Luis Cárcamo-Huechante

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Description: Since 1990s, the question of territory and territorial rights has been a foundational concept and imaginary in the indigenous resurgence movement throughout the Americas, or Abya Yala—the native Kuna term to name the whole continent. Against narratives of “de-territorialization” (Deleuze and Guattari) that prevailed in the terrain of “high theory” in late twentieth century, indigenous movement—already in the 1990s—placed the concept and imaginary of the territory as a fundamental notion in local and global political and cultural imagination. Usually, and mistakenly, indigenous notions of territory tend to be reduced to the land; however, for many native communities, it also includes the waters of rivers, lakes and oceans; the air and ether; material and spiritual domains. The present seminar will engage this indigenous politico-cultural articulation in order to explore the ways poetics and politics of the territory have shaped not only indigenous views but also literary, cultural, and historical discourses from other ethnic, racial, cultural and social agents in Latin America, in conjunction with colonial and anti-colonial histories. Furthermore, we will also discuss neighboring categories such as space, place, and border (frontera) as well as the ways in which territorial claims have become juxtaposed with new processes of diasporization; in this regard, the seminar will problematize to what extent the politics and poetics of diasporas may diverge, or perhaps mirror, previously held notions of deterritorialization and nomadism.  Finally, we will closely examine the acoustic, visual, geographical, racial, animal, human, bodily and spiritual senses of the territory as dimensions that play a critical role in the deployment of colonial and anti-colonial politics, engaging fields such as geography, sound studies, visual culture, environmental studies, and oceanic studies. Materials will include non-fiction prose, novels, poetry, chronicles, documentary video, video art, film, music, and historiographical and cartographical sources, especially from countries such as Argentina, Chile, Bolivia, Peru, and Colombia.

Bibliography and Media Sources

1. Literature:

Mariluán; Un drama en el campo (Chile, 1862) by Alberto Blest Gana

Una excursión a los indios ranqueles (Argentina, 1870) by Lucio Mansilla

Selections fromMaremoto (Chile, 1969) by Pablo Neruda

Selections from En Cuba (1972) by Ernesto Cardenal

Selections from Summa de Maqroll El Gaviero (Colombia, 1990;1973) by Alvaro Mutis

Imágenes paceñas (Bolivia, 1979) by Jaime Sáenz

Purgatorio (Chile, 1979) Raúl Zurita

Montacerdos (Peru, 1981) by Cronwell Jara

La esquina es mi corazón: crónica urbana (Chile, 1995) by Pedro Lemebel

La villa (Argentina, 2001) and Embalse (Argentina, 2003) by César Aira

El Ghetto (Argentina, 2003) by Tamara Kamenszain

Omnibus (Argentina, 2006) by Elvio Gandolfo

Selections fromPewma dungu / Palabras soñadas (2003) by Leonel Lienlaf

Selections fromÜl (2005) by Adriana Paredes Pinda

Selections fromMapurbe: Venganza a raíz (Chile, 2005) by David Añiñir

Phaqar Kirki o Cantos a las flores (Bolivia, 2006) by Elvira Espejo

Formas de volver a casa (Chile, 2011) by Alejandro Zambra

Volverse Palestina (USA/Chile, 2013) by Lina Meruane

2.  Films and Audio-Visual Sources

Punalka: el Alto Bío-Bío (Chile, 1995) by Jeannette Paillan

El velo de Berta (Chile, 2005) by director Esteban Larraín

Nostalgia de la luz (Chile, 2010) by Patricio Guzmán

El vuelco del cangrejo (Colombia, film, 2011)

Yvy Maraey, Tierra sin Mal (Bolivia, 2013) by Juan Carlos Valdivia

La Tentación del Nixhix (Bolivia, 2015) by Gumercindo Yumani, Nicolas Ipamo, Ruben Dario Cayaduro, Martha Zelady, Marcelina Cárdenas y Franklin Gutiérrez (Bolivia)

3. Literary, Cultural, Theoretical, and Historical Essays

Selections from Siete ensayos de interpretación de la realidad peruana (1928) by Jose Carlos Mariátegui

Selections from Anti-Oedipus (1972) by Gilles Deleuze and Félix Guattari

Indios, ejército y fronteras (1982) by David Viñas

“Diasporas” (1994) by James Clifford

Selections fromSpaces of Hope (USA, 2000) by David Harvey

Selections from“Settler colonialism and the elimination of the native” (Australia, 2006) by Patrick Wolfe

Selections from ¡… Escucha winka…! Cuatro ensayos sobre de historia nacional mapuche y un epílogo sobre el futuro (Chile, 2006) by Pablo Marimán et. al.

Selections fromTerritories of Difference: Place, Movements, Life, Redes (2008) by Arturo Escobar

Selections fromAcoustic Territories: Sound Culture and Everyday Life (2010) by Brandon Labelle

“The Prospect of Oceanic Studies” (2010) by Hester Blum

“Democracia liberal y democracia del Ayllu” from Violencia (re)encubiertas en Bolivia (2012) and Ch’ixinakax utxiwa: Una reflexión sobre prácticas y discursos descolonizadores (2010) by Silvia Rivera Cusicanqui

Selections from Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts (2013) by Douglas Kahn

Selections from Earth Politics: Religion, Decolonization, and Bolivia’s Indigenous Intellectuals (2014) by Waskar Ari

“Capítulo IV: La provincia: el mapa de la zona, un más allá de la fractura y la derrota” from Buenos Aires y las provincias. Relatos para desarmar (2014) by Laura Demaria.

Examines how indigenous writers, artists, and cultural producers have established their own voices and languages through writing and other forms of media. Analysis of the indigenous artistic and intellectual production in concrete political and cultural contexts.

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DESCRIPTION

Radio has played a major role in popular culture as well as in the subjective and collective imagination of individuals and communities in Latin America since the early twentieth century to the present. In this process, literary and cultural works have become shaped and immersed in radio culture, and radio has acquired a powerful literary, aesthetic, and cultural life. This seminar will focus on the ways in which this process has forged a radio-phonic imaginary in poetry, short stories, novels, chronicles, and essays within the field of literature as well as in the realm of the arts. In order to address these key questions, this course will examine how radio culture is literally and figuratively registered and performed in literary writing and in the arts. Strong focus will be put on the role of voices, narratives, sound aesthetics, auditory culture, language and the senses, the culture of radionovela or radioteatro, and the history of radio and sound technology in Latin America. The seminar will review and include a critical and theoretical corpus that is central to contemporary debates in the emerging cross-disciplinary field of sound studies, in conjunction with recent critical developments in literary and cultural studies, performance studies, media studies, speech act theory, and anthropology of the senses, anthropology of radio, phenomenology, and acoustic ecology. Our discussion will also link the literary and cultural life of radio to issues of local and national politics, ethnic, racial and gender representation, colonial histories, anti-colonial struggles, and questions of cultural imperialism and globalization.  

Grading Policy

This course will use the plus/minus grading scale for each of the assignments as well as for the final grade.

The final grade will be determined by the following requirements:

1. Attendance 15%

2. Participation in class discussions 25%

3.  Research Paper (RP) 60%: an aprox.15-page research paper on a specific topic addressed in the seminar, reflecting the research interest of the student in sound culture. We will not schedule this research paper for the end of the semester but rather we will start working on it by the middle of the semester in order to set up a process of outlining, drafting, editing, and critical and self-critical revision around the task of writing a research paper.  The instructor will closely follow this process with planned meetings with each member of the seminar. Our RP agenda is: proposal: 10%. preliminary draft: 20 %.; final draft: 20%.; abstract: 10%.

Requisites

Graduate students with knowledge of Spanish are automatically admitted into the seminar.  Students from the PhD in Spanish are required to write in Spanish; students from other graduate programs can write in English, Spanish, or Portuguese.

Readings and Bibliography

1. Critical and Theoretical Works

Barbero, Jesus Martin. De los medios a las mediaciones (1987)

Bessire, Lucas and Daniel Fisher. Eds. Radio Fields: Anthropology and Wireless Sound (2012)

Bronfman, Alejandra and Andrew Grant Wood. Media, Sound & Culture in Latin America and the Caribbean (2012)

Chow, Rey and James Steintrager, Eds. The Sense of Sound (2011).

Franz Fanon, A Dying Colonialism (1965).

Ihde, Don. Listening and Voice: Phenomenology of Sound (2008).

Kittler, Friedrich. Gramophone, Film, Typewriter (trans. 1999; 1986)

Kun, Josh. Audiotopia: Music, Race and America (2005).

Lacan, Jacques. Radiophonie (1970)

McLuhan, Marshall. Understanding Media: The Extensions of Man (1964)

Nancy, Jean-Luc. Á l’écoute (2002).

Ong, Walter. Orality and Literacy: The Technologizing of the Word (1982).

Perloff, Marjorie and Craig Dworkin. The Sound of Poetry/The Poetry of Sound (2009).

Schafer, R. Murray. The Soundscape: Our Sonic Environment and The Tuning of the World (1994) [1977].

This course will analyze and discuss the place of poetry in the public and historical setting of the Southern Cone of Latin America—that is, Chile, Argentina, and Uruguay—since the 1970s to the present.

COURSE DESCRIPTION:

This course is an introductory survey of certain theories and discourses relevant to the study of Latin American and Iberian literatures and cultures. The course aims to introduce, discuss and analyze past and contemporary theoretical movements and their influence on and relevance for the analysis of Latin American and Iberian Literatures and Cultures. The readings will consist of selected passages from works of literary theory and criticism—Formalism, Post-Structuralism, Psychoanalysis, Deconstructionism, Cultural Studies, Postcolonial Studies, Feminism-Gender and Queer Theory, Decolonization Theory, Media and Performance Studies and Globalization-U.S. Latin@ Studies. The course focuses on theories in the context of literature and culture as well as their relevance for interdisciplinary approaches in other fields. The course seeks to help students read and understand cultural texts as well as train them for specialized academic writing, critical analysis and critical thinking.

Our weekly meetings will be dedicated to each theoretical movement to analyze theories and authors in their socio-historical context. Students will have weekly oral presentations in English, Spanish or Portuguese, and will dedicate the first weeks of the course to preparing their weekly writings based on the readings. In their weekly writings students will summarize the main content of the article-as well as prepare two or three questions about the readings with the aim of addressing and discussing the main thesis or theories developed in it. By the second-week of the semester students will choose a mentor in their area of specialization with whom they will develop a professional relationship and who will work directly with the student in the development of the research paper. A draft of the research paper with a bibliography will be completed by the end of the first semester. Students will complete their final research paper in their second semester. Students will be graded by their concise analysis of theoretical readings, their writing, their oral presentations and their participation in class. Participation and attendance are required for all entering students.

REQUIREMENTS AND GRADING:

1 term paper, 15-20 pages                                                      30%

1 15-20-minute research topic presentation                                 20%

1 15-20-minute oral presentation                                              20%

Weekly writings                                                                    30%

TEXTBOOKS AND/OR CLASS MATERIALS:

A reader of theoretical works and authors

DESCRIPTION

Description:

How does the relationship between sound, language and representation work in literary and cultural production in modern and contemporary Latin America? How does sound interweave with the language of the image? To what extent are our reading practices shaped by auditory memories and cultures? Do reading, viewing, and listening constitute interconnected fields of reception and interpretation in our sensorial and aesthetic experiences? How do sonic imaginaires relate to the construction of political, social and cultural identities and differences? In order to address these key questions, this course will examine how soundscapes are figuratively constructed and performed in literary texts as well as in oral and audiovisual media (film, radio, and music). This seminar will engage critical perspectives from literary criticism, cultural anthropology, philosophy, musicology, media theory, and performance studies; more specifically, we will review and discuss a set of theories that are central to the debates in the emerging field of sound studies.

Literary and cultural texts:  

Selection of poems by César Vallejo, Pablo Neruda, and Alfonsina Storni

Andamios interiores, Poemas radiográficos (1922) de Manuel Maples Arce

Radio (poema inalámbrico en trece mensajes) (1924) de Luis Quintanilla

Canto kechwa (1938) by José María Arguedas

De donde son los cantantes (1967) de Severo Sarduy

El vampiro de la Colonia Roma (1979) by Luis Zapata

Sonata cafiola (2008) by Pedro Lemebel

“Wünül: concierto de pájaros” (video) and poems by Lorenzo Aillapán (Mapuche)

Je' bix k'in/Como el sol (1998) by Briceida Cuevas Con

“Tijeretazos” (short story) by Lina Meruane

Selection of films, music, and samples of radio shows

Theoretical readings:

The Sound of Poetry/The Poetry of Sound (2009) by Marjorie Perloff and Craig Dworkin eds.

Listening (2007) by Jean-Luc Nancy

Audiotopia: Music, Race and America (2005) by Josh Kun

Mexican Modernity: the Avant-Garde and the Technological Revolution (2005) by Rúben Gallo 

Hearing Cultures: Essays on Sound, Listening and Modernity (2004) by Veit Erlmann

The Auditory Culture Reader (2003) by Michael Bull and Les Back, eds.

Poetry and the Fate of the Senses (2002) by Susan Stewart

Audio-vision: sound on screen (1994) by Michel Chion

Escribir en el aire: ensayos sobre la heterogeneidad socio-cultural en las literaturas andinas (1994) by Antonio Cornejo Polar

La voz y su huella: escritura y conflicto étnico-social en América Latina 1492-1988 (1991) by Martin Lienhard

Performance Theory by Richard Schechner (1988)

Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression (1982) by Steven Feld

Orality and Literacy: The Technologizing of the Word (1982) by Walter Ong

The Pursuits of Signs by (1981) by Jonathan Culler 

Listening and Voice: Phenomenology of Sound (1976) by Don Ihde

Grading Policy and Course Requirements

Grading Policy

The final grade will be determined by the following requirements:

-Attendance 10%

-Participation in class and Blackboard discussions 25%.

Students are expected to actively contribute to discussions in classroom as well as to participate in the Discussion Forum on the Blackboard, posting at least one question or commentary per week (before Sunday midnight, prior to next class) in regard to the texts, materials and/or issues under scrutiny in the course.

-Oral presentation in class 10%

-Mid-term critical essay 15% (a 5-7 page essay on any of the readings of the first part of the course). Deadline: November 16.

-Final Paper 40% (a 12-15 page research paper on a specific topic addressed in the seminar). Deadline: December 12.

Requisites

Graduate students with knowledge of Spanish are automatically admitted in the seminar; advanced undergraduate students can only enroll with special permission of the instructor. 

This course aims to provide a panoramic view on key issues in the cultural history of Latin America. Our emphasis will be on the cultures of power relations and social change in the region, with particular attention to the role of intellectual production, media and cultural expression in these processes. Within this framework, we will scrutinize the following topics: cultures of [power (i.e., colonialisms, patriarchalism, homophobia, racisms, paternalism, authoritarianisms, populisms); anti-colonial struggles; nation-state formation; slavery; indigenous cultures and peoples; cultures of authoritarianism and democracies; women, sexual minorities, and social change; and the new cultures of immigration, diasporas, and globalization.

Through the critical scrutiny of the aforementioned topics, this course will pursue the following specific goals,

1. To understand the heterogeneity of histories and cultures that form part of Latin America across historical periods and geographical boundaries;
2. To train students in the use of conceptual and technical tools for the creative analysis and interpretation of cultural subjects and their representation in language;
3. To provides students methodological tools for academic writing and critical reading;
4. To practice speaking skills through a brief oral presentation in group discussion
5. To use the Benson Collection in order to support the writing of the essay for the class; and, 
6. To be able to respectfully share, discuss, reflect on and self-critique ideas.

This course focuses on the figurations of sounds and images in literary language in the context of modern and contemporary Latin America. We will study and discuss the rhetorical ways in which the impressions of the senses, particularly in terms of the relationship between writing, visual and sound culture, take shape in literature. Therefore, the course will be organized around basic literary figures (such as ekphrasis, calligram, onomatopoeia, interjection, and synesthesia), aesthetic constructions (such as rhythm and image) and discursive performance (voice, monologue, dialogue, polyphony), across genres and historical periods. The organization of the course around these multiple procedures will offer the students a specific training in the critical use of concepts that are relevant for the analysis of language and literary representation. In addition, this discussion will allow us to look at literature as a discourse immersed in a multimedia ecology, in which there are a variety of dimensions of language that coexist and intertwine: the language of nature, animal sounds, human senses, oral community traditions, radio, music, painting, cinema, and digital media. Special attention will be paid to the crossings of Western, Criollo, Indigenous, and African traditions in the literary and extra-literary realm of sounds and images.

The Criollo and Indigenous Subjects in the Andes and the Southern Cone

This course examines the constructions of criollo subjects as well as the representation and self-representation of indigenous peoples in the literary and cultural production of the Andes and the Southern Cone of Latin America. Historically, we will cover the period beginning with the founding of nation-states in early nineteenth-century to the current era of globalization. We will analyze the ways in which the sujeto popular criollo is constructed and imagined in canonical literary and cultural texts, the indigenista representations of native peoples, and the practices of self-representation in texts linked to Quechua, Aymara, Mapuche and Native Amazonian traditions and authors. Readings will include works that are associated with trends such as gauchesca, Peruvian popular traditions, criollismo, indianismo, indigenismo, and autonomous indigenous poetics. We will study songs, legends, testimony, letters, poetry, short stories, and novels. Paintings, comics, films, lyrics, and radio shows will be also included.

In order to investigate the issues of coloniality, territory, recognition and self-recognition, representation and self-representation, some of the key questions we will address include the following: How do oral and written traditions interrelate in both criollo and indigenous texts? What is the relationship of these non-indigenous and indigenous forms of representation to dominant “national” constructions of the literary canon? What are the politics of recognition, self-recognition and agency that emerge from the texts under scrutiny? How do they relate to the framework of the hegemonic nation-states and issues of “internal colonialism” in the region? Within the context of modern and contemporary times, to what extent do these literatures subject their representation and agency to the universality of a Westernizing, neocolonial criollo  nation-state? And finally, to what extent do these texts engage with the potential of “autonomous” indigenous politics of territory—in particular, that of ayllu (communal land in the Andes), tawantinsuyu (the ancient Inca territory), and wallmapu (the notion of Mapuche nationhood)? 

Grading Policy:

The final grade will be determined by the following requirements:

Attendance 10%

Participation in class discussions 15%

Mid-term paper 15% (a 5-7 page essay on any of the readings of the first part of the course)

Presentation in class (on the research topic for the final paper) 10%

Final Paper 50% (a 12-15 page research paper on a specific topic addressed in the seminar)

Readings:

Primary Readings:

Martin Fierro by José  Hernández

Selections from Tradiciones peruanas by Ricardo Palma

Manifestos by Tupaj Katari (selection)

Cartas mapuches (selection)

Una excursión a los indios ranqueles by Lucio Mansilla

Selections from Cumandá o un drama entre salvajes by Juan León Mera

Raza de bronce by Alcides Arguedas

Selections from Canto kechwa by José María Arguedas

Selections of poems by Andrés Alencastre

Los ríos profundos  by José María Arguedas

Mi despertar by Ana María Condori (Aymara)

Selections of Contemporary Quechua poets (Dida Aguirre, Eduardo Ninamango, Odi Gonzales)

Selections of Contemporary Mapuche poets (Leonel Lienlaf, Elicura Chihuailaf, Jaime Huenún, Liliana Ancalao, Roxana Miranda Rupailaf)

Native Amazonian literature from Ecuador and Peru (Course Reader)

Literary and Cultural Criticism:

Poesía quechua by Jesús Lara

Escribir en el aire by Antonio Cornejo Polar

El género gauchesco by Josefina Ludmer

Indios, ejército y frontera and Literatura argentina y realidad política by David Viñas

Oprimidos pero no vencidos: Luchas del campesinado aymara y qhechwa de Bolivia, 1900-1980 by Silvia Rivera Cusicanqui

Supplementary theoretical and critical materials (Course Reader) 

Requisites:

Graduate students with knowledge of Spanish are automatically admitted in the seminar; advanced undergraduate students can only enroll with special permission of the instructor. 

SPN 380K Graduate Seminar Spring 2011

Aesthetics And Politics Of Voices

Conducted in Spanish

Listed as: SPN 380k; LAS 392S           Course Unique Number: 47255 

Schedule of Class Meetings: Tuesday and Thursday 2:00pm-3:30pm

Room: BEN 1.118

Instructor: Prof. Luis E. Cárcamo-Huechante 

E-mail address: carcamohuechante@austin.utexas.edu

Office Hours: Friday 10:00 to 12:00; Office: BEN 3.146 

Course Description

In the field of literature, we often talk about the subjects of literary texts as “speakers” and readers as “audience.” The written domain of literature is imagined as a scene of speaking and listening. With this in mind, this graduate seminar will examine the ways in which voices and sounds work in literary language and representation. Key questions to be addressed are: How does the representation of voices and sounds enrich the aesthetic and sensorial effects of literary texts? What is the role of silence in literary language? To what extent is literature a sensorium of the sounds, noises and voices that constitute public imagination in specific historical contexts? How do writers’ ideologies, cultural backgrounds, locations, ethnicities or gender/sex identities impact the types of voices and sounds that are present in their literary works? What is the role of literary genres in this process? How do literary representations of voice and sound relate to other sound media, such as the gramophone, radio, the telephone, film, or music?

Our discussion will be anchored in the study of literary texts from modern and contemporary Latin America. Theoretical materials will be drawn from literary criticism, anthropology, philosophy, cultural studies, and media studies.

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