Land Acknowledgement

We acknowledge that we are meeting on the Indigenous lands of Turtle Island, the ancestral name for what now is called North America. Further, we acknowledge we are meeting on the land of the Alabama-Coushatta, Caddo, Carrizo/Comecrudo, Coahuiltecan, Comanche, Kickapoo, Lipan Apache, Tonkawa and Ysleta Del Sur Pueblo, and the thousands of American Indian and Indigenous Peoples and communities who have been or have become a part of these lands and territories in Texas.

E314 Mexican American Literature & Culture

Flags: Cultural Diversity in the U.S.; Writing  

Prerequisites. One of the following: E 303C (or 603A), RHE 306, 306Q, or T C 303C (or 603A).

Description

Mexican American identity has a long and complex, varied and violent history—people and communities bound to and buffeted amongst colonial and capitalist forces in the United States. Gloria Anzaldúa called the border between México and the United States a “1,950 mile-long open wound.” This course will reside in the space of this wound between language(s), geographies, histories, and (non)fictions to understand the development of Mexican American identity as both a mode of control and a locus of power. Through a variety of texts (novels, short stories, corridos, art, and film), we will consider the relationships between Mexican-American literature/culture and the social/historical conditions of its production. Our methods will be intersectional and attend class, gender, sexuality, religion, etc. in addition to race. Reading and writing will support our discussions of texts and examinations of our own identities and memories.

The primary aim of this course is to help students develop and improve the critical reading, writing, and thinking skills needed for success in upper-division courses in English and other disciplines.  They will also gain practice using research tools and resources that support studies in the humanities.  Students will learn basic information literacy skills and models for approaching literature with various historical, generic, and cultural contexts in mind.

Cultural Diversity in the United States. This course carries the flag for Cultural Diversity in the United States. The purpose of the Cultural Diversity in the United States Flag is for students to explore in depth the shared practices and beliefs of one or more underrepresented cultural groups subject to persistent marginalization. In addition to learning about these diverse groups in relation to their specific contexts, students should engage in an active process of critical reflection. You should therefore expect a substantial portion of your grade to come from assignments covering the practices, beliefs, and histories of at least one underrepresented cultural group in the U.S.

Writing. This course carries the Writing Flag. Writing Flag courses are designed to give students experience with writing in an academic discipline. In this class, you can expect to write regularly during the semester, complete substantial writing projects, and receive feedback from your instructor to help you improve your writing. You will also have the opportunity to revise one or more assignments, and you may be asked to read and discuss your peers’ work. You should therefore expect a substantial portion of your grade to come from your written work. Writing Flag classes meet the Core Communications objectives of Critical Thinking, Communication, Teamwork, and Personal Responsibility, established by the Texas Higher Education Coordinating Board.

Course Objectives

To be determined by students

Required books

La Frontera/Borderlands by Gloria Anzuldúa

The Hummingbird’s Daughter by Luis Alberto Urrea

Places Left Unfinished at the Time of Creation by John Phillip Santos

Where They Burn Books, They Also Burn People by Marcos Antonio Hernandez

For their fifth text, the class will choose between: 

Out of Darkness by Ashley Hope Perez (mature YA) 

I Am Not Your Perfect Mexican Daughter by Erika L. Sánchez (YA) 

Texas: The Great Theft by Carmen Boullosa (satirical historical fiction) 

We will also read from:

Keywords for Latina/o Studies by Deborah R. Vargas, Nancy R. Mirabel, and Lawrence La Fountain-Stokes

Nepantla Familias by Sergio Troncoso

With His Pistol In His Hand by Américo Paredes 

The Violence Never Leaves You by Monica Muñoz Martinez

The Mexican Outsiders by Martha Menchaca

No Women, Mexicans, or Dogs Allowed by Cynthia Orozco

What Blood Won’t Tell by Ariela Gross

There Was a Woman by Domino Perez 

Requirements and Grading

This course will make use of a labor contract grading system adapted to UT’s requirements. A Labor Contract sets out specific, baseline expectations for participation and criteria for coursework. Meeting the criteria for each assignment will guarantee students a “Complete” for that assignment. Students seeking a higher grade will be expected to “do more” than what is stipulated in the contract. This form of grading is designed to acknowledge and respect student labor, meaning your work and effort is rewarded even if your product is not “perfect.” Criteria will be explained in detail prior to each assignment.

Bi-Weekly Critical Reading Posts (15%) 

Students will complete five of these during the semester. Posts will require critical literary analysis and reflection over essential aspects of texts. At the beginning of the semester, we will do these posts through comments in Hypothesis. As the semester progresses, we will move to paragraph form. 

Cultural Connections Activities (15%) 

Other weeks, in pairs or groups, students will be asked to choose a theme from a text we are reading and identify the theme in another expressive/storytelling genre such as Mexican American music, film, photography, art, poetry, sculpture, mural, dance, event, practice, etc. Students may find or make their cultural connection. Students will have time to work on and share their connections in class or via discussion post on Fridays.  

Midterm (25%) with first draft (+5%) and peer review (+5%) 

For this assignment, students will be asked to craft an extraordinarily polished 1000-word essay in which they will perform textual analysis of a particular theme across two or more texts. Papers must be peer reviewed. 

Final (25%) with first draft (+5%) and peer review (+5%) 

For this assignment, students will be asked to craft an extraordinarily polished 1000-word essay in which they will perform textual analysis of a particular theme across two or more texts. Papers must be peer reviewed. 

Schedule

Please note this schedule is subject to change. I believe in responsive classrooms that adjust to student needs and interests. What follows is currently a tentative guide for the semester, but due dates and readings might shift as the course progresses. I promise you will receive timely notifications of changes as they occur. 

UNIT 1: AMERICAN COLONIALISM AND BORDERED BODIES

WEEK 1 

M 1/9: Syllabus Day

W 1/11: Introduction to literature. Introduction to historical contexts for Mexican American identity & literature

F 1/13: Critical Reading #1: “Empire” by Lázaro Lima (pg 55-58 of Keywords from Latina/o Studies) and “Literature” by Ana Patricia Rodríguez (pg 122-125 of Keywords from Latina/o Studies) 

WEEK 2 Literary Devices - Language

M 1/16: NO CLASS

W 1/18: Borderlands/La Frontera: The New Mestiza by Gloria Anzaldúa

F 1/20:  Critical Reading #2: Chapters 3+4 (Hypothesis)

WEEK 3 Literary Devices - Language

M 1/23: Borderlands/La Frontera: The New Mestiza by Gloria Anzaldúa

W 1/25: Borderlands/La Frontera: The New Mestiza by Gloria Anzaldúa

F 1/27: Cultural Connections #1: Short Stories 

WEEK 4 Plot and Narrative Basics 

M 1/30: With His Pistol in His Hand by Agmérico Paredes

W 2/1: With His Pistol in His Hand by Américo Paredes

F 2/3: Critical Reading #3: Corridos and other performative traditions (Discussion Post) (ONLINE  ONLY) 

WEEK 5 Language and Narrative 

M 2/6: The Hummingbird’s Daughter by Luis Alberto Urrea

W 2/8: The Hummingbird’s Daughter by Luis Alberto Urrea

F 2/10: Critical Reading #4 (Hypothesis) 

WEEK 6 Language and Narrative

M 2/13: The Hummingbird’s Daughter by Luis Alberto Urrea

W 2/15: The Hummingbird’s Daughter by Luis Alberto Urrea

F 2/17: Critical Reading #5 (Hypothesis) 

WEEK 7 Themes & Motifs 

M 2/20 There Was a Woman by Domino Perez, Woman Hollering Creek by Sandra Cisneros, and other ghost stories

W 2/22 There Was a Woman by Domino Perez, Woman Hollering Creek by Sandra Cisneros, and other ghost stories

F 2/24 Cultural Connections #2: Traditions/Practices

WEEK 8

M 2/27 Writing Day

W 3/1 Draft 1 & Peer Review

F 3/3 Writing Day 

MIDTERM DUE BY MIDNIGHT ON SUNDAY, MARCH 5TH

UNIT 2. WHAT (STUBBORNLY) REMAINS. 

WEEK 9 Themes and Motifs

M 3/06 Places Left Unfinished at the Time of Creation by John Phillip Santos

W 3/08 Places Left Unfinished at the Time of Creation by John Phillip Santos

F 3/10 NO ASSIGNMENT; ENJOY YOUR BREAK

SPRING BREAK March 13-18

WEEK 10 - Narrative & Language

M 3/21 Text to be determined

W 3/23 Text to be determined

F 3/25 Critical Reading #6 

WEEK 11 - Themes & Motifs

M 3/28 Text to be determined

W 3/30 Text to be determined

F 4/01 Cultural Connections #3: Music

WEEK 12 - Language & Narrative

M 4/03 Where They Burn Books They Also Burn People by Marcos Antonio Hernandez

W 4/05 Where They Burn Books They Also Burn People by Marcos Antonio Hernandez

F 4/07 NO ASSIGNMENT 

WEEK 13 - Themes & Motifs

M 4/10  Where They Burn Books They Also Burn People by Marcos Antonio Hernandez

W 4/12 Where They Burn Books They Also Burn People by Marcos Antonio Hernandez

F 4/14 Cultural Connections #4: Art

WEEK 14

M 4/17: Tell Me How It Ends by Valeria Luiselli 

W 4/19: Tell Me How It Ends by Valeria Luiselli 

F 4/21: Cultural Connections #5: Film

WEEK 15

M 4/24: In person Writing Day or Peer Review - whichever you need 

FINAL PAPER DUE BY MIDNIGHT FRIDAY, APRIL 28TH