Reading Lists and M.A. Comprehensive Exams

The readings listed below are the sole responsibility of all candidates in the M.A. program in Spanish and in the M.A.T. (Spanish teachers) program. Readings should be considered within the context of the traditions and literary trends of the historical and cultural moment they represent.

Medieval

• Cantar de Mio Cid: (Poema de mio Cid, Editorial Castalia, 1976) Cantar Primero —1–190, 295–1568–1798, 1985–2278–2337, 2543–2601, 2681–2822.
• Romancero viejo: Históricos: “¡Rey don Sancho, rey don Sancho!,” “Ya cabalga Diego Ordóñez” (Romance del reto de los zamoranos). Fronterizos: “¡Abenámar, Abenámar!,” “Romance del rey moro que perdió Alhama,” “Romance de Fajardo,” Caballerescos: “¡Oh Belerma, oh Belerma!”/ “Muerto yace Durandarte” (Romance de Montesinos), “Nunca fuera caballero” (Romance de Lanzarote).
• Gonzalo de Berceo, Milagros de Nuestra Señora: “Introducción”; milagros 6 (El ladrón devoto), 21 (La abadesa encinta), y 25 (La iglesia robada).
• Juan Ruiz, Libro de buen amor: Estrofas 44–76 (La diputación entre los griegos y los romanos, Como según narra los hombres y los animales quieren tener compañía con las hembras), 420–456 (Respuesta de don Amor al Arcipreste), 607d–648 (Respuesta de doña Venus), 950–971 (Encuentro con una serrana), 1067–1182 (Batalla entre don Carnal y doña Cuaresma).
• Juan Manuel, El Conde Lucanor: Ejemplo XI —De lo que aconteció a un deán de Santiago con don Illán, el gran maestro de Toledo.”
• Jorge Manrique, “Coplas por la muerte de su padre.”
• La Celestina: “El autor a un su amigo,” el “Prólogo” y el “Primer Auto.”

Siglo de Oro

• Lazarillo de Tormes
• Don Quijote, Primera parte, capítulos 1–22.
• Una comedia (Fuenteovejuna, El burlador de Sevilla o La vida es sueño)
• Garcilaso de la Vega: “Oh dulces prendas por mi mal halladas,” “Hermosas ninfas, que en el río metidas,” “En tanto que de rosa y de azucena” y “Pasando el mar Leandro el animoso.”
• Luis de Góngora: “De la brevedad engañosa de la vida (‘Menos solicitó veloz saeta’),” “La dulce boca que a gustar convida,” “Mientras por competir con tu cabello” y “Ándeme yo caliente / y ríase la gente,”
• Francisco de Quevedo: “¡Ah, de la vida!…¿Nadie me responde?,” “¡Fue sueño ayer; mañana será tierra!,” “Vivir es caminar breve jornada,” “Miré los muros de la patria mía,” “Amor constante más allá de la muerte,” “A un hombre de gran nariz,” “Poderoso caballero es don Dinero.”

Colonial

• Cristóbal Colón, “Carta a Luis de Santángel”*
• El Inca Garcilaso de la Vega, Comentarios reales*
• Bernal Díaz del Castillo, Historia verdadera de la conquista de la Nueva España*
• Sor Juana Inés de la Cruz, Redondillas, sonetos y la Respuesta a Sor Filotea.*

Siglos XVIII y XIX, Peninsular

• José Cadalso, Cartas marruecas: la introducción y las cuatro primeras cartas.
• Mariano José de Larra, “Fígaro”: “El castellano viejo,” Jardines públicos,” “Vuelva usted mañana” y, por otro lado. “El día de difuntos de 1836” y “La Nochebuena de 1836.”
• Gustavo Adolfo Bécquer, dos leyendas “El monte de las animas” y “El rayo de luna” y por ejemplo dos Rimas, “Del salón en el ángulo oscuro,” “Que es poesía?” y “Volverán las oscuras golondrinas,” “Donde habite el olvido.”
• Rosalía de Castro, dos poemas de En las orillas del Sar, “Orillas del Sar” y “Santa Escolástica” y el texto “Carta a Eduarda. Las literatas.”
• Una novela de Galdós (Doña Perfecta), Pardo Bazán o Clarín.

Independencia/siglo XIX, Hispanoamericana

• Domingo Faustino Sarmiento, Facundo.* Primera Parte: Cap I y II; Segunda Parte: Cap I.
• Esteban Echevarría, El matadero*
• Ricardo Palma, Tradiciones peruanas*

Modernismo hispanoamericano

• José Martí, Versos libres, Versos sencillos, “Nuestra América.”*
• Rubén Darío, Selección de poesías.*
• Delmira Agustini, Selección de poesías.*
• José Asunción Silva, “Nocturno (III)”.*
• Horacio Quiroga, “Decálogo del perfecto cuentista,” “El hijo,” * y “La gallina degollada.”

Siglo XX, Hispanoamérica

• Jorge Luis Borges, “Borges y yo”*y “El sur”*y “El milagro secreto.”
• Pablo Neruda, selecciones de Veinte poemas, Residencia en tierra, Canto general.*
• Juan Rulfo, “Nos han dado la tierrra” de El llano en llamas.*
• Julio Cortázar, “La isla a mediodía.”* “Lejana.”
• Rosario Castellanos, “Valium 10” de Poesía no eres tú, “Costumbres mexicanas” de El uso de la palabra.*
• Alejo Carpentier, El reino de este mundo
• Gabriel García Márquez, Cien años de soledad
• Carlos Fuentes, La muerte de Artemio Cruz
• Rosario Ferré, “La muñeca menor.”*

Siglo XX, Peninsular

• Miguel de Unamuno, San Manuel Bueno, Mártir
• Antonio Machado, Campos de Castilla: “Retrato,” “A orillas del Duero,” “Campos de Soria,” “A un olmo seco,” “La saeta,” “El mañana efímero,” “Proverbios y cantares.”
• Federico García Lorca, Romancero gitano: “Romance de la luna, luna,” “Preciosa y el aire,” “Romance sonámbulo,” “Muerte de Antoñito el Camborio” y “Romance de la Guardia Civil española”; Poeta en Nueva York: “Paisaje de la multitud que vomita,” “Nueva York (oficina y denuncia),” “Grito hacia Roma (desde la torre del Chrysler Building),”
• Camilo José Cela, La familia de Pascual Duarte, o Carmen Laforet, Nada
• Luis Martín-Santos, Tiempo de silencio, o Juan Goytisolo, Señas de identidad

*Selección(es) incluida(s) en Voces de Hispanoamérica: Antología literaria. Chang-Rodríguez, Raquel y Malva E. Filer, eds. 3ra. ed. Boston: Thomson /Heinle, 2004.

Obras generales de Consulta Para el Examen y la Tesis

• Alborg, Juan Luis. Historia de la literatura española. Madrid: Gredos. 4 vols.
• Bellini, Giuseppe. Historia de la literatura hispanoamericana. Madrid: Castalia.
• Brotherson, Gordon. Latin American Poetry: Origins and Presence. Cambridge: Cambridge University Press.
• Chang-Rodríguez, Raquel and Malva E. Filer. Voces de Hispanoamérica: Antología literaria. 4ta ed. Boston: Heinle/Cengage Learning, 2013.
• Del Río, Angel. Historia de la literatura española. New York: Holt. 2 vols.
• Franco, Jean. An Introduction to Spanish – American Literature. 3ra. ed. New York: Cambridge University Press, 1994.
• Goic, Cedomil. Historia y crítica de la literatura hispanoamericana III. Época contemporánea. Barcelona: Crítica.
• Iñigo Madrigal, Luis, ed. Historia de la literatura hispanoamericana. 2 vols. Madrid: Cátedra.
• Jones, R.O., ed. A Literary History of Spain. New York: Barnes and Noble. Historia de la literatura española. Barcelona: Ariel, 6 vols.
• Oviedo, José Miguel. Historia de la literatura hispanoamericana. Madrid: Alianza Editorial, 1995–2002. 4 vols.
• Perriam, Chris et al. A New History of Spanish Writing: 1939 to the 1990s. London: Oxford.
• Rico, Francisco. Historia y crítica de la literatura española. Barcelona: Crítica. 7 vols.

Written and Oral Exam

The exam is given twice a year, in the fall and spring semesters.

M.A., Spanish

The exam is divided into two parts:

1. A written essay based on themes that relate to works in the reading list section.
2. An oral presentation (five to 10 minutes) on one of the topics below. You may choose to talk informally about a topic included in this list or about the subject of your written thesis. Professors may refer to any work on the reading list during the conversation.

Topics

1. En la Edad Media predomina la literatura didáctica, pero existen otras tendencias. Además,
   hay obras didácticas explícitamente cristianas y otras más bien aristocráticas pero seculares. Explique la relación entre lo didáctico y lo no didáctico en algunas obras medievales, con referencia también a su relación con la religión.
2. El Siglo de Oro abarca dos momentos distintos de la historia cultural: el Renacimiento y el
   Barroco. ¿Considera usted el Quijote barroco o renacentista? Explique su respuesta con referencia a otras obras.
3. Discuta los movimientos literarios del siglo XIX.
4. ¿Cuál es la importancia de la Guerra Civil española para la historia literaria del siglo XX?
5. Nombre cuatro obras que contribuyeron a un cambio en la literatura española. Justifique su
   respuesta.
6. ¿Cuáles fueron las características del modernismo en la literatura hispanoamericana?
7. ¿De qué modos la narrativa hispanoamericana presenta, desde mediados del siglo veinte, una
   visión crítica de la historia del continente?
8. ¿Qué recursos narrativos operan en la escritura de los cuentos fantásticos de Borges y
   Cortázar?
9. ¿Qué es el llamado “Boom” en la literatura latinoamericana del siglo XX y qué representa para
   las letras en América Latina?

M.A.T., Spanish Teacher

As of fall 2009, all students must take the comprehensive examination. Consult with the deputy chair in the School of Education to confirm requirements status.
The exam is divided into two parts:

1. A written essay based on themes that relate to works in the reading list section in Spanish.
2. An oral section that presents a hypothetical class (“unit plan”) based on a work of AP Spanish Literature Curriculum to be submitted in writing the day of the oral examination and accompanied by an oral explanation. Consult in advance with teachers in the School of Education regarding the organization of the hypothetical class and the AP Spanish Literature Reading List. Professors may refer to any work on the reading list during the conversation.

When answering an essay question, first decide precisely what the question is asking. If a question asks you to compare, do not explain. Verbs commonly used in essay questions include: analyze, compare, contrast, criticize, define, describe, discuss, enumerate, evaluate, examine, explain, illustrate, interpret, list, outline, prove, state and summarize.

Before you write your essay, make a quick outline. There are three reasons for doing this. First, your thoughts will be more organized (making it easier for your teacher to read), and you will be less likely to leave out important facts. Second, you will be able to write faster. Third, if you do not have time to finish your answer, you may earn some points with the outline. Don’t forget to leave plenty of space between answers. You can use the extra space to add information if there is time.

When you write, get to the point. Start off by including part of the question in your answer. For example, if you are directed to discuss the benefits and drawbacks of universal health care coverage to both patients and medical professionals, your first sentence might read, “Universal health care will benefit patients in the following ways.” Expand your answer with supporting ideas and facts. If you have time, review your answers for grammatical errors, clarity and legibility.

Test preparation is essential if you plan to do well consistently on exams throughout your postsecondary education. The most important thing to remember about studying for tests, however, is that by studying you are ensuring better learning of the material covered.

Essays generally require you to include three main sections:

• Introduction
• Body
• Conclusion

Some longer essays may require the use of headings for Introduction and Conclusion, as well as for sections of the body, whereas shorter essays may not. (Do not use “Body” as a heading; use headings relevant to your own content). Check the specifications for every assignment you are set. Different subject and discipline areas may have different requirements.

Introduction

The introduction should begin with the general issue and narrow down to the specifics of the problem you are discussing in your essay. Use the introduction to provide background information about the broad subject, identify the relevant problem or issue, and take the reader step by step to an understanding of why the specific focus you have chosen is relevant to that subject.

An introduction usually ends with some sort of statement of your focus (a focal statement or purpose statement). This statement tells the reader specifically what point you are going to make in your essay, and if possible how you are going to go about doing that. You may find it helpful to write the introduction last or at least revise it substantially after the main body of the essay has been written.

Body

The body should follow logically from your focal statement and support it consistently. Use section headings where appropriate, if required. Keep referring back to the focal statement with each new piece of information you bring in, to ensure that it is relevant to the point you want to make in your essay.

The body is made up of a series of paragraphs. Paragraphs may be described as packages of information each beginning with a topic sentence. The topic sentence defines the content or topic of the paragraph, just as the focal statement for the essay defines the specific topic of the essay. The topic of the paragraph is then expanded with sentences that may develop the topic by providing examples, details, evidence or analogies.

Make sure the ideas flow clearly from one sentence to the next. Use illustrations and tables where they clarify your text or are more efficient than text. A broader concluding sentence for the paragraph may sometimes be provided to tie the information together and remind the reader how it relates to the focus of the essay.

Conclusion

Information in the conclusion moves from the specific to the general. The conclusion must not simply repeat information given earlier, but must synthesize the ideas in the essay to form a response to the issue raised by the essay topic. Restate the focal statement of the essay. Summarize the main points of the supporting paragraphs as they are relevant to your synthesis. End with a broader concluding statement about how the assignment question relates to the more general issues described in the introduction.

The general rule is that no new information should be brought into the conclusion: Everything in it should follow logically from the information presented to the reader in your essay.

Rules to Remember

• Answer all parts of questions. If you neglect a part of a question, you will fail.
• Define relevant terms in the essay question and your answer.
• Make sure to include concrete examples, cite texts, or refer to authors when possible.
• Make an outline.
• If you make incorrect observations, you will fail.
• When studying for comps, read all texts and memorize author names, date of publication, and relevant artistic period.
• Books chosen for reading are not there because of whim and caprice. If you understand why a text is part of the list, then you will best be able to analyze it for your exams.