This optional creative writing clinic is designed to provide a flexible learning environment for students with content that will constantly evolve depending on the dynamic, rhythm, and interest of the group. The majority of the course will be spent practicing various genres of writing and critically evaluating students’ own work, that of their peers, and of other external writers. When necessary, theoretic material will be presented with exercises. The clinic will also explore literary genres that have been adapted (such as film and cinematography) in order for students to expand their concept of literature beyond books.
Prerequisites:
None
Learning outcomes:
By the end of the course, students should be able to:
Create and correct their own literary work with expanded expressive capacity and improved accuracy in the Spanish language.
Critically evaluate texts written by others.
Enrich their own view of a text through dialogue with others, in order to give place for reflection, discussion, and debate.
Method of presentation:
Lecture, practical writing exercises, group work.
Required work and form of assessment:
Each piece of writing will be evaluated individually, taking into account the draft version, the final version, and the process of writing as a whole in relation to a piece’s evolution. Attitude and classroom participation are also considered. By the end of the course, each student will present a portfolio of 10 writing samples completed throughout the course of the semester. Each portfolio will contain a title page, an index, and a justification for why each included piece was chosen, why the others were excluded, etc.
content:
Session 1: Introduction
Expectations; first writing exercise on semantic, morphologic and phonic associations. Session 2: The narrator and the point of view
Adopting an outside perspective; Abelardo Castillo: “Conejo.” Session 3: Dialogue
Manuel Puig: El beso de la mujer ara?a; Literature and film Session 4: Characters
Horacio Quiroga: Los desterrados; Roberto Arlt: Aguafuertes. Session 5: Van Guard writing techniques
Collage, cad?ver exquisito, cut up, fold in. Session 6: The question as a textual trigger
Neruda: Libro de las preguntas Session 7: The Haiku
Japanese haikus; El libro del haiku; Spanish language haikus; the urban haiku: Mario
Benedetti Rinc?n de haikus, Santiago Espel Cien haikus Session 8: The translation and versions
Poetic translation Session 9: The biography and apocrypha.
Juan Gelman: Los poemas de Sidney West. Session 10: The “decalogue” as a literary form
Texts from Quiroga, Onetti, Monterroso Session 11: Fantastic Literature
Borges, Bioy Casares Session 12: Interpretation and Re-writing of myths, popular stories, and folklore
Dalmiro S?enz Cuentos para ni?os pornogr?ficos, Marco Denevi Parque de diversiones. Session 13: The short story
Monterroso, Arreola, Anderson Imbert, Cort?zar, Bayley Session 14: Reading of texts selected by students
Required readings:
Borges, Jorge Luis, La literatura fant?stica. Buenos Aires: Ediciones Culturales Olivetti, 1967.
Calvino, ?talo, Por qu? leer los cl?sicos. Barcelona: Tusquets, 1999.
Castillo, Abelardo, Ser escritor. Buenos Aires: Perfil, 1997.
Garc?a M?rquez, Gabriel, C?mo se cuenta un cuento. Bogot?: Voluntad, 1995.
----------------------------, La bendita man?a de contar. Madrid: Ollero y Ramos, 1998.
King, Stephen, Mientras escribo. Barcelona: Plaza y Jan?s, 2001. [T?tulo original: On Writing. A Memoir of the Craft. New York: Scribner, 2000.]
Piglia, Ricardo, El ?ltimo lector. Buenos Aires: Anagrama, 2005.
Piglia, Ricardo, Formas breves. Buenos Aires: Temas, 1999.
Quiroga, Horacio, “Dec?logo del escritor”. En: Los “trucs” del perfecto escritor. Buenos Aires: Alianza, 1993. (Dec?logos de otros escritores: Hemingway, Monterroso, Onetti.)
Rodari, Gianni, Gram?tica de la fantas?a. Buenos Aires: Colihue, 2007.
Tolobem, Mario, El libro de Grafein. Teor?a y pr?ctica de un taller de escritura. Buenos Aires: Santillana, 1994.
Creative Writing Clinic
This optional creative writing clinic is designed to provide a flexible learning environment for students with content that will constantly evolve depending on the dynamic, rhythm, and interest of the group. The majority of the course will be spent practicing various genres of writing and critically evaluating students’ own work, that of their peers, and of other external writers. When necessary, theoretic material will be presented with exercises. The clinic will also explore literary genres that have been adapted (such as film and cinematography) in order for students to expand their concept of literature beyond books.
None
By the end of the course, students should be able to:
Lecture, practical writing exercises, group work.
Each piece of writing will be evaluated individually, taking into account the draft version, the final version, and the process of writing as a whole in relation to a piece’s evolution. Attitude and classroom participation are also considered. By the end of the course, each student will present a portfolio of 10 writing samples completed throughout the course of the semester. Each portfolio will contain a title page, an index, and a justification for why each included piece was chosen, why the others were excluded, etc.
Session 1: Introduction
Expectations; first writing exercise on semantic, morphologic and phonic associations.
Session 2: The narrator and the point of view
Adopting an outside perspective; Abelardo Castillo: “Conejo.”
Session 3: Dialogue
Manuel Puig: El beso de la mujer ara?a; Literature and film
Session 4: Characters
Horacio Quiroga: Los desterrados; Roberto Arlt: Aguafuertes.
Session 5: Van Guard writing techniques
Collage, cad?ver exquisito, cut up, fold in.
Session 6: The question as a textual trigger
Neruda: Libro de las preguntas
Session 7: The Haiku
Japanese haikus; El libro del haiku; Spanish language haikus; the urban haiku: Mario
Benedetti Rinc?n de haikus, Santiago Espel Cien haikus
Session 8: The translation and versions
Poetic translation
Session 9: The biography and apocrypha.
Juan Gelman: Los poemas de Sidney West.
Session 10: The “decalogue” as a literary form
Texts from Quiroga, Onetti, Monterroso
Session 11: Fantastic Literature
Borges, Bioy Casares
Session 12: Interpretation and Re-writing of myths, popular stories, and folklore
Dalmiro S?enz Cuentos para ni?os pornogr?ficos, Marco Denevi Parque de diversiones.
Session 13: The short story
Monterroso, Arreola, Anderson Imbert, Cort?zar, Bayley
Session 14: Reading of texts selected by students