INTERNATIONAL COLLEGE OF SEVILLE · Las actividades propuestas van de la más guiada a la más...

INTERNATIONAL COLLEGE OF SEVILLE Porvenir 15 Seville-41013- Spain www.ics-seville.org

Phone (#34)95-423-3838 Fax (#34)95-423-4572

SPN 1100 / SPN 1120 Beginning Spanish Spring 2018 Profesora: María José Montero

Descripción del curso Este curso está dirigido a estudiantes sin conocimientos previos del idioma. El objetivo es proporcionar a los estudiantes las herramientas lingüísticas necesarias para desenvolverse en situaciones reales en la lengua española, permitiéndole ser capaz de comprender y utilizar expresiones cotidianas de uso frecuente, frases sencillas, presentarse a sí mismo y a otros y dar y pedir información básica personal y establecer contactos sociales básicos.

Objetivos de aprendizaje Este curso tiene como objetivos capacitar a los alumnos para:

� Comprender y utilizar expresiones cotidianas de uso muy frecuente así como frases sencillas destinadas a satisfacer necesidades de tipo inmediato.

� Presentarse a sí mismo y a otros, pedir y dar información personal básica sobre su domicilio, sus pertenencias y las personas que conoce.

� Relacionarse de forma elemental siempre que su interlocutor hable despacio y con claridad y esté dispuesto a cooperar.

Metodología y actividades El método de aprendizaje es dinámico, impulsando a los alumnos a utilizar activamente la lengua interactuando con sus compañeros de clase y trabajando en grupo. La lengua de intercambio en clase es el español para permitir a los estudiantes un contacto constante con la lengua española. Las actividades propuestas van de la más guiada a la más libre para que en el proceso de aprendizaje el estudiante, poco a poco, interiorice lo que va aprendiendo.

Libro de texto Selección de materiales y actividades diversos. Cada estudiante recibirá la información de ICS en un pendrive. Es obligatorio comprar el libro en la escuela ICS o imprimir el libro en una papelería. Es necesario disponer del libro desde el tercer día de clase.

Contenidos Lección 1: Saludos y presentaciones Lección 2: Origen y procedencia Lección 3: Información personal Lección 4: ¿Tú o Usted? Lección 5: Mi familia Lección 6: Objetos Lección 7: Gustos Lección 8: Mi barrio, horarios públicos y el tiempo Lección 9: Un día normal Lección 10: El fin de semana Lección 11: El trabajo Lección 12: ¿Sabes nadar? Lección 13: Mi pueblo, mi ciudad Lección 14: Mi casa y mi habitación Lección 15: ¿Qué hiciste ayer?

Bibliografía - Alba, Á. y otros: Prisma. Comienza. Método de Español para Extranjeros. Nivel A1.

Ed. Edinumen. Madrid, 2002. - Álvarez Martínez, M.Á. y otros: Nuevo Sueña. Español Lengua Extranjera. Niveles 1 y 2. Ed. Anaya. Madrid, 2015. - Alonso Raya, R. y otros: Gramática Básica del Estudiante de Español A1-B1. Ed. Difusión. Barcelona, 2005. - Borobio, V.: Ele Actual A1.Ed. SM. Madrid, 2012. - Castro, F. y otros: Nuevo Ven 1. Español Lengua Extranjera. Libro del Alumno. Ed. Edelsa. Madrid, 2003. - Castro Viúdez, F. y otros: Nuevo Español en marcha. Nivel Básico. A1 y A2. Ed. SGEL. Madrid, 2014. - Cerrolaza, M. y otros: Planet@ E/LE. Libro de referencia gramatical. Fichas y ejercicios. Ed. Edelsa. Madrid, 2006.

Evaluación Asistencia y participación: 20% Tareas: 20% Controles: 10% (fechas a determinar por la profesora) Examen parcial: 20% (31 de octubre de 2017) Examen final: 20% (13 de diciembre de 2017) Presentación oral: 10% (12 de diciembre de 2017) Considerando el carácter intensivo del curso, se valorará la asistencia, la participación activa en clase, así como la realización de las tareas en clase y en casa. La asistencia a clase es obligatoria. Se reducirá un 5% por cada ausencia no justificada (hasta un 20% de la calificación final). Si un/a estudiante falta a clase o llega tarde a clase, es necesario contactar con un compañero/a de clase sobre la materia estudiada en clase, así como las tareas de la profesora. El modelo de los controles y exámenes escritos se basa en: ejercicios de gramática (instrucciones como: conjugar tiempos verbales, completar verbos en la forma adecuada del tiempo, seleccionar el verbo adecuado, etc.) y actividades de comprensión lectora/auditiva y de expresión escrita, similares a los ejercicios practicados en clase. En la presentación oral, cada estudiante debe hacer una presentación en power point o prezi (fotos, música, videos…) en la clase (5-10 minutos). Debe describir su experiencia vivida en España desde que llegó hasta el día de su presentación (la ciudad de Sevilla, la familia de acogida, compañeros de estudio, amigos, la escuela, las visitas culturales y excursiones que ha hecho, lo que más le ha gustado, lo que menos le ha gustado, choque cultural...) con el objetivo de demostrar la competencia lingüística adquirida durante el curso. La presentación (documento pdf) debe enviarse al email de la profesora [email protected] antes del 11 de diciembre de 2017. Para la calificación de la presentación oral, se considerarán los siguientes criterios: fluidez, coherencia y cohesión, variedad y corrección gramatical e interacción con el grupo. Normas de clase Se valorará positivamente que los estudiantes participen activamente en las actividades del aula y que además mantengan una actitud académica y respetuosa. No se permite utilizar dispositivos electrónicos (teléfono móvil, tablet, computadora, auriculares, etc.) en clase, excepto que la profesora lo autorice expresamente.

NOTA: Este syllabus podrá estar sujeto a cambios si las necesidades y evolución del curso así lo requieren.


Phone (#34)95-423-3838 Fax (#34)95-423-4572

SPN 1000 Elementary Spanish Conversation Fall 2017

Descripción del curso El objetivo de este curso es dotar al alumno de las capacidades básicas necesarias para ser eficaz en la comunicación, poniendo en práctica los conocimientos lingüísticos adquiridos en el curso de Beginning Spanish. El alumno será independiente comunicativamente en situaciones habituales de la vida diaria. La conversación se trabajará dos horas semanales, en las que se intensificará la práctica oral que se desarrolla normalmente en clase.

Objetivos de aprendizaje

- Presentarse. Deletrear palabras. - Dar y pedir la hora. - Preguntar y decir la profesión. - Hablar sobre la familia. - Describir el físico y el carácter de una persona. - Iniciar una conversación telefónica. - Preguntar a alguien cómo se siente. Hablar de cómo se siente uno mismo. - Ir de compras. Decir qué ropa lleva otra persona. Pedir en una tienda.

Preguntar el precio. - Hablar de preferencias. - Pedir y solicitar un servicio en un restaurante. Hablar de comidas. - Describir una casa. - Expresar ubicación. - Felicitar a alguien. - Hablar del tiempo atmosférico. - Hablar de planes y proyectos. - Concertar una cita.

Temario

- Información personal. - Descripciones. - La hora. - Conversaciones telefónicas. - Sentimientos y emociones. - Las compras. - Las comidas. - La casa. La localización. - El tiempo atmosférico. - Planes.

Nota Final Conversación: 100%

Normas de clase Se valorará positivamente que los estudiantes participen activamente en las actividades del aula y que además mantengan una actitud académica y respetuosa. No se permite utilizar dispositivos electrónicos (teléfono móvil, tablet, computadora, auriculares, etc.) en clase, excepto que la profesora lo autorice expresamente.

INTERNATIONAL COLLEGE OF SEVILLE Porvenir 15 Seville-41013- Spain www.ics-seville.org Phone (#34)95-423-3838 Fax (#34)95-423-4572

SPN 2200 Intermediate Spanish I SPN 2201 Intermediate Spanish II Spring 2018Prof: Luis F. Recio Díaz [email protected] Descripción del curso:

El objetivo del curso es que, a un nivel intermedio, el estudiante pueda conocer y reconocer las formas y estructuras lingüísticas del español, relacionarlas con sus funciones comunicativas correspondientes, y usarlas en su producción oral y escrita de una manera pragmática y socialmente adecuada. Así, deberá ser capaz de relacionarse correctamente con hablantes nativos, desenvolverse con independencia en situaciones cotidianas, describir experiencias, acontecimientos, deseos, justificar sus opiniones o explicar sus planes y comprender los puntos principales de textos en situaciones de trabajo, estudio u ocio al producir textos sobre temas que le son familiares.

En el curso se realizará la capacidad participativa y creativa del estudiante en el proceso de aprendizaje. En dicho proceso, el estudiante asume el protagonismo por medio de la actuación en un contexto comunicativo real. La integración de las destrezas lingüísticas será la base de todo el trabajo práctico planteado en clase. La cultura, además, se integra en el curso como un componente esencial de la lengua. Se facilitará también el conocimiento de los aspectos pragmáticos y socioculturales necesarios para una interacción correcta y apropiada con los hablantes nativos monolingües de español. De esta manera, se conseguirá que su estancia en España tenga más oportunidades de éxito, reflejado en una más rápida integración en la cultura española y como consecuencia una mayor disponibilidad para el aprendizaje y la adquisición de la lengua española.

Metodología y actividades

En cada unidad didáctica se trabajará en el aprendizaje y la adquisición de actos comunicativos reales y habituales que reproducen la vida de la sociedad española, estudiando y practicando todos los contenidos pragmáticos, comunicativos, funcionales, léxicos y gramaticales. El estudiante desarrollará las habilidades comunicativas mediante actividades orales donde exprese su propia identidad y tenga la oportunidad de actuar en español en contextos comunicativos variados, convirtiendo sus conocimientos pasivos en activos. Los problemas gramaticales se tratarán ofreciendo material práctico para la fijación de los aspectos morfosintácticos y léxico-semánticos, pero siempre relacionados con los contenidos comunicativos, funcionales, pragmáticos y socioculturales. Los estudiantes realizarán tareas escritas motivadas por el propio proceso de aprendizaje y vinculadas a las diferentes funciones y recursos lingüísticos del español.

Se estudiarán y practicarán las estructuras lingüísticas específicas (morfológicas, sintácticas y léxicas) y las normas pragmáticas y socioculturales que se utilizan para la realización correcta y apropiada de diferentes actos de habla del español. Como parte del trabajo de clase se realizarán actividades que ayuden a los estudiantes a desenvolverse de manera correcta y apropiada en las situaciones comunicativas que aspiran a cubrir las necesidades de un estudiante que pretende establecer sus primeros contactos sociales en español, trabajando con los elementos que supongan para los estudiantes norteamericanos dificultades (añadidas al desconocimiento del código lingüístico) en el desarrollo de sus destrezas comunicativas. Estas actividades les permitirán seleccionar cada una de las opciones lingüísticas significativas que el español ofrece para llevar a cabo una interacción pragmáticamente adecuada y socialmente aceptada en las diferentes situaciones comunicativas

Criterios de evaluación

Asistencia y participación 20% Controles 20% Composiciones 20%

Examen Parcial 20% Examen final 20% La asistencia a clase es obligatoria. Se deducirá un 5% de la nota final por cada ausencia a clase no justificada.

ASISTENCIA Y PARTICIPACIÓN: asistencia y puntualidad, interés, participación activa en clase y en las actividades fuera del aula, cumplimentación de la tarea asignada.

CONTROLES: Previos a los Examen Parcial y Final se realizarán controles que tendrán la estructura: 1. Actividades morfosintácticas y léxico-semánticas para evaluar su competencia lingüística. 2. Creación por escrito de un texto en el que el estudiante aplique todos los conocimientos pragmáticos, comunicativos, funcionales, léxicos y gramaticales que ha adquirido.

COMPOSICIONES: En las composiciones se evaluará: Contenido (ideas, desarrollo), organización (coherencia y cohesión), gramática (corrección gramatical, variedad de estructuras) y vocabulario (variedad léxica).

EXAMEN PARCIAL Y FINAL: El examen parcial se realizará en la semana 6 del curso, y el examen final se realizará el último día del curso de la semana 12, que tendrán la misma estructura: 1. Actividades morfosintácticas y léxico-semánticas para evaluar su competencia lingüística. 2. Creación por escrito de un texto en el que el estudiante aplique todos los conocimientos pragmáticos, comunicativos, funcionales, léxicos y gramaticales que ha adquirido. Contenidos y programación

Semana 1: Competencia lingüística: ● Presente indicativo regular e irregular. ● Presente subjuntivo regular e irregular. ● (No) Creo que presente +indicativo/subjuntivo. ● (No) Quiero/ espero + infinitivo/ que + presente de subjuntivo. ● (No) me gusta/molesta + infinitivo/ que + presente de subjuntivo. Competencia pragmática y sociocultural: ● Información personal. ● Expresar opinión, deseos y sentimientos en presente.

Semana 2: Competencia lingüística: ● Quedar/quedarse. ● Hay/está. ● Imperativo ● Competencia pragmática y sociocultural: ● Hablar del tiempo. ● Sugerir una actividad, citarse con alguien. ● Hablar de distancias, de cómo se va. -Dar consejos. Composición 1

Semana 3: Competencia lingüística: ● Demostrativos. ● Posesivos. ● La comparación. ● Ser/ estar. ● Gustar/parecer/caer. ● (No) Creo/ me parece que que + indicativo/ subjuntivo. Competencia pragmática y sociocultural: ● Solicitar un servicio. ● Comprar. ● Pedir. ● Comparar. ● Expresar acuerdo y desacuerdo. ● Discutir. ● Describir. ● Expresar gusto ● Hablar de otros. Control 1

Semana 4: Competencia lingüística: ● Formas y usos del P. Perfecto. ● Llevar/hace/desde hace ● Formas y usos del P. Imperfecto. Competencia pragmática y sociocultural: ● Hablar del tiempo que se lleva o no se lleva haciendo algo. ● Describir en pasado. ● Hablar de acciones habituales, continuas o anticipadas en pasado. ● Transmitir lo que han dicho otros en pasado.

Semana 5: Competencia lingüística: ● Formas y usos del Pretérito I. ● Formas y usos del P. Pluscuamperfecto ● Contraste de pasados en español: P. Perfecto, P. Imperfecto, Pretérito I. y P. Pluscuamperfecto Competencia pragmática y sociocultural: ● Hablar de acciones que ocurrieron una vez, durante un tiempo limitado o que suponen un cambio en pasado ● Hablar de una acción pasada anterior a otra también pasada ● Narrar Composición 2

Semana 6: Revisión semanas 1, 2, 3, 4 y 5 Preparación examen parcial Examen Parcial

Semana 7: Competencia lingüística: ● (No) quería-quise-querría+ infinitivo/ que + pasado de subjuntivo. ● (No) me gustó- gustaba-gustaría+ infinitivo/que +pasado subjuntivo. Competencia pragmática y sociocultural: ● Expresar deseos y sentimientos en pasado y en futuro.

Semana 8: Competencia lingüística: ● Cuando/ tan pronto como/ hasta que + presente de subjuntivo. ● Uso del relativo con antecedente real o no real: Tengo/ quiero un… que…+ indicativo/ subjuntivo. Competencia pragmática y sociocultural: ● Referirse al futuro ● Hablar de lo que tenemos o queremos tener: Composición 3

Semana 9: Competencia lingüística: ● Tienes que / (no) debes + infinitivo ● Te recomiendo-aconsejo/ es mejor-necesario + infinitivo/ que + subjuntivo ● Imperativo afirmativo y negativo ● Para + infinitivo/ que + subjuntivo ● Por y para Competencia pragmática y sociocultural: ● Dar instrucciones, órdenes y consejos. ● Aconsejar y recomendar. ● Expresar finalidad y causa. Control 2

Semana 10: Competencia lingüística: ● Con tal de que/ siempre que/ a menos que + subjuntivo. Si + presente indicativo/ pasado de subjuntivo. Competencia pragmática y sociocultural: ● Expresar condiciones posibles en el futuro e imposibles en el presente.

Semana 11: Competencia lingüística: ● Impersonal: Se/ uno/ la gente/ 2ª persona singular-3ª persona plural. ● (No) Creo/ Es verdad que + indicativo/ subjuntivo. Competencia pragmática y sociocultural: ● Expresarse de forma general. ● Discutir, argumentar. Composición 4

Semana 12: Revisión semanas 7, 8, 9, 10 y11 Preparación examen parcial Examen Final

BIBLIOGRAFÍA

-VV. AA.: Gramática básica del estudiante de español. Difusión, Barcelona. - VV. AA.: Repertorio de funciones comunicativas del español, versión bilingüe español-inglés. SGEL, Madrid.


SPN 2240 Intermediate Spanish Conversation Fall 2017 Prof: Luis F. Recio Díaz [email protected]

Descripción

Es un curso de nivel intermedio para estudiantes de español que quieren alcanzar competencia oral, comunicativa, pragmática y sociocultural en el que en la clase los estudiantes practicarán la interacción con los hablantes en cada situación comunicativa específica. El objetivo del curso es que el estudiante aprenda y adquiera de modo progresivo y continuado durante el transcurso del semestre todos los elementos lingüísticos, las funciones comunicativas y las normas pragmáticas y socioculturales que le garanticen el éxito real en el uso comunicativo e interactivo del español y lleguen al final de su estancia en el extranjero como individuos competentes que puedan desarrollarse en el futuro en español.

Objetivos:

Al final del curso, los estudiantes deberán ser capaces de comunicarse e interactuar para:

● Expresar e interactuar información personal. ● Expresar opinión, deseos y sentimientos en presente. ● Hablar del tiempo. ● Sugerir una actividad, citarse con alguien. ● Hablar de distancias, de cómo se va. ● Solicitar un servicio. ● Comprar. ● Pedir. ● Comparar. ● Expresar acuerdo y desacuerdo. ● Describir. ● Expresar gusto ● Hablar de otros. ● Hablar del tiempo que se lleva o no se lleva haciendo algo. ● Describir en pasado. ● Hablar de acciones habituales, continuas o anticipadas en pasado. ● Transmitir lo que han dicho otros en pasado. ● Hablar de acciones que ocurrieron una vez, durante un tiempo limitado o que suponen un cambio en pasado. ● Hablar de una acción pasada anterior a otra también pasada. ● Narrar. ● Expresar deseos y sentimientos en pasado y en futuro. ● Referirse al futuro ● Hablar de lo que tenemos o queremos tener: ● Dar instrucciones, órdenes y consejos. ● Aconsejar y recomendar. ● Expresar finalidad y causa. ● Expresar condiciones posibles en el futuro e imposibles en el presente. ● Expresarse de forma general. ● Discutir, argumentar.

Metodología y actividades

En cada sesión de clase se presentará material real y actual (textos contemporáneos de diferentes ámbitos específicos del español, vídeos de noticias, debates, publicidad, películas y series españolas de televisión, etc.) y se trabajará en el análisis y práctica de las estructuras lingüísticas, las formas morfológicas, sintácticas y léxicas, las funciones comunicativas y las

normas pragmáticas y socioculturales que le permitan comunicarse e interactuar correcta y adecuadamente en español.

Las actividades en el aula (diálogos, dramatizaciones, debates, presentaciones orales que sean significativas y motivadoras para el estudiante) facilitarán a los estudiantes el entendimiento de los comportamientos comunicativos de la sociedad en la que están viviendo. Las actividades estarán relacionadas directamente con el momento específico de su experiencia vital en el extranjero, y estarán dirigidas fundamentalmente a la puesta en práctica de todo lo aprendido y practicado dentro del aula. Se realizarán entrevistas a nativos de español sobre temas de actualidad, reportajes (sobre diferentes aspectos socioculturales de Sevilla, sobre noticias, etc.) que deberán presentarse en clase (el uso del vídeo será fundamental) para su posterior visionado, comprensión, análisis, comentario, discusión y valoración de los aspectos lingüísticos, comunicativos, pragmáticos, históricos, sociales y culturales. Criterios de evaluación

Asistencia y participación 50% Examen final 50% EXAMEN FINAL: La prueba oral se realizará el último día del curso y se evaluará la competencia oral y la capacidad del estudiante de comunicarse e interactuar correcta y apropiadamente (interacción, fluidez, pronunciación, gramática y vocabulario) y aplicar sus conocimientos pragmáticos, comunicativos, funcionales, léxicos y gramaticales.

La asistencia a clase es obligatoria. Se deducirá un 5% de la nota final por cada ausencia a clase no justificada.


SPN 3955 Advanced Composition & Conversation I Prof. Laura Fernández Rodríguez Spring 2018

Objetivos y descripción:

La finalidad de este curso es que el alumno, en el proceso de asunción de la gramática, llegue a

sentir que su mayor o menor familiaridad con las estructuras del español no es necesariamente un

fin en sí mismo, sino un medio eficaz que le podrá permitir desarrollar su competencia lingüística

tanto a nivel oral como escrito.

Metodología y actividades:

Con el fin de ofrecer al alumno herramientas para participar de forma efectiva en cualquier tipo de

situación, se procurará poner siempre en relación las explicaciones de los conceptos gramaticales

con las habilidades comunicativas.

Para desarrollar la producción escrita del alumno, se trabajará tanto con la lectura, el análisis y el

comentario de diversos textos, como con redacciones que le ayuden a fijar los conceptos

gramaticales previamente explicados.

Asimismo, a fin de mejorar la confianza del alumno en su propia producción oral, se realizarán

actividades tales como conversaciones, debates en grupo, discusiones o representaciones de

situaciones de la vida diaria.

Dado el carácter eminentemente práctico de este curso, se valorará muy especialmente la

asistencia y participación en clase.

Temario:

- Repaso completo del modo indicativo (con especial incidencia en los tiempos del pasado).

- Nuevos usos de “ser” y “estar”.

- El subjuntivo: para expresar sentimiento, deseo, consejo, mandato, etc.

- El imperativo

- Pronombres de OD/OI

- Las preposiciones (en especial “por” y “para”)

- Modismos y expresiones

Libro de texto:

Se entregará al alumno un pendrive donde encontrará un Cuaderno de Ejercicios recopilado por la

profesora y que será el libro que se usará en clase a diario.

Evaluación:

Redacciones (2): 20%

Pruebas (2): 20%

Examen parcial: 20%

Examen final: 30%

Actitud, participación y tareas: 10%

• La asistencia a clase es obligatoria. Cada falta de asistencia sin justificar se penalizará con un

5% menos de la nota final.

• La entrega de las redacciones y del proyecto deberá hacerse en las fechas marcadas por la

profesora. Las entregas fuera de fecha se penalizarán con un 3% menos por cada día que pase.

NOTA: Este programa podrá estar sujeto a cambios si las necesidades y la evolución del curso así

lo requieren.


SPN 4930 Comparative Grammar Spring 2018 Dr. Ignacio Martínez

Course description This course analyzes in depth those syntactical and grammatical points which are of particular interest for the students of Spanish at the advanced level. Different aspects from both languages are developed while trying to consolidate structural proficiency. Special emphasis is placed on providing the students with enough resources to avoid repetition of English grammatical structures when writing and speaking in Spanish or viceversa. Practical exercises are given and translations to and from both languages are an integral part of the course.

Grading System. Participation 10% Midterm 20% Quizzes 50% Final 20%

Class attendance is mandatory. 5% of the final grade will be deducted for every unjustified absence.

Textbook. Martínez Rojas, Ignacio. Curso práctico de gramática comparada (inglés-español). Sevilla: ICS, 2010.

Grammar Topics. 1. The Article. Demonstrative Adjectives and Pronouns. 2. Word Formation and the attributive use of the Noun. 3. Adjectives. 4. Auxiliary and Modal Verbs. 5. There Be, Haber / To Be, Ser, Estar. 6. Verbal Tenses. 7. Relative Pronouns. 8. The -Ing Ending. Infinitive, Gerund and Past Participle. 9. Passive Voice. 10. Pronouns. 11. Preposition and Adverbs. Phrasal-Prepositional Verbs. 12. The Subjunctive.

Bibliography. - Aguirre, Blanca & Consuelo Hernández. Curso de español comercial. Madrid:SGEL, 1997. - Beigbeder, Federico. Nuevo diccionario politécnico de las lenguas española e inglesa. (2 vols.) Madrid: Ediciones Díaz de Santos, 1997. - Borrego, J. y otros. El subjuntivo. Madrid: SGEL,1999. - Butt, John & Carmen Benjamin. A New Reference Grammar of Modern Spanish. London: Hodder Arnold, 2011. - Cárdenas, Jacobo & Emilio Fernández. Reading and Writing Science. Córdoba: Imprenta San Pablo, 2000. - Collazo, Javier. Diccionario enciclopédico de términos técnicos. (3 vols) New York: McGraw-Hill, 1980. - Dèfourneaux, Marc. Do you Speak Science? Madrid: AC, 2000. - De Molina, J.A. & J. Ortega. Usos de ser y estar. Madrid: SGEL, 1987. - De Vicente, Alicia & Barry Readman. Inglés para economistas. Madrid: Palas Atenea, 1993. - Elliot, Raymond. Español para Hispanohablantes. Boston: McGrawhill, 1999. - El País. Libro de estilo. Madrid: Ediciones El País, 2014. - Fernández Alvarez, Jesús. El subjuntivo. Madrid: Edi6,1999. - Fernández, J. y otros. Curso intensivo de español: Gramática. Madrid: SGEL, 2011. - Francés, María Elena y Rubén Benítez. Manual de gramática y ortografía para hispanos. Boston: Pearson, 2012. - García, H.A., et al., Nuestro idioma, nuestra herencia: Español para hispano hablantes. New York: McGraw-Hill. 2011. - Gelabert, M.J. y otros. Repertorio de funciones comunicativas del español. Madrid: SGEL,1998. Also available in pdf format. - Gómez, Josefa. Correspondencia comercial en español. Madrid: SGEL, 2007. - González, Alfonso & Mirta González. Español para el Hispanohablante en los Estados Unidos. New York: University Press of America, 2001 - Gran diccionario de la lengua española. Barcelona: Larousse Planeta, 2012. - Heatwole, O. W. Comparative Practical Grammar of French, Spanish and Italian. New York: S. F. Vanni, 1977. - Holt, Marion and Julianne Dueber. 1001 Pitfalls in Spanish. New York: Barron’s Eucational Series, 2010. - Iglesias, Mario and Walter Meiden. Spanish for Oral & Written Review. New York: Holt, Reinhart & Winston, 1994. - Lozano, J.M. Diccionario bilingüe de economía y empresa. Madrid: Editorial Pirámide, 2001. - Marques, Sarah. La lengua que heredamos: Curso de Español para Bilingües. New York: Wiley, 2012. - Martín, Ana María et al. El español de los negocios. Madrid, SGEL, 2004. Also available in pdf format. - Matte, Francisco. Gramática Comunicativa del español. 2 vols. Madrid: Edelsa, 1995.

- Náñez, Emilio. Uso de las preposiciones. Madrid: SGEL, 2004. - Navas, Ricardo & Concha Moreno. Ser y Estar. Salamanca: Publicaciones del Colegio España,1984. - Ortografía de la lengua española. Madrid: Espasa Calpe, 2010. - Oxford Spanish Dictionary. Oxford: Oxford UP, 2010. - Quirk, Randolph & Sidney Greenbaum. A University Grammar of English. London: Longman, 1991. Also available in pdf format. - Sarmiento, Ramón y Aquilino Sánchez. Gramática básica del español. Madrid: SGEL, 2007. - Seco, Manuel y otros. Diccionario del español actual. 2 vols. Madrid: Aguilar, 2006. - Spinelly, Emily. English Grammar for Students of Spanish. Michigan: The Olivia & Hill Press, 2012. - Thomson, A.J. & A.V. Martinet. A Practical English Grammar. Oxford: Oxford UP, 1996. Also available in pdf format.


SPN 3340 Spanish for Native Speakers Spring 2018Dr. Ignacio Martínez

Course Description This course is designed specifically for native or heritage speakers of Spanish with oral proficiency but little or no formal training in the language. The course is designed to build on the language base students already possess. Their language is viewed as a valid means of oral communication. The primary purpose of the course is to develop reading and writing skills, although all of four language skills (listening, speaking, reading, and writing) are emphasized via cultural and community activities.

Textbook: Reader compiled by the lecturer.

Grading System. Participation 10% Midterm 20% Quizzes 50% Final 20%

Class attendance is mandatory. 5% of the final grade will be deducted for every unjustified absence.

Grammar Topics. 1. The Article. Demonstrative Adjectives and Pronouns. 2. Word Formation and the attributive use of the Noun. 3. Adjectives. 4. Auxiliary and Modal Verbs. 5. There Be, Haber / To Be, Ser, Estar. 6. Verbal Tenses. 7. Relative Pronouns. 8. The -Ing Ending. Infinitive, Gerund and Past Participle. 9. Passive Voice. 10. Pronouns. 11. Preposition and Adverbs. Phrasal-Prepositional Verbs. 12. The Subjunctive.

Bibliography - Butt, John & Carmen Benjamin. A New Reference Grammar of Modern Spanish. London: Hodder Arnold, 2011.

- Elliot, Raymond. Español para Hispanohablantes. Boston: McGrawhill, 1999. - El País. Libro de estilo. Madrid: Ediciones El País, 2014. - Fernández, J.y otros. Curso intensivo de español: Gramática. Madrid: SGEL, 2011. - Francés, María Elena y Rubén Benítez. Manual de gramática y ortografía para hispanos. Boston: Pearson, 2012.

- García, H.A., et al., Nuestro idioma, nuestra herencia: Español para hispano hablantes. New York: McGraw-Hill. 2011.

- González, Alfonso & Mirta González. Español para el Hispanohablante en los Estados Unidos. New York: University Press of America, 2001

- Holt, Marion and Julianne Dueber. 1001 Pitfalls in Spanish. New York: Barron’s Eucational Series, 2010.

- Iglesias, Mario and Walter Meiden. Spanish for Oral & Written Review. New York: Holt, Reinhart & Winston, 1994.

- Lozano, J.M. Diccionario bilingüe de economía y empresa. Madrid: Editorial Pirámide, 2001. - Marques, Sarah. La lengua que heredamos: Curso de Español para Bilingües. New York: Wiley, 2012.

- . Madrid, SGEL, 2014. - Ortografía de la lengua española. Madrid: Espasa Calpe, 2010. - Oxford Spanish Dictionary. Oxford: Oxford UP, 2010. - Quirk, Randolph & Sidney Greenbaum. A University Grammar of English. London: Longman, 1991. Also available in pdf format.

- Seco, Manuel y otros. Diccionario del español actual. 2 vols. Madrid: Aguilar, 2006. - Spinelly, Emily. English Grammar for Students of Spanish. Michigan: The Olivia & Hill Press, 2012.

- Thomson, A.J. & A.V. Martinet. A Practical English Grammar. Oxford: Oxford UP, 1996. Also available in pdf format.


SPN 3011 Contemporary Spanish Literature Dr. Susana Jákfalvi Spring 2018

Descripción del curso: Tipo de curso: teórico-práctico En este curso se ofrecerá una introducción a la literatura española del siglo XX y XXI. Se hará énfasis en el contexto cultural y socio-histórico. Se analizarán textos de varios géneros literarios, haciendo hincapié en los movimientos a los que pertenecen. Algunos de los temas incluidos son: el modernismo, la generación del '89, el post-modernismo, la generación del 27, la literatura posterior a la guerra civil, y las nuevas tendencias literarias. Se leerán y analizarán fragmentos de las obras de los siguientes autores: Miguel de Unamuno, Federico García Lorca, Antonio Machado, Miguel Mihura, Camilo José Cela o E. Vila-matas. También se van a leer poemas y fragmentos en prosa escritos por: Rubén Darío, Carmen Laforet, Eduardo Mendoza, Sara Mesa, o Francisco Gallardo.

Objetivos -Lograr que los estudiantes conozcan, de manera progresiva, a los autores y las obras sobresalientes de los siglos XX y XXI, así como las características de los movimientos más importantes de estos siglos. -Ejercitar a los alumnos en la lectura crítica de textos relevantes del siglo XX y XXI, situándolos en su contexto histórico-cultural.

Textos: --Miguel de Unamuno: San Manuel, bueno, mártir. 1930. Cátedra --Federico García Lorca: Bodas de sangre. 1936. Cátedra - Miguel Mihura: Tres sombreros de copa. 1932. Cátedra --Camilo José Cela: La familia de Pascual Duarte. 1942. Cátedra

EVALUACION Participación, Informe de lecturas 25% Miniensayos: 25% (el contenido y la extensión se anunciará durante las clases) Ensayo final 50% La participación en clase es fundamental en el curso. Cada estudiante tendrá que exponer sus opiniones críticas sobre los textos asignados. Es necesario que las lecturas se hagan antes de clase.

Temario: --Modernismo. La generación del 98. --Las vanguardias y la generación del 27. --La Segunda República y la guerra civil. --La generación del medio siglo. --La literatura de la España posfranquista --Tendencias recientes de la literatura española


Culture & Society of Spain Spring 2018 Lecturer: John Boyle

Course Description: The Culture and Society of Spain includes a study of Spanish life and character as it manifests itself in history, regional personality, celebrations, music, legendary figures and modern Spain. Special emphasis is given to the southern part of Spain, Andalucía, which conserves today the diverse cultural heritage of Europe, Africa and the Orient (Near and Middle East).

Text: Reader. Course dossier elaborated by the instructor.

Grading System: Mid-Term 25% Final Exam 30% Essay 20% Attendance 15% Participation 10%

Class attendance and ICS City Visits are mandatory. For every unexcused absence your grade will suffer a 5% penalty.Course Schedule: Week: September 25.

Course Schedule: Week:September25.

1.-Mon.25:SpanishGeography,RegionalDiversity,Judy’ssugges@ons,Sevillalamaravilla.

2.-Wed.27:Romans,VisigothsandMoors

*.-Sat.30:FieldTrip:JerezdelaFrontera&Bolonia

Week:October02

3.-Mon.02:Andalucia:Character,Dialect,Linguis@cPeculiari@es,Cuisine

4.-Wed.04:TheMoorishlegacyinAndalucia

*.-Frid.06:FieldTrip:“ElAlcázar”,Seville’sRoyalPalace

Week:October09

5.-Mon.09:TheReconquestandtheSpanishEmpire

6.-Wed.11:StructureofSpanishSocietythroughtheages

Thursday12thOctober:“DiadelaHispanidad”

Week:October16

7.-Mon.16:20thCenturySpain,anIntroduc@on

8.-Wed.18:TheSpanishCivilWar

*.-Frid.20:FieldTripto“Itálica”

*.-Sat.21:FieldTriptoCórdoba

Week:October23

09.-Mon.23:Regionaldifferences&Characteris@csandtheirconsequences

10.-Wed.25:TheTransi@ontoDemocracy

*.-Frid.27:CulturalVisittoCathedralandGiralda

Week:October30

11.-Mon.30:Mid-TermExam

Wednesday1stNovember:“TodoslosSantos”

*.-Frid.03/Sat.04/Sun.05FieldTriptoMorocco

Week:November06

12.-Mon.06:[email protected]

13.-Wed.08:Toros.TheBullfight.

*.-Frid.10:CulturalVisittoFineArtsMuseum

Week:November13

14.-Mon.13:Customs,[email protected]&FeriainSeville

15.-Wed.15:TheSpanishCharactertoday

*.-Frid.17/Sat.18FieldTriptoGranada

Week:November20

16.-Mon.20:Poli@csandRegionalism

17.-Wed.22:Educa@on,HealthandSocialWelfare

*.-Thur.23:ICSThanksgivingDinner

Week:November27

18.-Mon.27:Values,LifestyleandMorality

19.-Wed.29:TheEconomy

*.-Frid.01:CulturalVisittoCas@llodeSanJorge&TrianaMarket

Week:December04

20.-Mon.04:HowcanwesumuptherealityofSpain?

*.-Wed.Thur.&Frid.areHolidays

Week:December11

21.-Mon.11.ExamRevision

22.-Wed.13FINALEXAM

Bibliography - Casas, Penelope. Tapas: The Little Dishes of Spain. New York: Knopf, 1985. - Casas, Penelope. The Food and Wines of Spain. New York: Knopf, 1982. - Camacho, Curro and Judy Cotter. Our Friend, John Fulton «Quixote». Sevilla: Imprenta Taurina Andaluza Cervantes, 2001. - Fulton, John. Bullfighting. Sevilla: Quixote Classics Ed., 1992. - Hooper, John. The New Spaniards. London: Penguin, 1986. - Josephs, Allen. White Wall of Spain: Mysteries of Andalucian Culture. Pensacola: UWFP, 1992. - Morris, Jan. Spain. London: Penguin, 1986. - Morton, H.V. A Stranger in Spain. London: Methuen, 1983. - Tremlett, Giles. Ghosts of Spain: Travels Through Spain and Its Silent Past. New York: Walker & Co.,2006. - Yoors, Jan. The Gypsies of Spain. New York: Macmillan, 1974.


Phone (#34)95-423-3838 Fax (#34)95-423-4572

ARH 3351 - The Art of Spain Spring 2018Lecturer: Duda Popovic Description of the Course: The Art of Spain includes the study of outstanding examples of architecture, painting and sculpture, emphasizing the early Roman and Moorish contributions, as well as the great Spanish painters: El Greco, Ribera, Murillo, Velázquez, Goya, Picasso, Miró, Dalí, and the architect Antonio Gaudí. ICS city visits and field trips are mandatory. Learning Objectives: - Gain a broad understanding of the relationship between the art, the individual and society. - Build a basic art history terminology for conducting visual and formal analysis and critiquing a variety of works of art using that vocabulary. - Discuss works of art in their appropriate contexts: aesthetic, historical, archaeological, social, philosophical, political, economic, etc. - Demonstrate an ability to identify and describe the most representative artworks of Spanish art. Course Plan 1. Introduction, Pre-History, The Cave art of Altamira, Paleolithic and Neolithic Periods, early

inhabitants, traders and colonizers 2. Roman, Early Christian, Visigoth art, sculpture and architecture 3. Islamic Art in Al-Andalus. Caliphate of Cordoba: The Great Mosque of Cordoba; The Taifas

and Almohads: The Giralda of Seville, Torre del Oro in Seville; The Nasrid Kingdom of Granada: The Alhambra of Granada; Mudejar Architecture, Cultural Fusion

4. Architecture – Romanesque, Gothic, Renaissance (Plateresque, Purism and Herreriano Styles)

5. El Greco: biography, styles and techniques, masterpieces · Mid-Term Exam · Golden Age, Baroque Masters: Velázquez, Ribera, Zurbarán, Murillo: biographies, styles

and techniques, masterpieces · Neoclassicism/Romanticism, Goya: biography, styles and techniques, masterpieces · 20th Century Art, Picasso: biography, styles and techniques, periods (Blue, Rose, African,

Cubism, Classicism, Surrealism), War in Spain: Guernica, masterpieces · Modernism, 20th Century Architecture, Gaudí: biography, styles and techniques,

masterpieces · Surrealism, Dalí and Miró: biography, styles and techniques, masterpieces 1. Final Exam Required Readings (Course Pack/Reader): - Cotterill, H.B. A History of Art Vol.2. George G. Harrap & Co. Ltd. - Dodds, Jerrilynn D. Al-Andalus: The art of Islamic Spain. Exhibition catalog, 1992, The Metropolitan Museum of Art, New York. - Gudiol, José. The Arts of Spain. Thames and Hudson, 1964 - Moffitt, John F. The Arts in Spain. Thames and Hudson, 2015 Supplementary (Recommended) Readings: - Baetjer, Katherine. El Greco. The Metropolitan Museum of Art Bulletin, V.39, No.1, 1981 - Baticle, Jeannine. Zurbarán. The Metropolitan Museum of Art Exhibit Publication, 1987 - Pérez Sánchez, A.E., Spinosa, Nicola. Jusepe de Ribera 1591-1652, The Metropolitan Museum of Art Exhibition Publication, 1992 - Domínguez Ortiz, A., Pérez Sánchez A.E., Gállego Julian. Velázquez. The Metropolitan Museum of Art Exhibit Publication, 1989

- Shanes, Eric. The Life and Masterworks of Salvador Dalí. Parkstone International, 2012 - Voorhies, James. Francisco de Goya (1746-1828) and the Spanish Enlightenment. Heilbrunn Timeline of Art History. The Metropolitan Museum of Art, 2003 - Voorhies, James. Pablo Picasso (1881-1973). Heilbrunn Timeline of Art History. The Metropolitan Museum of Art, 2004 Course requirements: - Attend all classes punctually, including mandatory city visits and field trips. - Complete all class readings, homework and/or reading assignments on a weekly basis. - Assigned readings must be completed before the day of the lecture. - Give oral presentations (individual or group) based on Field Trips/ City Visits or Topic of student’s choice. - Complete one mid-term exam and one final exam. Grading: Mid-term exam: 25% Final exam: 30% Participation: 20% Oral Presentation: 15% Class Attendance: 10% Attendance: Attendance will be taken at the beginning of each class. Being late twice will count as one absence. More than two absences will negatively affect your participation grade and/or class attendance. Class Notes: Taking notes is very important and should be practiced throughout the semester. It is advisable to make clear and detailed notes for revision purposes, as anything discussed in the class lectures, readings, field trips and museum visits may appear on exams.


Phone (#34)95-423-3838 Fax (#34)95-423-4572

INR 3002 International Relations

Spring 2018 Prof. John Boyle Course Aims

To familiarize the students with the development, theoretical debates, and changing structural features of International Relations (or better, Global Politics) throughout the 20th Century and into the New Millenium: the evolution from a world neatly partitioned into rival states with "clear" national interests to one where, owing to the many challenges of globalization, not least the rising importance of non-state actors, old certainties regarding international society become questioned and new solutions required. Clearly, key to any understanding (as opposed to merely explanation) of the processes and dynamics prevalent within Global Politics is the concept of power. Its identification, and the analysis of the various forms it manifests itself is a central aspect of this course.

Course Material Reader compiled by the lecturer. Grading System Participation 15% Project & Presentation 25% Midterm 25% Final 35% Oral participation is very important, and every student is expected to contribute. Class attendance is mandatory. Attendance Policy: For every unjustified absence, 5% will be subtracted from the final grade. Project: An essay (4-5 pages) on a topic chosen by the student, approved by the instructor. Students will give a short presentation (10 minutes) on their project Course Schedule 1.- Introduction to Course Overview and terminology Factors influencing Human Relations Cultural, Religious and Ethnic factors 2.- The Evolution of International Society The Age of Globalization National objectives International objectives 3.- 20th Century History The Alliance Syndrome and self protection 1900 - 1920 1920 - 1945

Effects of WWII (post-war interests, objectives/policies, Yalta, Bretton Woods, UN) 4.- Cold War Conflicting theories. The arms race, The space race, 3rd world countries. The disintegration of the USSR. Reasons and consequences.

5.- Post-Cold War International System Competing Visions Change or continuity? Conflicting Political Ideologies International terrorism 6.- Global Economy Post-war world economy US hegemony Rise and fall of Bretton Woods system OPEC and the power of Oil The development of international finance. Role of International Organizations (IMF, World Bank, WTO) 7.- Emerging Economic Patterns The USA and the expansion of NAFTA The European Community and expansion towards Africa and the Middle East The Oriental Giants: China and India 8.- The Middle East Historical background Cultural/Religious/Political areas Arab - Israel conflict Islam - Western World conflict 9.- The Arab Spring 2011 Tunisia

Egypt Libya Syria

10.- Less Developed Countries Systematic exploitation of the 3rd World? International trade, debt, MNCs Political-Economic-Social factors 11.- Environmental Issues Global environmental change Climate, Resources, eco-systems Collective responses at international level 12.- The United Nations and International Order Objectives and structure of UN Organizational/operational problems Relevance and efficiency of UN 13.- A glimpse at the developments within Russia The power struggle The popular response The importance for the West

14.- Current concerns with extremist fundamentalist terrorist movements. The Paris assassinations Rise of terrorism threats National & International security and control measures 15.- Current processes in need of solution Brexit and the Future of the European Union Refugee crisis in Europe


Phone (#34)95-423-3838 Fax (#34)95-423-4572

EUH 3090 Three Cultures: Christians, Muslims, and Jews in SpainSpring 2018Lecturer: John Boyle Description of the Course This class will explore the nature, challenges and results of conflict and coexistence among Jews, Muslims, and Christians in medieval Spain. It will examine the breakdown of tolerance leading to the expulsions of Spanish Jews in 1492, Spanish Muslims by 1502, and the Moriscos of Spanish Muslim descent in 1609. Spain’s subsequent involvement in Morocco will receive particular attention, as will the roles of Jews, Christians, and Muslims in present-day Spain. New perspectives will emerge on global issues from immigration to terrorism. Consistent attendance and participation are essential for success in this course. Other requirements include a short paper (3-5 pages) and an oral presentation on the same topic, selected in consultation with the professor. The midterm and final exams will feature essay questions and the identification of key terms from the lecture outlines. Textbook Reader compiled by the lecturer. Course Schedule Readings must be completed and brought, with comments and questions, to the relevant class session indicated below. -Introduction -Judaism & Christianity in the Roman Empire -The Romans in Spain -The rise of anti-Semitism in Visigothic Spain -The birth of Islamic Spain -http://www.islamicspain.tv/ -The Caliphate of Córdoba & the Taifa Kingdoms -Toledo and its School of Translators -The “Reconquest”….rise of intolerance -Fall of Granada -The Empire in all its dimensions -Mid-term Exam -Expulsions and repressions -The Inquisition -The Protestant Reformation in Europe -Spanish mentality from 18th to 20th century -Internationality of Spain -Spain’s direction for the near future -Political appreciation of interculturality -Jewish & Islamic Communities in present day Spain -Immigration: clash of cultures -Tolerance, Integration, terrorism in Modern Spain -Final Exam Course Evaluation: Participation, attitude in class, quizzes: 25% Group or individual presentation 25% Midterm Exam: 25% Final Exam: 25%

Structure of the quizzes, midterm and final exam: The exam and quizzes will be a combination of multiple choice, short questions, one essay style question and article analysis. Attendance Policy: For every unjustified absence, 5% will be subtracted from the final grade Oral presentation evaluation:

Content: Does the presentation offer accurate, high quality 50% information, interesting and synthesized in an original manner? Formal presentation: Is the information presented clearly and in a 20% scholarly manner? Does the presenter use graphics, visuals and/or other supplementary materials? Is the presentation engaging? Does the presenter actively 30% strive to involve the class in his/her presentation? Does she/he strive to hold the attention of the class?

English Expression: The students should express themselves -both orally and in writing- in good formal English. Particularly in the written partials and quizzes, as well as the presentations, good academic writing is essential. Bad, sloppy academic writing (misspellings, deficient syntax, etc.) will be penalized. Class Protocol: Students are required to be involved in class activities. They are expected to show their preparation by participating in discussions, by asking relevant questions, being critical and analytical with the contents presented in class as well as by sharing their ideas and opinions. In class the student is required to maintain a polite demeanor always and under every circumstance. Students are asked not to eat in class and to put their cell phones on silence. With the exception being for class presentations, laptops are not to be used in class. Recommended Reading Safran, Janina M. Defining Boundaries in al-Andalus. (Muslims, Christians and Jews In Islamic Iberia) Cornell University Press, 2013. 246 pages. Available Bibliography (books in the ICS library) BOOKS Alexy, Trudi. The Mezuzah in the Madonna’s Foot. New York: Simon & Schuster, 1993. Barakat, Halim. The Arab World. Society, Culture, and State. Berkeley: University of California Press, 1993. Bango, Isidro G. Remembering Sepharad. Jewish Culture in Medieval Spain. Madrid: Seacex, 2003. Constable, Olivia Remie, ed. Medieval Iberia: Readings from Christian, Muslim & Jewish Sources. Philadelphia: University of Pennsylvania Press, 1997. Cowans, Jon. Early Modern Spain. A Documentary History. Philadelphia: University of Pennsylvania Press, 2003. ---- Modern Spain. A Documentary History. Philadelphia: University of Pennsylvania Press, 2003. Díaz-Mas, Paloma. Sephardim: The Jews from Spain. George K. Zucker, trans. Chicago: The University of Chicago Press, 1992. Gerber, Jane S. The Jews of Spain. New York: The Free Press, 1992. Husain, Ed. The Islamist. London: Penguin Books, 2007. Ibrahim, Raymond, ed. The Al Qaeda Reader. New York: Doubleday, 2007. Jayyusi, Salma Kahadra, ed. The Legacy of Muslim Spain. Boston: Brill, 1992-1993. 2 volumes. Kagan, Richard L. and Dyer, Abigail. Inquisitorial Inquiries. Brief Lives of Secret Jews & Other Heretics. Baltimore: The Johns Hopkins University Press, 2004. Kennedy, Hugh. Muslim Spain and Portugal. A Political History of al-Andalus. Essex: Pearson Education Limited, 1996. Kepel, Gilles. Beyond Terror and Martyrdom: The Future of the Middle East. Cambridge, MA: Harvard University Press, 2008. Lewis, Bernard. Cultures in Conflict: Christians, Muslims, and Jews in the age of Discovery. Oxford: Oxford University Press, 1995. Lombard, Maurice. The Golden Age of Islam. Princeton: Markus Wiener, 2003. Lowney, Chris. A Vanished World: Medieval Spain's Golden Age of Enlightenment. New York: Free Press, 2005. Mann, Vivian B., Glick, Thomas F. and Dodds, Jerrilynn D. Convivencia. Jews, Muslims, and Christians in Medieval Spain. New York: The Jewish Museum, 1992. Menocal, María Rosa. The Ornament of the World How Muslims, Jews & Christians Created a Culture of Tolerance in Medieval Spain. Boston: Little Brown & Co., 2002. Meyerson, Mark D. A Jewish Renaissance in Fifteenth-Century Spain. Princeton: Princeton University Press,

2004. --- and English, Edward D., eds. Christians, Muslims, and Jews in medieval and early modern Spain : interaction and cultural change. Notre Dame, Ind. : University of Notre Dame Press, 2000. Meyuhas Ginio, Alisa, ed. Jews, Christians & Muslims in the Mediterranean World after 1492. London: Frank Cass, 2002. Nirenberg, David. Communities of Violence. Persecution of Minorities in the Middle Ages. Princeton: Princeton University Press, 1996. (pp. 166-199) Pacheco, Juan Antonio. Andalucía y Marruecos. Culturas para el diálogo. Sevilla: Mergablum, 2004. Riedel, Bruce. The Search for al Qaeda: Its Leadership, Ideology, and Future. Washington, D.C.: Brookings Institution Press, 2008. Smith, Colin et al., eds. Christians and Moors in Spain, 1145-1617. Warminster, Wiltshire, 1988-1992. 3 volumes. Vidal, César. España Frente al Islam. De Mahoma a Ben Laden. Madrid: Osobelena, 2004. Wallace-Murphy, Tim. What Islam Did for Us. Understanding Islam´s Contribution to Western Civilization. London: Watkins, 2006. Watt, W. Montgomery and Cachia, Pierre. A History of Islamic Spain. Edinburgh: Edinburgh University Press, 1965, 1996. ARTICLES Burke, Jason. “Al Qaeda”. Foreign Policy 142 (May – June 2004), 18-26. Eigeland, Tor. “Granada’s New Convivencia.” Saudi Aramco World (September-October 2003), 12-20. Fuchs, Dale. “Pope asked to let Muslims pray in the Mosque-Cathedral of Cordoba.” The Guardian, 29 December 2006. Huntington, Samuel P., "The clash of civilizations?", in Foreign Affairs, Summer 1993 – volume 72 no 3, s. 22–49. Radu, Michael. “The Fall of Spain?” FrontPageMagazine. com. March 16, 2004. AUDIO-VISUALS Films: Poniente (2002); The traitor (2008) Documentary: Cities of Light: The Rise & Fall of Islamic Spain, PBS (2007)

EUH 3141 The Mediterranean World Spring 2018 Prof. John Boyle Course Description This course is a survey of the Mediterranean world, an introduction to the political, and socio-economic reality, cultural aspects, and to the region's geo-strategic importance. Special attention is given to regional differences, such as the North/South divide with emphasis on the EU program of economic integration of the Southern Mediterranean countries under the EU Neighborhood policy. The course examines the historical development of the area, the economics and politics, and an analysis of special cases: international migrations, nationalism, management of natural resources, religious conflicts. The continuing effects of the Arab Spring uprisings will receive special attention as will the emergence of the Islamic State, its influence and its place within an Arab/Islamic contaxt. The format of the course is conversational and interactive, including class discussions on the day-to-day events as they occur. Course Material Reader compiled by the lecturer. Grading System Participation 15% Project & Presentation 25% Midterm 25% Final 35% Oral participation is very important, and every student is expected to contribute. Class attendance is mandatory. For every unjustified absence, 5% will be subtracted from your final grade. Project: An essay (5 pages) on a topic chosen by the student, approved by the instructor. Students will give a short presentation (10 minutes) on their project Course Schedule 1.- Introduction.

Physical and Human Geography. A general review of political, economical, social and religious aspects of the Mediterranean basin. An introduction to geomorphologic aspects, as well as to climate, hydrology, natural parks, resources, and environment. Mediterranean countries and regions. 2. Brief History of the Mediterranean. Key concepts. The main periods of Mediterranean history. The Arab World and Islam, the European Union, and Israel and Jewish presence. 3. Geo-strategic Aspects. Introduction to geopolitics in the Mediterranean. 20th Century. The Cold War. 21st Century Euro-Med development. The Euro-Med area and US relations

4. Mediterranean Europe. The Wave of Democratization in the Late Twentieth Century. European-Mediterranean agreements and cooperation. The prospects for a European-Mediterranean Union 5. Economic, Social and Political Impact of proposed Euro-Med Partnership European and world trade Social and environmental issues Political understanding 6.- The Arab Spring 2011

Tunisia Egypt Libya Siria

7. The self –proclaimed Islamic State Its origins, development and objectives Its International impact Its place within an Arab/Islamic context 8.- Turkey Between Europe and the Middle East Problems with European Integration 9.- Conclusions

Threats versus Potential Communication, Understanding, Commerce and World Security What the future holds for Europe and the Middle East


ARH 3000 Art Appreciation Spring 2018

Introduction A. Objectives: This course is designed to provide students with an introduction to the field of fine art. Students will learn multiple methods for understanding, analyzing and interpreting works of historical and contemporary art while developing the ability to write and discuss their conclusions using relevant vocabulary and terminology. Students will explore the physical and theoretical structure of significant works, the methods and challenges through which artists came to produce particular works, and the impact on thinking and popular dialogue which result from the creation of those artworks. Though related to the study of art history, Art Appreciation seeks to emphasize to the the present-day relevance of studying art, both historical and contemporary. Students will work to develop their personal definition of “Art” based on their course research and class discussions. Special emphasis will be given to art relating to Spain. This includes famous historical examples like Picasso, Velazquez and Dali but also contemporary artists like Alicia Martín and Juan Muñoz. The course will also examine the production/execution of art as it relates to public and market consumption.

B. Description of the course: The course format will be intermixed lecture and discussion. Regular verbal participation from all students is expected. While exams with specific answers will be a part of this course, in-class discussions should be less about specific answers and more about expanding critical thinking skills and interpretive abilities using the methods covered in early in the term. The class will often have a conversational format and the method of instructor’s presentation will vary from traditional lecture, guided activities, video and response, and group discussion.

C. Class material and textbook: Reader compiled by the lecturer. There will be occasional assignments and quizzes and students may be asked to acquire a limited amount of materials for the purpose of experimentation of different visual concepts covered in class.

Art Visits: The art visits are an integral and obligatory component of the course. Time will be dedicated in class to the adequate preparation of these visits.

Grading System. Your final grade will be based on the assignments, other written commentaries, the Final Paper and attendance, as well as on the results of both your Mid-Term and Final examinations. All projects must be turned in on time. This will not be a memorization-based experience nor a multiple-choice one. 1. Final Paper: a short research project on one of the subjects discussed in class. Students will first require approval from the teacher on the subject and prepare both an outline and an essential bibliography. Typed 5-8 pages. 2. Readings and Commentaries. Since our goal is to maintain a conversational format throughout the semester, each student has to actively participate and keep up with both the text and the supplementary readings. Occasionally the students will be required to hand in brief summaries of specific readings and commentaries on on-site lectures. Submission of work will be online.

3. Attendance: Students will not be allowed unjustified absences. Each one will mean 0.5 point (out of 10) off from the final grade. A student with five unjustified absences will not pass. Students with no absences will, of course, see that reflected in their attendance and participation part of the grade.

- Attendance and participation: 20% - Assignments and homework: 15% - Oral presentation in class: 10% - Mid-term test: 20% - Final Test: 20% - Final Assignment: 15%

No presentation of the final assignment will deduce 2 points from the final grade.

Activities outside class hours 1) Visits to non-traditional art within Sevilla 2) Tour of some of the art galleries in the city 3) Visits to relevant art exhibitions in the city. 4) Visit to the Museo Provincial de Bellas Artes in Seville. 5) Visit to the Centro Andaluz de Arte Contemporanéo.


Film 101, Spring 2018 Instructor: Adam Scott Course Dates/Times TBD [email protected] Room: TBD Phone: TBD Office hours TBD

INTRODUCTION TO FILM

This course will serve as an introduction to the academic study of film. We will explore the historical, technical, and theoretical aspects of film through screenings, readings and in-class discussion. Some areas of to be covered include cinematography, editing, sound, acting, and mise-en-scéne. In addition, the course will also explore the relationship between Hollywood and various national cinemas, with a specific emphasis on Spain’s rich film history. As part of the course students will either give a presentation on a Spanish film/filmmaker or make their own short film.

Grading:

Participation 20% Film response journal 20% Presentation or short film 30% Analysis Paper 30% TOTAL 100%

Texts:

Fabe, Marilyn. Closely Watched Films, 10th Anniversary Edition. University of California Press. PDF E-book and Kindle edition available.

Additional readings will be online or provided by instructor.

Explanation of Grading:

Participation (20%): Class participation is essential to the success of this course. You are expected to attend class regularly, participate in class discussion, work effectively in groups, do all assigned reading and see all required films.

Film response journal (20%): After watching each film, students should write at least a one page response reflecting on aspects of the film that relate to information covered in lecture and the readings. The journal will be turned in periodically throughout the semester to be graded.

Presentation or Short Film (30%): Each student will have the choice of doing a presentation or making a short film. The presentation will be around 5-10 minutes and should discuss either a Spanish filmmaker or an important Spanish film.

For those who decide to make short films, it should be under 5 minutes and take inspiration from the Spanish films and filmmakers discussed in class. Be prepared to speak for a couple minutes after screening your film about your choices.

Analysis Papers (30%): Students will be writing a 4-5 page paper analyzing one of the films from class. These papers should be written in formal academic language and use MLA format.

Policies

Attendance/Punctuality: More than two absences will result in a lowering of your participation grade. Missing 3 times or more times may result in an inability to pass the course. Please come on time. Frequently (2 or more times) arriving late will result in a lowering of your participation grade.

Plagiarism: Plagiarism is the presenting of others’ ideas as if they were your own. When you write a paper, create a project, do a presentation or create anything original, it is assumed that all the work, except for that which is attributed to another author or creator, is your own. Plagiarism is considered a serious academic offense and may take the following forms:

1 Copying word-for-word from another source and not giving that source credit. 2 Paraphrasing the work of another and not giving that source credit. 3 Adopting a particularly apt phrase as your own. 4 Using an image or a copy of an image without crediting its source. 5 Paraphrasing someone else’s line of thinking in the development of a topic as if it were your own. 6 Receiving excessive help from a friend or elsewhere, or using another project as if it were your own.

Note that word-for-word copying is not the only form of plagiarism. The penalties for plagiarism may be severe, ranging from failure on the particular piece of work, failure in the

course or expulsion from school in extreme cases.

[Adapted from the Modem Language Association’s MLA Handbook for Writers of Research Papers. New York: MLA, 1995: 26]

SCHEDULE

1 – Movie Origins: Art and Entertainment FILM: Various READING: Fabe, Chapter 1

2 – Editing/Montage FILM: The Battleship Potemkin (Eisenstein 1925) READING: Fabe, Chapter 2

3 – Sound in Cinema FILM: M (Lang 1931)

4 – Types of Movies/Genres & Italian neo-realism FILM: The Bicycle Thieves (De Sica 1948) READING: Fabe, Chapter 6

5 – Mise-en-Scéne FILM: Do the Right Thing (Lee 1989) READING: Fabe, Chapter 11

6 - Cinematography FILM: The Conformist (Bertolucci 1970)

7 – Acting FILM: All About My Mother/Todo sobre mi madre (Almodóvar 1999) Reading: “The Evolution of Pedro Almodóvar” (Max, 2016)

8 – Auteur theory FILM: Citizen Kane (Wells, 1941) READING: Fabe, Chapter 5

9 – Feminist Cinema FILM: Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Akerman 1975)

10 – Student films/Presentations Analysis Paper due


MAR 3550 US / EU Bilateral Trade Spring 2018Prof. John Boyle

Course Description

The objective of this course is to prepare students to actively survey, analyse, implement and control Trading Opportunities in different economic sectors between the US and the European Union and examine aspects specifically related to International Financial Management Planning for US – EU trade. The course looks at the general history and development of the EU, its current overseas trade situation, its economic profile and development, its general and specific trade policies and practices which directly affect overseas companies, and recent developments in each economic sector. Students will be allocated a product or service with the objective of examining the commercial opportunities for the product/service in the EU, in the light of each section studied during the course. This will provide an ongoing practical input throughout the course and will serve as a basis for an evaluation paper to be drawn up by the students in which they will analyse the viability and potential of their service/product for the European Union market.

Textbook: Course Dossier compiled by the lecturer.

As this Course deals with a Sector which is in a constant and rapid process of change, reference will be made to the official web pages of the European Union and the US State Department of Foreign Trade and other relevant internet sources, for all updated information related to US-EU Bilateral Trade.

Project: Students will be required to submit a written project at least two weeks before the final exam. The theme of the project may be selected by the students but must be approved by the instructor.

Grading System: Student participation; 10% Project; 15% Quizzes: 15% Midterm: 25% Final: 35%

Class attendance is mandatory. 5% of the final grade will be deducted for each unjustified absence.

Course Schedule 1. Ideology of the European Union 2. Organizational Structure 3. Growth of the European Union: future enlargement 4. EU - US Treaties & Agreements 5. International Financial Planning for trade with the EU6. International Management 7. Product Design Management 8. Product Costing and Pricing 9. International Cash-Flow management 10. US opportunities in Europe: misconceptions and imperatives 11. Specific Market & Consumer characteristics 12. The Euro & economic trends 13. Specific Supply & Distribution aspects14. Conclusion


GEB3955InternationalBusinessSpring2018Lecturer:AnnetteMorcos

CourseDescriptionThiscoursewillprovidestudentswiththefoundationsnecessarytounderstandthenatureofinternationalbusinessandhowitdiffersfromapurelydomesticone.Itwillintroduceconceptsandtheoriesthatexplainglobaltrade.Itwillalsoassesstheeconomic,political,legal,culturalandethicalfactorsthataffectmultinationalenterprisesandin<luencetheirdecisiontointernationalizeaswellasconsidertherolegovernments,centralbanks,<inancialmarketandindividuals,amongstothers,haveinshapingtheinternationalbusinessenvironment.Studentswilldevelopanunderstandingofthechallengesmultinational<irmshaveinleveragingtheircapabilitiesandcompetenciestocreatecompetitiveadvantagesthatallowsthemtocompeteinaglobalmarket.

CourseLearningObjectivesUponasuccessfulcompletionofthecourse,studentsshouldbeableto:

• Discusskeytermsandconceptsrelatedtointernationalbusiness• De<inethephenomenaofglobalization,developanunderstandingoftheforcesdriving

it,andlistargumentsforandagainstglobalization.• Developanunderstandingofculture,andanalyzetheeffectsofthecultural

environmentofacountryoninternationalbusiness• Discussdifferentpolitical,legalandeconomicsystemsandtheireffectoninternational

business.• Discusstheroleofthekeypublicpolicy,ethicalandenvironmentalissuesin

internationalbusiness• Understandandapplyinternationaltradetheoriestoexplainthedynamicsof

internationaltrade,foreigndirectinvestmentandnationalcompetitiveadvantage• Makeeducatedsuggestionsabouthowtoaddressmanyofthechallengesand

opportunitiesfoundinaninternationalbusinesssetting• Developanunderstandingofhowtheinternational<inancialsystemworksandits

implicationsforinternationalbusiness• Identifyandexplainchanges,ona<irmlevel,requiredforasuccessfulparticipationin

internationalbusinessactivities

InstructionalMaterialReader(compliedbylecturer)

GradingParticipation 15%GroupProject&presentation 30%Individualproject 15%MidtermExam 20%FinalExam 20%

Course Calendar (subject to change): Week #1 (September 26 & 28)Topic(s): - Introductions

- Globalization and the International Business Imperative - Cross-Cultural Issues in BusinessReading: - Wild, John J., and Kenneth L. Wild, Chapters 1& 2.

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Week #2 (October 3 & 5)Topic: - Cross-Cultural Issues in Business continued - Politics, Law and Business Ethics Case Assigned: - A Case of Two Cultures Reading: - Wild, John J., and Kenneth L. Wild, Chapters 2 & 3.

Weeks #3 (October 10) (October 12 holiday – No class)Topic(s): - Politics, Law and Business Ethics continued - Economic Development of countries Case Assigned: - Pirates of Globalization Reading: - Wild, John J., and Kenneth L. Wild, Chapters 3 & 4

Weeks #4 (October 17 & 19)Topic(s): - International Trade and Investment Theories - Business – Government trade relations Case Assigned: - The role of social and political factors in the Lebanese economy Reading: - Wild, John J., and Kenneth L. Wild, Chapter 5 & 6.

Week #5 (October 24 & 26)Topic (s): - Business – government trade relations - Foreign Direct Investment Case Assigned: - The new protectionism Readings - Wild, John J., and Kenneth L. Wild, Chapter 6 & 7Deliverables: - Submission of first part of group project - October 26

Week # 6 (October 31 & November 2) - Midterm October 31

Topics: - Regional Economic Integration - International Monetary System Reading: - Wild, John J., and Kenneth L. Wild, Chapters 8 &10

Week #7 (November 7 & 9)Topic (s): - International Monetary System

- Assessing international strategy and analyzing international opportunities Case Assigned - Ikea’s Global strategy Readings: - Wild, John J., and Kenneth L. Wild, Chapters 10, 11&12

Week #8 (November 14 & 16)Topic (s): - Analyzing international opportunities

- Selecting and Managing Entry Modes Case Assigned - Competing in Africa’s playing fields Reading: - Wild, John J., and Kenneth L. Wild, Chapters 12 &13

Week #9 (November 21 & 23)Topic (s): - Selecting and Managing Entry Modes - Developing and Marketing products (distribution and pricing) Reading: - Wild, John J., and Kenneth L. Wild, Chapters 13 & 14 Deliverable - Individual Project (November 23)

Week # 10 (November 28 & 30)Topic (s): - Developing and Marketing products

- International operations management Case Assigned - Toyota’s strategy for production efficiency Reading: - Wild, John J., and Kenneth L. Wild, Chapters 14 & 15

Week # 11 (December 5) (December 7 holiday – no class)Topic: - Management of International operations - Human resources management in the global firm

Case Assigned: - BP: Challenges in Global Staffing Reading: - Wild, John J., and Kenneth L. Wild, Chapters 15 & 16 Deliverables - Second part of group project

Week # 12 (December 12 & 14)Topic: - Human Resources Management - Concluding remarks Reading: - Wild, John J., and Kenneth L. Wild, Chapters 16 Deliverables - Presentations of group project both days if needed Final Exam on December 14


FIN 3050 Finance of International Trade Spring 2018 Lecturer: Annette Morcos

Course Description This course focuses on understanding the theory of international finance and on its real world applications from a business point-of-view. Topics in financial management, viewed primarily from the perspective of managers doing business overseas, include the management of foreign exchange exposure, foreign direct investment decisions, and multinational capital budgeting. Since multinational corporations face risks and not only opportunities, financial management also involves the design of appropriate strategies to hedge the company from actual and potential risks through the use of the different types of financial assets available for this purpose

Required Reading Compiled by lecturer (as listed in Course Schedule) Additional Bibliography: Madura, International Financial Management, 11th Ed., South Western, Ohio Eun and Resnick, International Financial Management, 7th Ed., McGraw-Hill/Irwin, New York

Course Schedule (Subject to modifications) Class 1 – Overview

• Introduction to the course and each other • Global economic outlook

Readings: • Madura Ch. 1 • EU Expansion Reading set

Questions: • What is the difference between a nation’s current and capital account? Is currency depreciation a good or bad

thing? • Why isn’t Britain in the EMU? Switzerland? Turkey? • What does an economically unified mean to US firms?

Class 2 – International Trade Flows • Looking at exports and imports, the World Bank and World Trade Organization

Readings: • Madura Ch. 2 • The IMF and the World Bank – How do they differ? • World Bank controversy: http//:globalization101.org/why-is-the-world-bank-controversial/ • IMF controversy: http//:globalization101.org/why-is-the-imf-controversial/

Questions: • What factors have been affecting European/US trade flows during the past decade? • How does one correct a balance of trade deficit? • Why is a weak currency a solution for a trade deficit? Why not?

Class 3 – How Foreign Exchange is traded: International Money, Credit, bond and Stock Market • International Exchange market • International Money Market

Readings: • Madura Ch. 3

Questions: • Why would a foreign corporation want to issue an ADR in the US? • Why might two investors in different countries come to different conclusions about the value of an MNC for

which they have information of equal quality (cash flows, etc.)?

Class 4 – Exchange Rate Determination • International Exchange market • International Money Market

Readings: • Madura Ch. 4 • Eun Ch. 5 • Prepared notes on Exchange Rate Determination • “A Reconsideration of the 20th Century – www.nobleprize.org/mediaplayer/index.pho?id=1347

Questions: • Madura pages 116 – 117 questions 2, 3, 4, 10

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Class 5 – Exchange Rate Policy • Exchange Rate Systems • Government Intervention

Readings: • Madura Ch. 6 • Eun Ch. 2 page 51 • Asian Currency Crisis reading set and Madura Appendix 6 – Pages 202 – 208

Questions: • Madura page 197, questions: 10, 14, 15

Class 6 – Currency Derivatives • Currency Futures • Forward Contracts • Options

Readings: • Madura Ch. 5 • Eun Ch. 7 and 8 (pages given in class) • Moneyweek Investment tutorial – What are derivatives

Questions: • Madura page 147, questions: 1, 2, 3, 5 • What are the similarities and differences between futures and options? What are the benefits and risks associated

with derivative financial contracts? Many people argue that overly complicated derivatives played a major part in the 2008 financial crash. Why is this and do you agree?

• Read the supplemental case Capital Crystal provided on pages 650 – 651 and prepare the answers for class discussion and for submission

Class 7 – International Arbitrage and Interest Rate Parity • Money creation in the modern economy • Looking at time value: spot versus forward currency rates

Readings: • Madura Ch. 7 • Bank of England bulleting: Money Creation in the Modern Economy

Questions: • Why must arbitrage profit be either minimal or very seldom? • Madura pages 232 – 234, questions: 4, 17, and 21

Class 8 – More Parity Conditions • Relationships between Inflation, Interest Rate and Exchange Rates • Looking at the purchasing power parity theory and its limitations • The battle between the US $ and the Yuan

Readings: • Madura Ch. 8 • The Big Mac Index by The Economist • A Short History of Inflation • The Future of the Yuan

Questions: • Why does the PPP theory not seem to hold • Madura pages 262 – 264, questions: 4, 5, 17, 21

Class 9 • Forecasting Exchange Rates • Review

Readings: • Madura Ch. 9 • Eun Ch. 6

Class 10 – Midterm

Class 11 – Managing Transaction Exposure • Measuring Exposure to Exchange Rate Fluctuations • Managing Transaction Exposure • Looking at hedging

Readings: • Madura Ch. 10 and 11 • Eun Ch. 8

Questions: • Madura page 333 question 25 • Madura pages 363 – 364, questions: 8, 17, 25

Class 12 – Managing Economic Exposure • Managing Economic Exposure and Translation Exposure

Readings: • Madura Ch. 12 • Eun Ch. 9 • Unholy Trinity: “The Washington-Wall Street Alliance”

Questions: • Albion Computer Case

Class 13 – Foreign Direct Investment • Foreign Direct Investment (FDI)

Readings: • Madura Ch. 13 • Eun Ch. 16

Questions: • Madura page 416, questions: 8 and 12

Class 14 – Country Risk Analysis • Country Risk Analysis • Looking at politics, globalization, and methods of risk assessment

Readings: • Madura Ch. 16

Questions: • King Inc. Case – Madura page 663 • What are the major economic risks of a sovereign country? How can you measure and monitor risk?

Class 15 – Multinational Capital Budgeting • Capital Budgeting

Readings: • Madura Ch. 14 • Power point slides

Questions: • Madura pages 441 – 442, questions: 8, 9, 15

Class 16 – International Corporate Control • Multinational Restructuring • Looking at debt and equity finance

Readings: • Madura Ch. 15 and 17 • The crazy World of Credit – The Economist

Questions: • Why do companies issue debt? • Madura pages 474 – 475, questions: 1 and 10 • Madura pages 523 – 524, questions: 2 and 15

Class 17 – Long-Term Financing • Long-Term Financing and bonds

Readings: • Madura Ch. 18 • Eun Ch. 12 • 2015 A Disappointing Year for European Bond Investors - Morningstar

Questions: • What are terms and covenants of a bond issue? • Madura pages 548 – 549, questions: 1, 2, 3, 8

Class 18 – Short-Term Financing • Managing Economic Exposure and Translation Exposure

Readings: • Madura Ch. 20 • Long-Term & Short-Term Financing – a summary (tutorialpoint)

Questions: • Madura pages 594 – 595, questions: 1, 2, 6, 13

Class 19 – International Trade and Cash Management • Financing International Trade • International Cash Management

Readings: • Madura Ch. 19 and 21 • Eun Ch. 19 and 20

Class 20 – Other Topics of Interest • International Tax Planning • The BEPS Initiative • History of EMS and the EMU • Roadblocks to integration (Euro)

Readings: • OECD Observer – revitalizing international Taxation • “OECD report – BEPS – frequently asked questions” • “A Theory of Optimum Currency Areas” • Eun Ch. 2 Pages 40 – 48 and Ch. 21 • Optimal Currency Area – investopedia.com • “The case against EMU” • “The Optimum Currency Area Theory and the EMU” - Intereconomics

Questions: • Discuss general issues dealing with corporate tax from the perspective of the taxpayer and government. What is

considered a fare as tax to a company? • What is meant by an ‘Optimal Currency Area’? • Why are labor mobility and fiscal transfers important to a common currency area?

Class 21 – reserved in case of a make-up lecture Class 22 – Final Exam

Course Procedures

Students are expected to read the assigned readings (chapter and outside readings) prior to the class when they will be discussed. There will be problems or cases assigned for most classes. Many of these will be designated to be handed-in. Homeworks will be submitted typed and are due at the end of the classes for which they are assigned.

Grading Attendance and participation (engagement in class discussion) 20% Handed-in homework 25% Midterm 25% Final 30%

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Screenwriting in Spain (W) – Seville, Spain COM 3433 SPRING 2018 Prof. Marc Moody, MFA Teacher contact/availability: available to see students individually by appointment after class;

contact at [email protected] DESCRIPTION The aim of this course is writing for film. The student will attempt one of (2) choices.

1. 1st Act of a Feature Screenplay (Approx. 17 pages) 2. Screenplay Short. (Approx 10 to 30 pages)

The student’s story will have one consistent theme - experiences and insight from Spain. This can be personal or an original creative idea with boundaries set in Spain, incorporated within one’s story. OBJECTIVES, GOALS and OUTCOMES

1. To provide an extensive knowledge of the screenplay format, style, and implementation of story development in the 3 act structure of the feature screenplay.

2. To develop artistic creative writing in developing your own ideas, story structure and scene by scene outline of the feature screenplay.

3. To critique and share your own work, as well as others, in a creative writing workshop. 4. To explore and observe professional American and Spanish screenplays and produced films,

as well as, other non-mainstream works produced in Spain. METHOD This class is conducted in a Creative Writing Workshop. The most important aspect of this course is to energize and pull out your creative writing ability and talents. To learn the art and appreciation of storytelling and to incorporate these tools in your own creative writing. Critique from fellow students is essential. Assignments will be read and critiqued by all in the class workshop.

ASSESSMENTS

Project 1

CreatingtheIDEAYou will create three (3) story ideas. Of these three ideas, one will eventually be chosen which will be developed to a feature script or short screenplay. A discussion with your peers will take place. From this, you will get pertinent information on what which stories do and don’t work, allowing you to pick the story you feel you want to write about or at least consider. As ideas are presented, the student will identify a point of inquiry related to Character, Plot and Theme in Spain.

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Project 2 2-Minute Movie Two page narrative description of the idea (story) you have decided to write. This is, more a less, your movie told in 2 minutes. Like your 3 ideas, this story will be discussed through constructive criticism, allowing you to better shape and mold your story for the next step in developing your screenplay. Student will demonstrate an increased capacity to analyze issues as it relates to Spain with a critical understanding of the need for differing points of view through their building of story and conflict.

Project 3 Scene Outline

• 1st ACT SCREENPLAY - A scene-by-scene “breakdown” outline, consisting of one or two lines - short sentences of your feature screenplay. (roughly 40 to 60 scenes)

• SHORT SCRIPT - A more in-depth paragraph scene breakdown of your short script.

Project 4 1st Act of feature screenplay or a screenplay short. All 1st Acts and script shorts will be read aloud, with casting of characters followed by class critique. From your final assignment, critical thinking and self-understanding are goals for this creative writing construction. This is your story. But as a study abroad student, the need and requirement to assess and demonstrate a cultural awareness of your environment in Spain is critical.

Additional Seville, Spain Journal To enhance your creative writing, you will be keeping a journal throughout the semester. Guidelines for Journal Packet:

1. Experiences with the class and class activities in Spain. 2. Observations in Spain, and how could these observations unfold within a visual story. 3. What are my experiences as an international student or how my experiences as a student

with international class members are different from my experiences at my home University. 4. Explain how personal observations and keeping a journal assist in writing my creative

screenplay. Student Learning Outcomes/Objectives Success in this course means you will:

1. Locate, retrieve, read/view, and understand relevant resources in text and handouts. 2. Demonstrate awareness in Spanish culture and issues related to cross-cultural

communication and creative writing input. 3. Reflect critically on communication narrative. 4. Critically evaluate screenwriting form, style and narrative storytelling.

Important Note: This class can be available for students who are NOT Communication majors. The course could be of great interest to English, ACM, and Theatre students.

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RUBRIC #1 Adaptation from Rcampus Assessment Com 433 Rubric for all assignments

Dimension BELOW APPROACHING MEETS ABOVE DIALOGUE

Dialogue does not allow for story flow; dialogue is not consistent with the story line and does not allow for characterization.

Dialogue slightly inhibits story flow; dialogue is sometimes not consistent with the story line and does not allow for complex characterization.

Dialogue allows story flow; dialogue is consistent with the story line and allows for characterization.

Dialogue assists and carries the storyline; dialogue is always consistent with the story line and allows for realistic characters.

GENRE WRITING

Writing is not modeled after mentor text. Writing does not follow the conventions of the setting or screenplay writing.

Writing is slightly modeled after mentor text. Writing follows some of the conventions of the setting or screenplay writing.

Writing is modeled after mentor text. Writing does follow the conventions of the setting or screenplay writing

Writing is directly modeled after mentor text. Writing does follow the conventions of the court setting and screenplay writing and makes it a natural part of the story.

UNDERSTANDING SPAIN

Very little understanding and analysis of how culture in Spain relates to the student in their creative writing storytelling.

Adequate understanding and analysis of how culture in Spain relates to the student in their creative writing storytelling.

Modest understanding and analysis of how culture in Spain relates to the student in their creative writing storytelling.

Thorough understanding and analysis of how culture in Spain relates to the student in their creative writing storytelling.

EDITING SKILLS

Writing shows no evidence of editing in regard to spelling, grammar and punctuation.

Writing shows some evidence of editing in regard to spelling, grammar and punctuation.

Writing shows evidence of editing in regard to spelling, grammar and punctuation.

Writing shows clear evidence of well executed editing in regard to spelling, grammar and punctuation.

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Study Abroad Student Learning Outcomes/Objectives The following Study Abroad SLOs will be assessed through your creative writing and journaling. For creative writing, cultural objectives can be incorporated through your story’s theme - experiences and insight from Spain. SCREENPLAY Learning Outcomes/Objectives

1. Demonstrate awareness of your characters values and biases in relation with others. 2. Demonstrate knowledge of diversity and population within your story. 3. Characters communicate appropriately and effectively with diverse individuals and groups in

Spain. 4. Demonstrate awareness in analyzing or displaying issues in Spain presented within your

story. JOURNAL Learning Outcomes/Objectives

1. Demonstrate awareness of your own cultural values and biases and how these impact your ability to work with others.

2. Demonstrate knowledge of diversity with a focus on the population or topic of interest in your study abroad program.

3. Communicate appropriately and effectively with diverse individuals and groups. 4. Demonstrate an increased capacity to analyze issues with appreciation for disparate

viewpoints. IMPORTANT TO REMEMBER Concerning creative writing, you should not try to mechanicalize these objectives we have presented. But you should try to incorporate an umbrella of study abroad and creative writing objectives in a telling way. That’s the main objective! Show it. Don’t tell it. EXAMS There will be no exams or test. Your creative work is what is graded. Work is judged through Rubric and Student Learning Outcomes/Objectives. Deadlines are imperative. Each DAY the student does not hand in assigned work, their work will be lowered by one full letter grade. EVALUATION and GRADING SYSTEM Assignments Points Project 1 20% Project 2 20 % Project 3 20% Project 4 30% JOURNAL 10% TOTAL points 100%

Following grading system will be observed: 0 - 59 = F, 60 - 69 = D, 70 - 72 = C-, 73 - 76 = C, 77 - 79 = C+, 80 - 82 = B-, 83 - 86 = B, 87 - 89 = B+, 90 - 92 = A-, 93 - 100 = A

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CLASS GUIDELINES

1. Participation is mandatory. This class is conducted in a workshop environment. You’re participation and critique of your fellow classmate’s creative writing is needed.

2. Writing assignments must be turned in on its DUE DATE. If you are late, your grade will be taken

down to half a credit until it is turned in.

3. No plagiarism is allowed. Plagiarized material is an automatic F for the assignment. An automatic F for the course if continued.

SCHEDULED CLASS VISITS: TBA 9 - READINGS & SOURCES

• Textbook - Mandatory Lew Hunter Screenwriting 434 • Mandatory Booklet/Course pack: TBA

10 - ADDITIONAL COSTS – Textbook, Course Reader, transportation costs. 11 - VISITS and TRIPS - Four class-based field trip TBA. 12 – MATERIALS – not applicable 9 - CLASS SCHEDULE Week 1 Introduction

CHAPTER 1: IDEAS 3-Act Structure – What? Discussing your Story Idea Discuss Project 1

Week 2 FILM

CHAPTER 2: THE TWO-MINUTE MOVIE Project 1 Due / Read & critique in class

Week 3 CHAPTER 3: BUILDING YOUR CHARACTERS Project 1 Due / Read & critique in class (CONT’D) Week 4 FILM – BREAKDOWN DISCUSSION OF 3 ACT STRUCTURE

Week 5 CHAPTER 4: THE OUTLINE FOR YOU AND “THEM”

Project 2 due / Read & critique in class Week 6 Reviewing Spanish screenplays or screenplays on Spain

Project 2 due /Read & critique in class (CONT’D) Week 7 & 8 CHAPTER 5, 6 & 7 (ACT ONE, ACT TWO AND ACT THREE SCRIPT)

Project 2 Due / READ & CRITIQUE IN CLASS (CONT’D) .

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Week 9 BRING IN A FILM AND SHOW 1 SCENE (Film is Spanish or Spanish theme)

ANSWER THESE QUESTIONS Why do you like it? Why does it work? Why do you want to share this with others? What is “t” about it? How different does that make it?

Week 10 & 14 Project 3 due / Read & critique in class READING ACT 1 or FILM SHORT Spain Journal due (last week)

Contents of individual classes may be changed throughout the course according to the class's progress.

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COMMUNICATING CREATIVITY (Film History) – Seville, Spain America’s Best Spanish Directors COM 3489 SPRING 2018 Prof. Marc Moody, MFA Prof. Marc Moody, MFA Teacher contact/availability: available to see students after class or individually by arrangement. Contact at: [email protected] DESCRIPTION This course will survey the history of narrative tradition and visual aesthetics of film, and the relationship between Spanish film directors and their successful accomplishments in American cinema. The student will learn and explore the deep relationship of Spanish filmmakers and how they influenced American cinema by their films produced in Spain or financed in America, achieving success in one or both countries. ASSESSMENT 1) FILM SHOWING A feature film each week made in Spain by a Spanish Director, and (2) films starring renowned Spanish actors, will be shown in each class. (For further details, please see Method, pg. 2) 2) EXAMS There will be (3) exams during the semester. Two exams and one final exam. They will consist of Multiple Choice, True or False and Fill in the Blank, and Short Answers. All questions will come from lectures, book chapters and/or material assigned readings, and questions on the films viewed in the class. Questions can be as follows:

• Questions concerning the films narrative thread. • Questions on lecture notes before each film shown. • Questions from Chapter assignments in your textbook.

At a closer look, these film questions will be on scenes or plot description within the narrative, lecture notes on the film shown, and character names, actors who played these characters, as well as, ABOVE THE LINE crew (i.e. Director, Director of Photography, Screenwriter & Editor). 3) RESPONSE PAPER After each viewing, a one-page response paper is due. Students will demonstrate their knowledge of the diversity of perspectives about American/Spanish films by writing a response paper after every viewing. Critical thinking and self-understanding are goals of the response paper to promote thinking at a deeper level. You will be expected to hand in your reader response sheet the next class period after the viewing of each film.

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4) GROUP PROJECT One project will be given for two groups to see a Spanish (non-American) film that has English subtitles presently showing in the theatres or other venue in Seville. You will present this to the class with the following:

(1) Logline (2) One page narrative (storyline) of the film. (3) Compare and Contrast films viewed and its experience in a Spanish Cinema vs.

as American Cinema theatre house. (4) Influences – A list of examples one might discover from America, Spain or both

and how it influences the film from your point of view. (5) Personal Testimony – Members will write a (1) page essay on how the film

affected them, personally. There is no “right or wrong” answer, but your chance to express your feelings connected to the film, absent of any academic footholds

METHOD Classroom activities will be:

• A lecture related to the film showing that night. • A showing the film. • A Q&A session.

A guest speaker can be introduced when applicable and/or available to contribute a better understanding of their relationship to the film being shown. This relationship either is connected to the aesthetic components of the film or backstory information when the film was being made – time, place and influences. OBJECTIVES, GOALS and OUTCOMES A dynamic portrayal of how Spanish Directors shared a strong bond within America will be taught. This learning is not only displayed in films, but off camera as well. Actors, directors and cinematographers both crossed the Atlantic, influencing one another. A deep exploration of this cinematic marriage is explored. Students are EXPECTED from your weekly schedule to develop an understanding through: Film Analysis Discover by viewing films how cinematic styles came about through both countries. We will explore what type of cinema styles were shared between both countries, and what differences might have evolved from American and Spanish filmmaking. When analyzing a Spanish director’s film, you will be conducting a microanalysis of one’s aesthetic work in Spanish filmmaking. Readings from your textbook Readings from your textbook is supplementing an “overall” expansive learning of film history in Spain.

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Knowledge of the history and current affairs during the time these films were made will be taught. Why? Because current affairs, the history and culture of any country is a major component in film aesthetics for any given film made at any given time. These components come from your textbook and other assigned readings, as you will develop a better understanding in contemporary Spanish cinema. WORTH REPEATING: When you are analyzing a Spanish director’s film viewed in class you are focused on the individual and her/his contributions in Spanish filmmaking. When reading your textbook, you are learning the history of filmmaking overall in Spain. REGARDING FILM ANALYSIS, AT THE END OF THE SEMESTER YOU WILL (KNOW) BE ABLE TO: Student Learning Outcomes/Objectives Adaptation: Pepperdine University Film Studies

1. Demonstrate an understanding of the critical and technical language associated with film studies, including genres, classic narrative form and non-narrative forms, mise-en-scene, cinematography, editing, sound, and modes of screen reality.

2. Demonstrate their critical thinking and analytical skills appropriate to the discipline of film studies.

3. Demonstrate their ability to employ research skills, including the use of appropriate print and technology sources in the discipline.

4. Demonstrate their public presentation and listening skills. 5. Demonstrate their ability to articulate, through close reading and writing,

their own worldviews. They will be able to explain and respond thoughtfully to the religious, social, ideological, spiritual, moral, and ethical values implied in film texts through their close readings and reflections.

REGARDING YOUR RESPONSE PAPER AND GROUP PRESENTATION, AT THE END OF THE SEMESTER YOU WILL (KNOW) BE ABLE TO: Study Abroad Learning Outcomes

1. Demonstrate awareness of your own cultural values and biases when responding to films about Spain or Spanish filmmakers.

2. Demonstrate knowledge of diversity from the films you are reviewing with a focus on the population in Spain from an American perspective.

3. Communicate appropriately and effectively on diverse films concerning the Spanish experience within the story structure of the film.

4. Demonstrate an increased capacity to analyze issues with appreciation for disparate viewpoints.

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RUBRICS #1 ASSESSMENT CRITERIA FOR RESPONSE PAPER & GROUP PROJECT Adapted from PB Works Movie Review

Dimension BELOW APPROACHING MEETS ABOVE Knowledge–Demonstratesanunderstandingofthefilm’spolitical,economic,social,and/orculturalcontext.

Demonstratesalimitedunderstandingofthepolitical,economic,social,and/orculturalcontext.

Demonstratessomeunderstandingofthepolitical,economic,social,and/orculturalcontext.

Demonstratesaclearandsufficientunderstandingofthepolitical,economic,social,and/orculturalcontext.

Demonstratesathorough,detailed,andinsightfulunderstandingofthepolitical,economic,social,and/orculturalcontext

Thinking–Evidenceofrelevantandusefulresearch;appropriateselectionofexamplesfromthemovie.

Limitedevidenceofrelevantandusefulresearch;questionableselectionofexamplesfromthemovie.

Someevidenceofrelevantandusefulresearch;fairselectionofexamplesfromthemovie.

Sufficientevidenceofrelevantandusefulresearch;clearselectionofexamplesfromthemovie.

Evidenceofthoroughanddetailedrelevantandusefulresearch;insightfulselectionofexamplesfromthemovie

Communication–Thefilmreviewisstructuredandorganizedclearlyinawaythatenhancestheoverallmeaningandargument.

Thefilmreviewhaslimitedstructureandorganizationbutdoesnotenhancetheoverallmeaningandargument.

Thefilmreviewhassomestructureandorganizationandsomewhatenhancestheoverallmeaningandargument.

Thefilmreviewisstructuredandorganizedinawaythatsufficientlyenhancestheoverallmeaningandargument.

Demonstratesinsightfulandpersuasiveinterpretationandanalysisofthefilm’shistoricalaccuracyandrelevance

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RUBRICS #2 ASSESSMENT CRITERIA FOR STUDENT’S CULTURAL BIASES/DIVERSITY EXPERIENCES FOR RESPONSE PAPER & GROUP PROJECT

SLOs UNACCEPTABLE MARGINAL PROFICIENT EXEMPLARY

SLO 1 Design communication to make meaningful contributions to diverse social communities in Spain, communicating effectively from the viewing experience in reviewing films.

Demonstrates minimal attention to context, audience, and purpose. Uses appropriate and relevant content to develop simple ideas in some parts of the work. Attempts to use a consistent system for basic organization and presentation. Demonstrates an attempt to use sources to support ideas.

Demonstrates awareness of context, audience, and purpose. Uses appropriate and relevant content to develop and explore ideas through most of the work. Follows expectations appropriate to a specific discipline for basic organization, content, and presentation Demonstrates an attempt to use credible and/or relevant sources to support ideas that are appropriate for the discipline in reviewing films.

Demonstrates adequate consideration of context, audience, and purpose. Uses appropriate, relevant, and compelling content to explore ideas within the context of the discipline and shape the whole work. Demonstrates consistent use of important conventions particular to a film review, including organization, content, presentation, and stylistic choices. Demonstrates consistent use of credible, relevant sources to support ideas that are situated within the discipline and genre pertaining to Spain and cross-cultural observation.

Demonstrates a thorough understanding of context, audience, and purpose. Uses appropriate, relevant, and compelling content to illustrate mastery of the subject, conveying the film’s understanding, and shape. Demonstrates successful execution of a wide range of conventions particular to a film review, including organization, content, presentation, formatting, and stylistic choices. Demonstrates skillful use of high-quality, credible, relevant sources to develop ideas that are situated within the discipline and genre pertaining to Spain and cross-cultural observation.

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RUBRICS #2 (Cont’d) ASSESSMENT CRITERIA FOR STUDENT’S CULTURAL BIASES/DIVERSITY EXPERIENCES FOR RESPONSE PAPER & GROUP PROJECT

Important Note: This class can be available for students who are NOT Communication majors. The course could be of great interest to ACM, Theatre, History, and American Studies students.

SLOs UNACCEPTABLE MARGINAL PROFICIENT EXEMPLARY

SLO2 Demonstrate an awareness of cultures in Spain and issues related to cross-cultural communication.

Demonstrates minimal attention to context, audience, and purpose. Uses language that sometimes impedes meaning because of errors in usage Demonstrates surface understanding of the complexity of elements important to members of another culture in relation to its history, values, politics, communication styles, economy, or beliefs and practices.

Demonstrates awareness of context, audience, and purpose. Uses language that generally conveys meaning to the audience with clarity, although it may include some errors. Demonstrates partial understanding of the complexity of elements important to members of another culture in relation to its history, values, politics, communication styles, economy, or beliefs and practices.

Demonstrates adequate consideration of context, audience, and purpose. Uses straightforward language that generally conveys meaning to the audience. The language in the portfolio has few errors. Demonstrates adequate understanding of the complexity of elements important to members of another culture in relation to its history, values, politics, communication styles, economy, or beliefs and practices.

Demonstrates a thorough understanding of context, audience, and purpose. Uses graceful language that skillfully communicates meaning to the audience with clarity and fluency, and is virtually error-free. Demonstrates sophisticated understanding of the complexity of elements important to members of another culture in relation to its history, values, politics, communication styles, economy, or beliefs and practices.

SLO3 Analyze the ethical dimensions of communication.

No evidence of consideration of ethical principles.

Marginal evidence of consideration of ethical principles.

Substantial evidence of consideration of ethical principles. Various viewpoints are articulated.

Detailed evidence of consideration of ethical principles. Various viewpoints are well articulated.

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EVALUATION and GRADING SYSTEM Assignments Points Participation 20 EXAMS 30 (ea.) Total 90 Response Paper 20/220 TOTAL Group Project 70 TOTAL points 400

400 Point Scale

A 93-100% 368-400 A- 90-92% 358-367 B+ 88-89% 350-357 B 83-87% 330-349 B- 80-82% 318-329 C+ 78-79% 310-317 C 73-77% 291-309 C- 70-72% 278-290 D+ 68-69% 270-277 D 63-67% 251-269 D- 60-62% 238-250 F 0-59% 001-237 CLASS GUIDELINES

1. Participation is mandatory. This class is conducted in a workshop environment. You’re participation and critique of your fellow classmate’s analysis is essential.

2. Writing assignments (film reviews) must be turned in on its DUE DATE. If you are late, your grade will be taken down to half a credit until it is turned in.

3. No plagiarism is allowed. Plagiarized material is an automatic F for the

assignment. SCHEDULED CLASS VISITS: TBA

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READINGS & SOURCES • Textbook –

Contemporary Spanish cinema and genre Barry Jordan, Rikki Morgan-Tamosunas On Amazon.com https://www.amazon.com/Contemporary-Spanish-Insights-Economic-History/dp/0719044138/ref=pd_sim_14_4?_encoding=UTF8&psc=1&refRID=SN0G9KDR2WTA33AWTSKD

CLASS SCHEDULE – (Tentative) Class time is constructed with a lecture about the film director and their film that will be viewed “in class” that day/night. Following the film, the class will have a Q&A on the film that was viewed. Additional readings of the film director and the film that is shown in class will be made available. Also, if possible, guest artist connected to the director, film or the subject matter of the film’s story may be invited to class for a Q&A, if possible. What is expected from you during the weekly schedule: You will be watching and analyzing Spanish films by Spanish directors. You will be writing a Response Paper for each film. You will be discussing your reaction, from your opinions, on each film viewed in class. You will be taking (3) exams that will be focused on your readings from the textbook assigned and from the lecture, films viewed and Q&A after each film viewed in class. Also, I expect you to:

• Learn how to construct an auteur’s aesthetic delivery of her/his creative piece. • Explaining, in your opinion, the film director’s intent of their work. • Artistic execution of subject matter. • Historical affect connected with the film upon its release. • Compare/Contrast the film’s story from a Spanish point of view vs. an American

point of view. • Compare/Contrast Spanish filmmaking vs. American filmmaking

Execution of subject matter / Mise- en-scéne / Acting

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Week 1 Presentation of the course; introduction to the class syllabus / Information on assignments and projects / Student Introductions Director, Alejandnro Amenabar Won nine Goyas, two European Film Award and an Oscar – not bad!

Amenabar is not only a film director, but also a screenwriter and composer. We will look at his contributions in these fields, as well as, his work, which extends beyond Spain to an international audience. Reading: Introduction: The Spanish film industry in the 1980s and 1990s

Week 2 Director, Luis Buñuel The father of cinematic Surrealism and one of the most original directors

in the history of the film medium. Called “an iconoclast, oralist, and revolutionary…leader of avant-garde

surrealism…”, Buñuel’s work will be explored through his contributions outside of mainstream filmmaking yet still achieving mainstream success.

Reading: Reconstructing the past: historical cinema in post-Franco Spain 1, pgs. 15 – 30.

Week 3 Director, J.A. Bayona Not just film, he directed for Television commercials and music videos.

One of Spain’s new generation of filmmakers, Bayona’s work began in television commercials, then personal film stories of Spain yet spoken in English allowing for international appeal. Bayona’s new breed of filmmaking is not just theatrical, but entrenched in other avenues of today’s new visual medium for a global market. Reading: Reconstructing the past: historical cinema in post-Franco Spain 1, pgs. 31 – 52.

Week 4 Director, Isabel Coixet One of the most prolific directors of contemporary Spain. In a business still dominated by men, Coixet is considered to be another

“multifaceted” film auteur. We will explore her contributions in Spanish films from their national context and her different perspectives in emotions, feelings and existential conflicts - what she is known for. Reading: Cultural reinscription: popular genre film in post-Franco Spain 2, pgs. 61 – 85.

Week 5 GROUP PROJECT1 Week 6 GROUP PROJECT2

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Week 7 EXAM 1 Director, Fernando Fernan Gomez Spanish actor and director of cinema and theater. Gomez long contribution in Spanish filmmaking extends to the theatre

through his contributions as a theatre director and theatre actor which all began in 1942. His lifetime contribution will be explored, analyzing what changes (if any) with his creative expression through his work beginning in the 40s with continued success well into the 1990s.

Reading: Cultural reinscription: popular genre film in post-Franco Spain 2, pgs. 86 – 107.

Week 8 Actor, Antonio Banderas Oh, we’re not leaving him out.

From our Actor’s corner, Banderas first came to America’s attention not from a film he was in, but in a film in which he was “stalked in” by performer Madonna in “Truth or Dare”. Since then, Banderas’ international fame has risen to stage and screen. His life long career will be explored.

Week 9 Actor, Penelope Cruz Oh, we’re not leaving her out either.

Like Antonio Banderas, Penelope Cruz’s work will be visited which has left a remarkable body of work not only in her home country of Spain, but America - all beginning at the age of 16. IMPORTANT NOTE: Being a “movie star” may want one to dismiss any academic analysis of such a subject. Yet in the reality of filmmaking, it is very important and applicable. Also “stars” can maintain control, and power with how the film is made and how it is developed. For right or wrong, it is a reality in the film industry and should not be ignored.

Since the theme of this course is on Spain and America and how they influenced each other, an exploration of actor’s Banderas and Cruz is essential since they were successful film actors in Spain, then “crossed the pond” now becoming part of a very exclusive club known as “international stars”.

How can one study American cinema without Charlie Chaplin, Sophia Loren, Omar Sharif, or Greer Garson? “International stars” are the backbone of this industry when delving into film aesthetics while exploring global film history.

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Week 10 Sergio Leone Not only Spanish influence, but Italian with a lot of Spaghetti Westerns. Leone is a favorite of film historians with his contributions that extend from

his home country in Italy, to his film work in Spain, and creating a new genre known as Spaghetti Westerns – storylines about the American West, yet filmed on location in Spain and starring American actors - notably Clint Eastwood. Reading: Gender and sexuality in post-Franco Spain 3, pgs. 112 – 116.

Week 11 Film, The Valley of Gwangi It’s about Mexico, Dinosaurs, a miniature horse and creature effects by

the master – Ray Harryhausen! There’s something in this film for everybody. Taking place in Mexico,

Gwangi was filmed in Almeria and Cuenca, Spain. It is also the last dinosaur-themed film by the great animated genius Ray Harryhausen! Several scenes of this 1969 classic would be stolen (in a good way) by Steven Spielberg’s in Jurassic Park, honoring Harryhausen.

Reading: Gender and sexuality in post-Franco Spain 3, pgs. 117 – 140.

Week 12 EXAM 2 Director, Pedro Almodovar Talk to Her Noted for being one of the most internationally successful Spanish

filmmakers, Almodovar’s and his films have gained worldwide interest and has developed a cult following. We will explore this filmmaker’s work who, as an artist, is also is a screenwriter, producer, and former actor.

Reading: Recuperating nationalist identities 4, pgs. 156 – 157.

Week 13 Director, Guillermo del Toro Pan Labyrinth A critically praised Mexican filmmaker whose stories, at times, have been

set in Spain - we will look at the aesthetic delivery of Del Toro’s work in dark fantasy pieces. Reading: Recuperating nationalist identities 4, pgs. 158 – 205.

Week 14 FINAL EXAM FINAL FILM / TBA

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