot answer questions related to topic

[14-0 points]



















TOTAL

____/100


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