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HUM 2461 Humanities of Latin America Fall 2013

Day 27 Tuesday, 26 th of November. HUM 2461 Humanities of Latin America Fall 2013. Attendance Course housekeeping Final paper due date (Nov.30 ) Female Writers in the 19 th Century Modernismo : Latin American Artists. Course housekeeping .

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HUM 2461 Humanities of Latin America Fall 2013

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  1. Day 27 Tuesday, 26thof November HUM 2461Humanities of Latin AmericaFall 2013 Attendance Course housekeeping Final paper due date (Nov.30) Female Writers in the 19th Century Modernismo: Latin American Artists

  2. Course housekeeping • Saturday, 30th of Nov.  Due date for Final Paper. • Tuesday, 3rd of December  Quiz #3. • Tuesday, 10thof December  Final ExamFrom 1:00 PM to 3:00 PM (2-hour exam)

  3. Female Writers in the 19thCentury • GertrudisGomézde Avellaneda Sab (1841) and Dos mujeres(1842) • ClorindaMatto de Turner  Aves Sin Nido(1889). • Mercedes Cabello de CarboneraBlanca Sol (1888). • Juana MauelaGorritiLa oasis de la vida(1880). • Flora Tristán Peregrinaciones de unaparia(1839). • Teresa González de Fanning Ambicióny abnegación (1886).

  4. Gertrudisgoméz de avellanedaFeminist • Sab, (1841) • According to the cannon: This novel can be compared to Uncle Tom's Cabin (1852) in that both novels are literary protests against the practice of slavery. • However, in Sab, the writer draws a parallel between the subjugation of the slave and the second-class status of women. She writes: Como los esclavos, ellasarrastranpacientementesucadena y bajan la cabezabajo el yugo de lasleyeshumanas.  (Like slaves, women patiently drag their chains and lower their heads under the yoke of human laws.)  • Sabwas banned in Cuba for its unconventional approach to society and its problems. Avellaneda's works were considered scandalous because of her recurrent themes of interracial love and society's divisions.

  5. Gertrudisgoméz de avellaneda(Cuba 1814-1873)

  6. Gertrudisgoméz de avellanedaFeminist • Dos Mujeres, (Two Women)(1842) • Her second novelwas the equally controversial because it challenges the benefits of marriage. • “Deals with great topics of the 19th century: arranged marriages, adultery, infidelity, female education, women’s roles in patriarchal societies.” (María de los Angeles Ayala)

  7. Dos Mujeres, (Two Women) (1842) • Examined women's roles in religion, history, government, and the intellectual sphere. Avellaneda's work reveals a consistent interest in the condition of women that is exemplified not only in Sab but present in the writings in Poesías and Obras. • Avellaneda was denied membership in the Royal Spanish Academy because of her gender, but she enjoyed enough success to earn a living from her writing. She was a popular figure in Cuba and Spain, and both countries claim her as part of their national literary heritage.

  8. Gertrudisgoméz de avellanedaFeminist • Saband Dos mujeres were experimental works for its time and established the author's reputation as a master of language and a voice for women. In Dos mujeres, she invests the lives of two working class women with extraordinary insights into race, sex, gender, and other feminist issues. • In 1909, the American writer Gertrude Stein will do the same in her first novel Three women. Stein became the voice of the American women writers and one the first feminist voices in the United States.

  9. 20TH CENTURYTHE NEW HUMANITIES ERA 5. modernismoinLatin American

  10. Artistic Movements Neoclassicism(late 18th century) Romanticism (1825-1875) 3. Realismo (1850-1880) Costumbrismo (1830-1910) Modernismo (1875-1916) 5. Modernismo(1875-1916)

  11. Modernismo (1) • Cultural maturity. • Internationalism. • Pride in Latin American identity. • Exoticism more than during romanticism. • Blend of European ---isms such romanticism, symbolism, parnassianism, et cetera. • Voluntad de estilo individualism. • Modernists try to show their stylin’

  12. Modernismo (2) • José Martí (Cuba) • 1875 Ismaelillo • Beginning of modernismo • Rubén Darío (Nicaragua) • 1888  Azul • 1916 (end of modernismo)

  13. José martí“Father of modernismo” • 1877  Moved to Guatemala, and he wrote the play Patria y Libertad: a drama indio(Country and Liberty: an Indian Play). • 1878  Hereturned to Cuba, where he signed the Pacto de Zanjónat the end of the failed Cuban Ten Years’sWar of independence against Spain. • 1880 He worked in New York City as the leader of the Cuban Revolutionary Party. • 1881  He moved to Venezuela.

  14. José martí • 1893 He met the Nicaraguan modernista poet Rubén Daríoin New Mexico thereby joining the First modernista Generation with the Second modernistageneration. • Praised Simón Bolívar as the hero of South American independence and the major model for Cuban independence. • 1894  first attempt to start a war of independence in Cuba. • 1895  Martíjoined the independence rebellion.

  15. José martí: PUBLICATIONS AND SPEECHES: • 1882  Ismaelillo, modernista poetry. • 1889  "Mother America” Washington, D.C. • 1891  Versos sencillos, modernista poetry. • 1891  Article “NuestraAmérica / Our America” in La RevistaIlustrada (New York). • 1891 Gave two patriotic speeches in IborCity, Tampa • 1892  Founded Patria.

  16. Overview of Jose Marti's "Our America” (1) Marti calls for people to step forward with their ideas. Expresses desire for people in America to be united, to make America strong. Uses "Our America" to refer to Latin America. Situates his essay within a historical context with mention of the Aztecs, the Inca, Simon Bolivar--Latin American liberator--and figures from Mexico's War of Independence.

  17. Overview of Jose Marti's "Our America” (2) Recognizes role of Catholic Church (rosary as our guide) in identity. Reflects on the Peasant--associates him with Nature, an individual who will resist tyranny and outside ideas. Makes note of the Giant of the North.

  18. José martícharacteristics of his work • In terms of style, his work is rich, elaborate, elegant, crisp, unpredictable, and complex. • In terms of content, he demonstrated a love for family, a love for all humanity (he was a passionately anti-slavery) and love Cuba.

  19. Rubén darío“end of modernismo”

  20. Rubén darío(1867-1916) • He is the central and most dominant modernistafigure. • He was a prolific, creative, innovative, and protean poet from Nicaragua. • He is so significant a humanist that, traditionally speaking, his death in 1916 sets a kind of end mark for the entire movement. The year 1916 is a handy way to mark a transition to a rapid succession of changes in style and content in the humanities of Latin America that continues throughout the twentieth century and into the twenty-first century.

  21. Rubén darío(1867-1916) • He was illegitimate and that his heritage includes white, black, and indigenous forebears. • In1888, his first major publication, Azul, which contains both prose and poetry. • From this time onward he worked as a diplomat and journalist.

  22. AZUL (1888) • Carries no moral purpose, describe no feats of heroism, and do not use any clichéd Spanish themes. • The stories adopt a new worldly-wise tone, often suggesting Paris. • Evokes an erotic, sensual mood; creates vivid, ethereal images, and describes the artist and the unappreciated role of art in a bourgeois society. • Describes nymphs, fairies, and other characters that become symbolic or mythic.

  23. Modernism (1875-1916) • Modernism appeared at a time when traditional forms of art, architecture, literature, religious faith, and many other social organizations were being made obsolete by the new economic, political, and social ideals of an emerging industrial world. • Humans have conquered the planet through technology.No longer was it God performing miracles, but man, who changed his world through the very tools he had created. • Through Modernism, the arts shifted focus from the divine to the mundane, reviving the stagnating schools of art and thought.

  24. the Grupo dos Cinco(the Group of Five) Poets: Mário de Andrade. Oswald de Andrade. Menotti del Picchia. Artists: Tarsilado Amaral. Anita Malfatti.

  25. Modernismo in Brazil O Grupodos Cinco(The Group of Five)

  26. Semana de Arte Moderna ( Modern Art Week)

  27. Semana de Arte Moderna(1922) It was as important as the International Exhibition of Modern Art (the Armory Show)1913 (New York City)

  28. ModernistArtistAnita Mafalti 1889 – 1964 Painter and Drawer. Shestudied at IndependentSchoolofArt in New York. Shecriticisessocietybypaintingurbansufferingpeople.

  29. A estudante russa(The RussianStudent)1915

  30. O Farol(The Light ) 1915

  31. Itanhaém1948-49

  32. Tarsila do Amaral: selfportrait

  33. Tarsila do Amaral ‘Quero ser pintora da minhaterra’ ( I wantto be a painter of myhomeland) 1886 – 1973 Well-knowforher free and ownstyle Mostfamouspaint: Abaporu ( 1928), whichwassoldforUS$ 1,3 milion @Christie's in New York City. This is thehighestpriceeverpaid for a BrazilianPainting.

  34. Abaporu, 1928

  35. A Negra(Theblackwoman) 1923

  36. O Pescador (TheFisherman, 1925) and Morro de Favela (SlumSlope, 1924)

  37. Menotti del picchia 1892 — 1988 Poet, journalist, and painter. Associated with the Generation of 1922, the first generation of Brazilian modernists. JucaMulato (1917) Salomé (1940)

  38. With this book, Del Picchia gets fame as a modernist artist. • The book deals with topics related to race and social class. • Slave who falls in love with the daughter of his master.

  39. Jucamulato Sofre, JucaMulato, étuasina, sofre… Fecharao mal de amornossa alma adormecidaédormirsemsonhar, éviversemtervida… Ter, a um sonho de amor, o coraçãosujeitoé o mesmoquecravarumafaca no peito. Estavidaé um punhal com doisgumesfatais: nãoamarésofrer; amarésofrermais"! Suffer, JucaMulato, is your fortune, suffer …Hiding lovesickness in our sleeping soul is like sleeping without dreaming, living without a life… Having a heart attached to a dream of love is similar to having a knife in the chest. This life is a fatal dagger with two edges: not to love is to suffer, to love is to suffer even more!

  40. Mário de Andrade 1893 – 1945 poet, novelist, criticalofart, music scholar, universityprofessor. Well-know as themostbrilliantandimportantBrazilian scholar ofthe 20th century.

  41. Obras de Mário de Andrade • Macunaíma is a landmark precursor of Latin American magical realism, which has informed the work of contemporary writers from Garcia Marquez to Salman Rushdie. • Macunaima, first published in Portuguese in 1928, and one of the masterworks of Brazilian literature, is a comic folkloric. PaulicéiaDesvairada ( Crazy São Paulo) Macunaíma

  42. Oswald de andrade(1890 – 1954) O manifesto antropófago (The Cannibal Manifesto) 1928 Cannibalism becomes a way for Brazil to assert itself against European post-colonial cultural domination. "Tupi or not Tupi: that is the question."

  43. The Grupo dos Cinco Who are the founders of Brazilian modernism? • Poets: • Mário de Andrade. • Oswald de Andrade. • Menotti del Picchia. • Painters: • Tarsila do Amaral. • Anita Malfatti.

  44. See you Tuesday Hasta el martes Àmardi Atéterca-feira

  45. Jorge Amado • Grewup on a cacao plantation. • He publishedhisfirst novel at age 19. • Three of hisearlyworksdealwiththe cacao plantations, emphasizingtheexploitation and themisery of themigrantblacks, mulattoes, and poorwhiteswhoharvestthecrop and generallyexpressingcommunistsolutionsto social problems. Aug. 10, 1912 - Aug. 6, 2001, Salvador, Bahia. Braziliannovelistwhowrotestories of life in theeasternBrazilianstate of Bahia won internationalacclaim.

  46. Jorge Amado,FamousNovels Dona Flôr and herTwoHusbands Gabriela, Clove and Cinnamon

  47. CecíliaMeireles • 1901- 1964 • Poet, jornalist, professor, • Beganwritingpoems at theage of 9, • Shealwaysreflectsaboutlife, lonelyness, emptiness, but in a gentle, kindway.

  48. Retrato "Eu não tinha este rosto de hoje, assim calmo, assim triste, assim magro, nem estes olhos tão vazios, nem o lábio amargo.Eu não tinha estas mãos sem força, tão paradas e frias e mortas; eu não tinha este coração que nem se mostra. Eu não dei por esta mudança, tão simples, tão certa, tão fácil: Em que espelho ficou perdida a minha face?"

  49. Portrait I did not have this face I have today,So calm, so sad, so thin,Nor these empty eyes,Nor these bitter lips.I did not have these weak hands,So inert, so cold and dead;I did not have this heartThat doesn't show itself.I was not aware of this change,So simple, so certain, so easy:-In which mirror has my face been lost?

  50. ClariceLispector 1920-1977 Psychologicalside of thehumanbeing Introspection Epiphany Dailylife

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