El día 23 de febrero a las 10 horas realizamos en la FH una reunión informativa de la asignatura.
Nuestra primera clase, completa, será el 9/3 a las 10 horas.
Por el momento, pueden encargar los materiales (menos el programa y guía de TPs que subimos aquí abajo) en New Copy por la mañana. Tels. 4752827; 155219483.
Pueden ahora descargar de este blog el programa y cronograma de la asignatura 2011.
http://www.megaupload.com/?d=MQEA3LDW
Descargar programa
Descargar instrucciones TPs
http://www.megaupload.com/?d=59IEOS33
Les recordamos a l@s alumn@s que utilizan el blog por primera vez que nos servimos de programas gratuitos para subir los archivos, programas que no siempre funcionan bien en sus versiones gratis. Si no pueden bajar los documentos por favor insistan hasta lograrlo.
Asimismo, para quienes no estén habituados a esta modalidad, les informamos que la cátedra y los estudianets utilizan el blog casi a diario una vez que la cursada está por comenzar y ya en marcha.
En cuanto al CD de bibiografía, pueden utilizar el del año pasado pero la información que tenemos ahora cabe sólo en un DVD. Debemos superar nuestro desconocimiento personal para grabar un DVD de datos que nos permita poner a disposición de los estudiantes el material electrónico. Como ven, los docentes tenemos mucho que aprender...
Hacia fines de febrero/principios de marzo podrán ver este programa desplegado en nuestro Calendario Google de actividades para el primer cuatrimestre 2011.
Les solicitamos que toda consulta o comentario respecto de la cátedra se realice únicamente a través de este blog.
¡Nos vemos el 9/3!
El equipo docente
Este es el calendario académico correspondiente al primer cuatrimestre de 2011, aprobado por el H. Consejo Académico de la Facultad de Humanidades:
INSCRIPCION A CURSADAS: 7 de marzo al 18 de marzo, todas las carreras.
REINSCRIPCION ANUAL: 7 de marzo al 18 de marzo, todas las carreras.
INICIO DE CLASES PRIMER CUATRIMESTRE: 9 de marzo de 2011.
FECHA LIMITE PARA PEDIDO DE ALTAS Y EXCEPCIONES: 31 de mayo de 2011.
TURNOS DE EXAMENES DE ABRIL S/ SUSPENSION DE CLASES:11 de abril al 15 de abril: INGLES
TURNOS DE EXAMENES DE MAYO S/ SUSPENSION DE CLASES: 16 de mayo al 20 de mayo: INGLES
FINALIZACION DEL PRIMER CUATRIMESTRE: 8 de julio de 2011.
lunes, 20 de diciembre de 2010
jueves, 9 de diciembre de 2010
History of England and US 2011 (IH1): Welcome
2011 Tentative Syllabus Download
Written & writing assignments Download
The printed materials are all available in New Copy (tels. 4752827; 155219483) and will not suffer substantial changes. We will leave a new Data DVD before Xmas with all the new materials we downloaded this year.
You can start looking back at the entries we made last year although we didn`t start the course with this blog from the very beginning.
The schedule will probably be the same we´ve had for the past 3 years or so
Sarasa Mon 10-14 whole group with lunch break in class at 12
Calvete Fri 8-10 whole group
Siccardi Wedn 10-12 and 12-14: 2 groups if there are many students. If there are few students: class 10-12 + short lunch break and optional tutorial 12-14
If in doubt, we´ll keep in touch through this blog. We will be holding a preliminary meeting in late February. We look forward to seeing you there.
Have a great vacation.
Marcela, Ana & Cristina
Written & writing assignments Download
The printed materials are all available in New Copy (tels. 4752827; 155219483) and will not suffer substantial changes. We will leave a new Data DVD before Xmas with all the new materials we downloaded this year.
You can start looking back at the entries we made last year although we didn`t start the course with this blog from the very beginning.
The schedule will probably be the same we´ve had for the past 3 years or so
Sarasa Mon 10-14 whole group with lunch break in class at 12
Calvete Fri 8-10 whole group
Siccardi Wedn 10-12 and 12-14: 2 groups if there are many students. If there are few students: class 10-12 + short lunch break and optional tutorial 12-14
If in doubt, we´ll keep in touch through this blog. We will be holding a preliminary meeting in late February. We look forward to seeing you there.
Have a great vacation.
Marcela, Ana & Cristina
martes, 7 de diciembre de 2010
IHI Midterm
Thanks everybody for participating in the course and the exam today. We enjoyed your oral presentations very much.
The ff students need to take the test again this Friday at 10am: Peralta, Ortiz, Luchetti (will receive an email right after I finish posting this comment)
All the rest have passed the oral & will start receiving emails with grades tomorrow Wednesday (this will take some time).
If you want to have your own IHI drinks session, pls start planning it.
Last but not least, if you want to take History of England and the US 2011, pls read this blog tomorrow.
Keep in touch
The ff students need to take the test again this Friday at 10am: Peralta, Ortiz, Luchetti (will receive an email right after I finish posting this comment)
All the rest have passed the oral & will start receiving emails with grades tomorrow Wednesday (this will take some time).
If you want to have your own IHI drinks session, pls start planning it.
Last but not least, if you want to take History of England and the US 2011, pls read this blog tomorrow.
Keep in touch
viernes, 3 de diciembre de 2010
History in MC & Wind by P. Erdicoborda
Jordan’s Michael Collins represents events in Irish history from 1916 to 1923 by exploring the birth of the Irish Free State and the struggle for Independence through the life of its most representative leader. For its part, Loach’s production The Wind that Shakes the Barley examines the War of Independence and the onset of the Civil War though the private life of two brothers. As Jordan and Loach belong to different historical traditions, they illustrate historical events differently: while Jordan stresses the role of individuals, Loach conceives history as an impersonal process that shapes the life of individuals.
In Michael Collins, the focus is on the character. At the beginning of this cinematographic production the audience is told that the period covered in the film was defined by Michael Collins. In this light, the changes in history are presented as the result of the Irish leader’s actions. Moreover, in Jordan’s work, Collins, Bolland, and De Valera are portrayed as the ones who struggle in order to make Ireland free from the British Empire. After the Anglo-Irish Treaty is signed, this political triangle is broken since Collins favors the Treaty and Bolland and De Valera disapprove of it. Even after this rupture, the main focus of the film is still on Michael Collins who is portrayed as the principal causal agent in the fighting for Irish Independence.
For its part, The Wind that Shakes the Barley exhibits a conception of history as a process in which the characters’ lives are shaped by their context. For instance, Damian – one of the main characters – sacrifices his professional career as a doctor in order to join his brother Teddy in the struggle for freedom. Then, after the Anglo-Irish Treaty is signed, the brothers find themselves confronted in a Civil War since Teddy favors the Treaty and Damian rejects it. Therefore, these two men who had fought side by side during the struggle for independence become enemies in the Civil War. In this light, The Wind that Shakes the Barley portrays how history changes the life of individuals and how their choices are shaped by the historical context they live in.
In brief, even though both cinematographic productions revisit Ireland`s past, the way in which history is conceived by the directors is different. Michael Collins highlights the role of the individual in the making of history while The Wind that Shakes the Barley shows how historical events transform community life.
In Michael Collins, the focus is on the character. At the beginning of this cinematographic production the audience is told that the period covered in the film was defined by Michael Collins. In this light, the changes in history are presented as the result of the Irish leader’s actions. Moreover, in Jordan’s work, Collins, Bolland, and De Valera are portrayed as the ones who struggle in order to make Ireland free from the British Empire. After the Anglo-Irish Treaty is signed, this political triangle is broken since Collins favors the Treaty and Bolland and De Valera disapprove of it. Even after this rupture, the main focus of the film is still on Michael Collins who is portrayed as the principal causal agent in the fighting for Irish Independence.
For its part, The Wind that Shakes the Barley exhibits a conception of history as a process in which the characters’ lives are shaped by their context. For instance, Damian – one of the main characters – sacrifices his professional career as a doctor in order to join his brother Teddy in the struggle for freedom. Then, after the Anglo-Irish Treaty is signed, the brothers find themselves confronted in a Civil War since Teddy favors the Treaty and Damian rejects it. Therefore, these two men who had fought side by side during the struggle for independence become enemies in the Civil War. In this light, The Wind that Shakes the Barley portrays how history changes the life of individuals and how their choices are shaped by the historical context they live in.
In brief, even though both cinematographic productions revisit Ireland`s past, the way in which history is conceived by the directors is different. Michael Collins highlights the role of the individual in the making of history while The Wind that Shakes the Barley shows how historical events transform community life.
jueves, 2 de diciembre de 2010
For Everybody...
OUP's Free Student Researcher Toolkit. Online at:
http://www.oup.com/uk/orc/bin/9780199202959/01student/toolkit/page_01.htm
http://www.oup.com/uk/orc/bin/9780199202959/01student/toolkit/page_01.htm
Imelda`s Silence by P. Pereira
In William Trevor´s novel, Fools of Fortune, Imelda, Willie and Marianne´s daughter, is portrayed as a special child. On the one hand, the girl can be seen as the flawed offspring of these two cousins. On the other hand, she can also embody the virtues of a saint who has a holy mind. Her immersion in past tragic events could have caused her mental condition and subsequent muteness. However, her very same handicaps seem to be responsible for her gift of performing miracles, according to the view of her local community and of her parents. In this light, Imelda´s silence can be considered as “positive, even redemptive and saintly.”
From an early age, Imelda had been exposed by her mother to a flow of stories related to Irish political and religious conflicts. These tales mingled wars, family tragedies, historical accounts, and Celtic mythodology. As a result, Imelda became so overwhelmed and obsessed with these past atrocities, that she eventually became deeply deranged. When she felt that she could no longer escape her reality, Imelda became silent for life. At this point, her family and the local community virtually canonized her as a saint, even those at her Catholic school who had used to despise her for being a Protestant.
From then on, Imelda was seen as holy child, who had the power to perform miracles. For instance, she would cure a woman of dementia and a man of cataracts. Her serene smile was considered as an indication of her joy and her silence as the healer of collective atrocities of the past—of Willie´s guilt for his own act of violence and abandonment of his family, and of her family´s past wounds. In this way, Imelda´s silence would mitigate other people´s suffering caused by public and private tragedies.
In short, Imelda can be seen as having sacrificed her life so as to heal deep wounds inflicted on Ireland and her family by political and religious confrontations. In this light, Imelda´s silence can be considered as positive, redemptive and saintly.
From an early age, Imelda had been exposed by her mother to a flow of stories related to Irish political and religious conflicts. These tales mingled wars, family tragedies, historical accounts, and Celtic mythodology. As a result, Imelda became so overwhelmed and obsessed with these past atrocities, that she eventually became deeply deranged. When she felt that she could no longer escape her reality, Imelda became silent for life. At this point, her family and the local community virtually canonized her as a saint, even those at her Catholic school who had used to despise her for being a Protestant.
From then on, Imelda was seen as holy child, who had the power to perform miracles. For instance, she would cure a woman of dementia and a man of cataracts. Her serene smile was considered as an indication of her joy and her silence as the healer of collective atrocities of the past—of Willie´s guilt for his own act of violence and abandonment of his family, and of her family´s past wounds. In this way, Imelda´s silence would mitigate other people´s suffering caused by public and private tragedies.
In short, Imelda can be seen as having sacrificed her life so as to heal deep wounds inflicted on Ireland and her family by political and religious confrontations. In this light, Imelda´s silence can be considered as positive, redemptive and saintly.
miércoles, 1 de diciembre de 2010
Imelda´s Silence by M.G. Díaz
In Trevor´ s novel Fools of Fortune every single character, event and circumstance conspire with silence. The unspoken is the recurrent motif that pervades the story of the Quintons and of those who share their lives from the beginning of the tale right until the end. Even the narrative structure of the novel conveys the idea of a gradually decreasing verbalization of accounts since the different sections of the book show the largest number of pages in the first part and a diminishing number in the folowing sections until we are left with only a few pages in the final part. In this way, silence is the most important – yet invisible – character in the story. A more visible one is Imelda: the mute child that is the offspring of two sinful parents and who becomes the venerated saint of her community, a middle- aged woman who will remain an eternal child. Imelda´ s silence has often been regarded as a sign of her sanctity and her complete devotion to God by many literary critics. It has more than once been perceived as a positive and saintly consequence of her – and her parents´- actions in life. However, as Richard Russell puts forward in his essay “The Tragedy of Imelda´ s Terminal Silence” her muteness “suggests her unhappiness… and her parents´ perverse mythologizing project (which would be part of) the structural trajectory of the novel toward silence.”
Imelda´ s silence can be perceived as a clear sign of her unhappiness mainly because her muteness is a mask for the internal battles that are repeatedly fought in her mind: Imelda´ s childhood was pervaded by the terrible accounts of the tragic events that had taken place at Kilneagh; these images of death and horror were the ones paving the way toward her withdrawal . Then, it is also possible to state that part of that unhappiness disguised by her silence could be attributed to Imelda herself, since her inquisitive nature drove her to constantly read her mother´ s secret diaries and to frequently eavesdrop on other people´ s conversations about how her father had killed Sgt Rudkin in cold blood. Moreover, her inability to speak also suggests an inability to talk things out and make amends with her family´ s past. In addition, she is the end of the line for the Quintons while any possible hint of forgiveness will also die with her. In this way, Trevor leaves us readers with a sense of hopelessness since by now it is clear that the circle of violence started up by Imelda´ s ancestors continues in her since her condition has left her forever frozen in time, endlessly returning to the moment when death struck her family.
Yet, Imelda is not the only one to blame for the unhappiness concealed by her silence since both her parents largely contributed to her condition as well. In the final scene of the novel we can see Willie and Marianne reunited. However, they do not speak about the past; they are simply satisfied to see their daughter in a state they would naively consider as peaceful. They are happy just to be safe from all the pain and suffering that had been present in their lives. They both misread their daughter´ s silence as something sacred, a God- given gift, to avoid confronting the more awkward truth: they are to blame for their tragedies as well. Willie avenged his family´ s death by killing his father´ s and sisters´ murderer while Marianne filled up her daughter´ s head with unnecessary brutal details of their sorrows without feeling remorse or considering the consequences. They might find comfort in their daughter´ s silence as a way of justifying their own sins, but their own actions involve something more perverse than their simply thinking that her muteness is an atonement for their behaviour: Imelda´ s silence reflects their own silence as well. Not a word is spoken about the past when they are reunited in the final scene of the novel. It seems that justifying Imelda´s silence as part of her sanctity is less painful than confronting the fact that neither them has – or will ever be- able to forgive but only to forget.
Imelda´ s silence can be perceived as a clear sign of her unhappiness mainly because her muteness is a mask for the internal battles that are repeatedly fought in her mind: Imelda´ s childhood was pervaded by the terrible accounts of the tragic events that had taken place at Kilneagh; these images of death and horror were the ones paving the way toward her withdrawal . Then, it is also possible to state that part of that unhappiness disguised by her silence could be attributed to Imelda herself, since her inquisitive nature drove her to constantly read her mother´ s secret diaries and to frequently eavesdrop on other people´ s conversations about how her father had killed Sgt Rudkin in cold blood. Moreover, her inability to speak also suggests an inability to talk things out and make amends with her family´ s past. In addition, she is the end of the line for the Quintons while any possible hint of forgiveness will also die with her. In this way, Trevor leaves us readers with a sense of hopelessness since by now it is clear that the circle of violence started up by Imelda´ s ancestors continues in her since her condition has left her forever frozen in time, endlessly returning to the moment when death struck her family.
Yet, Imelda is not the only one to blame for the unhappiness concealed by her silence since both her parents largely contributed to her condition as well. In the final scene of the novel we can see Willie and Marianne reunited. However, they do not speak about the past; they are simply satisfied to see their daughter in a state they would naively consider as peaceful. They are happy just to be safe from all the pain and suffering that had been present in their lives. They both misread their daughter´ s silence as something sacred, a God- given gift, to avoid confronting the more awkward truth: they are to blame for their tragedies as well. Willie avenged his family´ s death by killing his father´ s and sisters´ murderer while Marianne filled up her daughter´ s head with unnecessary brutal details of their sorrows without feeling remorse or considering the consequences. They might find comfort in their daughter´ s silence as a way of justifying their own sins, but their own actions involve something more perverse than their simply thinking that her muteness is an atonement for their behaviour: Imelda´ s silence reflects their own silence as well. Not a word is spoken about the past when they are reunited in the final scene of the novel. It seems that justifying Imelda´s silence as part of her sanctity is less painful than confronting the fact that neither them has – or will ever be- able to forgive but only to forget.
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