0x010088F6312065A70A44B630A6848498EAD80093CFEAFE161DC94D83C7C5C9A5A748B8

The general quality of the course was high. We considered major aspects of Argentine history and culture: massive immigration at the turn of the 20th Century; modernization and shifts from rural to urban culture; the changing social situation for both men and women, and the consequences for the relationships between them; the neighborhoods, spaces and social activities of 20th-century Buenos Aires; historical and political circumstances, from liberals, dictators, Perón (Juan and Eva), through the “dirty war” (1974-83), to the Malvinas/Falklands War, to the “return to democracy” with Alfonsín. Against this backdrop, we studied the interplay between cultural/artistic expression and social/political contexts. The relationship between tango lyrics and classical and contemporary literature was considered, with the attendant themes of temporality and change, love and jealousy, existential dread and social satire, linguistic innovations, etc. Musical and dance forms were also touched upon. We then turned to how “Rock Nacional” appropriated forms originating abroad, and was used to express particularly Argentine—and broader Latin American—realities: shifting notions of masculinity, alternative modes of social organization, protest of various forms of authoritarianism. Thematic and social continuities with tango were also considered. In addition to numerous articles, documentaries and film clips, we read a history text that focused on Argentina in the 20th Century. Many students found the book difficult and I, myself, would like to find a better option (a surprisingly difficult prospect). I created a “reading guide” to help focus the students’ reading, and to underline the areas that were particularly relevant. By the time the students got the final paper and oral interview, they generally demonstrated a fairly sophisticated ability to discuss how an artistic form of expression (tango and/or rock) related to a number of the social and historical contexts referred to above.

The learning outcomes, as suggested in the comments above, are relevant, and they were, to a large extent, achieved. That is to say, the students developed an advanced knowledge of a specific theme within modern Hispanic culture and language. These outcomes were communicated and developed through “modelling” (discussion in class of the primary material, how it developed, and its relationship to relevant social and historical contexts), as well as through assignments: the development of themes in the written assignments, with opportunities for feedback, and for developing a chosen theme further for the final project. The students also gave presentations in class, which provided a fine opportunity for them to communicate their knowledge in the target language, and to learn from their peers. Some students felt the course was a bit demanding. However, the general level of achievement by the end was relatively high. This is something I might emphasize, by way of encouraging the students, in the future. Also, some students would have like more focus on the history text. I adjusted for this a bit during the second half of the term, but will make a more explicit adjustment next time.

NTNU:TIA:REST

Department of Language and Literature

Institutt for språk og litteratur

Ingen hjelpemidler tillatt.

Spansk

Mer om vurdering

Vurderingsordning:- Semesteroppgave. Oppgaven skal ha et omfang på ca 2500-3000 ord. Oppgaven teller 2/3 i fastsettingen av endelig karakter.- Muntlig eksamen varer ca. 20 minutter. Muntlig eksamen gjennomføres etter innlevering av semesteroppgaven. Det vil bli informert om dato for muntlig eksamen i starten av semesteret. Muntlig eksamen teller 1/3 i fastsettingen av endelig karakter. Det gis separate karakterer for hver eksamensdel. I den samlede karakteren vektes deleksamenene som oppgitt ovenfor. På vitnemål og karakterutskrifter fra NTNU vil kun samlet endelig karakter stå oppgitt. Alle deleksamener må ha karakteren E eller bedre for at studenten skal bestå eksamen som helhet. Ved stryk må alle deleksamener tas på nytt. Ved gjentak av bestått emne må alle deleksamener tas på nytt. Eksamen skal i sin helhet besvares på spansk. Det er ikke mulig å ta opp igjen bestått eksamen i SPA2501 i semester hvor det ikke er undervisning i emnet. Ved utsatt eksamen (ved stryk eller gyldig forfall) er det mulig å levere eksamensbesvarelse, men det gis ikke veiledning.

Anbefalte forkunnskaper

Faglig innhold

Emnet er en spesialisering innenfor historie og samfunn fra det spanskspråklige målområdet. Studentene fordyper seg i dagsaktuelle temaer fra den spanskspråklige verden. De siste temaene har vært tangokultur og peruansk kultur og samfunn.

Kursmateriell

Læringsutbytte

KUNNSKAPERKandidaten:<ul><li>har avansert kunnskap om et spesifikt tema innen fagområdet spanskspråklig kulturkunnskap</li><li>kjenner til sentrale utviklingstrekk innen det aktuelle temaet</li></ul> FERDIGHETERKandidaten:<ul><li>kan formidle fagkunnskapen tilegnet i emnet på spansk både i lengre skriftlige tekster, i muntlig samhandling og som foredrag</li><li>kan anvende fagkunnskapen til utredning og problemløsning i relevante jobber og videre studier</li><li>har tilegnet seg tilstrekkelig innsikt i den valgte fordypningen til å kunne kommunisere meningsfylt med spesialister på feltet </li><li>kan orientere seg videre og holde seg oppdatert innen feltet</li></ul> GENERELL KOMPETANSEKandidaten:<ul><li>har innsikt i kildekritikk</li><li>kan formulere et analytisk resonnement</li><li>kan presentere og diskutere problemstillinger, synspunkter og løsninger, både skriftlig og muntlig</li><li>kan gå i dialog på generelt grunnlag med mennesker med ulik fagbakgrunn.</li></ul>

Læringsformer og aktiviteter

Forelesninger og seminarer. Det legges opp til en høy grad av studentdeltagelse i emnet, både gjennom forberedelser hjemme og muntlig deltagelse på forelesningene og på seminarene. Godkjent obligatorisk aktivitet er bare gyldig i det semesteret godkjenningen gis.

2 skriftlige innleveringer

1 muntlig oppgave

75% oppmøte på undervisning

Spanskspråklig kultur, historie og samfunn i det 20. og 21. århundret

Språk og litteratur

Språkfag

Fremmedspråk - bachelorstudium

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The primary challenge with this course continues to be the main history text. I will continue to look for a slightly more accessible alternative, though the one we use is considered the standard. But I increasingly have found other sources I can at least use partially. 

Moreover, after discussions with the students, I have concluded that more explicit work with the history text in class is needed. I will this require the students to bring the question worksheets which I generated in previous years to class, so that we may work from it and make sure we understand the book, and give students a chance to ask further questions, and elucidate problems together.

Tiltak

Adjustments for next year

EmnerapportSpa2501 H22 Generelt The general quality of the course was high. We considered major aspects of Argentine history and culture: massive immigration at the turn of the 20th Century; modernization and shifts from rural to urban culture; the changing social situation for both men and women, and the consequences for the relationships between them; the neighborhoods, spaces and social activities of 20th-century Buenos Aires; historical and political circumstances, from liberals, dictators, Perón (Juan and Eva), through the “dirty war” (1974-83), to the Malvinas/Falklands War, to the “return to democracy” with Alfonsín. Against this backdrop, we studied the interplay between cultural/artistic expression and social/political contexts. The relationship between tango lyrics and classical and contemporary literature was considered, with the attendant themes of temporality and change, love and jealousy, existential dread and social satire, linguistic innovations, etc. Musical and dance forms were also touched upon. We then turned to how “Rock Nacional” appropriated forms originating abroad, and was used to express particularly Argentine—and broader Latin American—realities: shifting notions of masculinity, alternative modes of social organization, protest of various forms of authoritarianism. Thematic and social continuities with tango were also considered. In addition to numerous articles, documentaries and film clips, we read a history text that focused on Argentina in the 20th Century. Many students found the book difficult and I, myself, would like to find a better option (a surprisingly difficult prospect). I created a “reading guide” to help focus the students’ reading, and to underline the areas that were particularly relevant. Students reported that the reading guide made it much easier to follow the book and process relevant information. By the time the students got the final paper and oral interview, they generally demonstrated a fairly sophisticated ability to discuss how an artistic form of expression (tango and/or rock) related to a number of the social and historical contexts referred to above. Læringsutbytte The learning outcomes, as suggested in the comments above, are relevant, and they were, to a large extent, achieved. That is to say, the students developed an advanced knowledge of a specific theme within modern Hispanic culture and language. These outcomes were communicated and developed through “modelling” (discussion in class of the primary material, how it developed, and its relationship to relevant social and historical contexts), as well as through assignments: the development of themes in the written assignments, with opportunities for feedback, and for developing a chosen theme further for the final project. Some students felt the course was a bit demanding. However, the general level of achievement by the end was relatively high. This is something I might emphasize, by way of encouraging the students, in the future. The grade distribution was as follows: A (2), B (1), C (4) Undervisningsformer As discussed in the section above, the outcomes were communicated and developed through “modelling” (discussion in class of the primary material, how it developed, and its relationship to relevant social and historical contexts), as well as through assignments: the development of themes in the written assignments, with opportunities for feedback, and for delving further into a chosen theme for the final project. I also offered rubrics for the students to use when analyzing lyrics, to help them organize their thoughts about the themes, images, use of language, and to pose questions regarding difficult/confusing aspects. The students’ contributions were generally quite good. We implemented an attendance policy for the first time, and it really seemed to foster a more cohesive, participatory course. Some students felt the policy might best be applied to the seminars, in which they are more active. In previous iterations of the course, I’ve invited a visiting presentation by a local tango DJ; a tango lesson by a local teacher; a visit to a local venue to see and hear tango live. I have made contacts with the tango community in Trondheim now, will give a lecture for them in February of 2023, and this should all be possible in a future versions of the course. I arranged a private tour for us at the Rockheim museum, to consider a Nordic example of cultural appropriation and innovation in popular music. We will continue to collaborate with the people at Rockheim. Vurderingsformer As expressed above, the course papers allowed students to develop their understanding of the issues by building on their work throughout the semester; and my comments and other opportunities for feedback during the process of writing, emphasized the connections between tango and relevant contexts. The students also gave class presentations, on different historical, political, social matters, or on particular artists. The Referansegruppe suggested I qualify my use of “Semesteroppgave,” since some found it misleading. While it did involve incorporating previous work in the semester, some students assumed it meant multiple drafts of an ongoing project. This is useful feedback for me, and I will adjust accordingly.

Vurderingsordning:- Semesteroppgave. Oppgaven skal ha et omfang på ca 2500-3000 ord. Oppgaven teller 2/3 i fastsettingen av endelig karakter.- Muntlig eksamen varer ca. 20 minutter. Muntlig eksamen gjennomføres etter innlevering av semesteroppgaven. Det vil bli informert om dato for muntlig eksamen i starten av semesteret. Muntlig eksamen teller 1/3 i fastsettingen av endelig karakter.Det gis separate karakterer for hver eksamensdel. I den samlede karakteren vektes deleksamenene som oppgitt ovenfor. På vitnemål og karakterutskrifter fra NTNU vil kun samlet endelig karakter stå oppgitt. Alle deleksamener må ha karakteren E eller bedre for at studenten skal bestå eksamen som helhet. Ved stryk må alle deleksamener tas på nytt. Ved gjentak av bestått emne må alle deleksamener tas på nytt.Eksamen skal i sin helhet besvares på spansk. Det vil ikke bli gitt gjentakseksamen i SPA2501 i semester hvor det ikke er undervisning i emnet.

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Further emphasise relationship between history and politics and the artworks (primarily songs and their lyrics) under consideration. Broaden the scope of the course to include "Rock Nacional," which more explicitly engages the political and social contexts of the second half of the 20th century. Take advantage of local resources: tango community in Trondheim, Rockheim museum. The tango is still morbid due to covid, but I was able to arrange an excellent guided tour at Rockheim.

Generelt The general quality of the course was high. We considered major aspects of Argentine history and culture: massive immigration at the turn of the 20th Century; modernization and shifts from rural to urban culture; the changing social situation for both men and women, and the consequences for the relationships between them; the neighborhoods, spaces and social activities of 20th-century Buenos Aires; historical and political circumstances, from liberals, dictators, Perón (Juan and Eva), through the “dirty war” (1974-83), to the Malvinas/Falklands War, to the “return to democracy” with Alfonsín. Against this backdrop, we studied the interplay between cultural/artistic expression and social/political contexts. The relationship between tango lyrics and classical and contemporary literature was considered, with the attendant themes of temporality and change, love and jealousy, existential dread and social satire, linguistic innovations, etc. Musical and dance forms were also touched upon. We then turned to how “Rock Nacional” appropriated forms originating abroad, and was used to express particularly Argentine—and broader Latin American—realities: shifting notions of masculinity, alternative modes of social organization, protest of various forms of authoritarianism. Thematic and social continuities with tango were also considered. In addition to numerous articles, documentaries and film clips, we read a history text that focused on Argentina in the 20th Century. Many students found the book difficult and I, myself, would like to find a better option (a surprisingly difficult prospect). I created a “reading guide” to help focus the students’ reading, and to underline the areas that were particularly relevant. By the time the students got the final paper and oral interview, they generally demonstrated a fairly sophisticated ability to discuss how an artistic form of expression (tango and/or rock) related to a number of the social and historical contexts referred to above. Læringsutbytte The learning outcomes, as suggested in the comments above, are relevant, and they were, to a large extent, achieved. That is to say, the students developed an advanced knowledge of a specific theme within modern Hispanic culture and language. These outcomes were communicated and developed through “modelling” (discussion in class of the primary material, how it developed, and its relationship to relevant social and historical contexts), as well as through assignments: the development of themes in the written assignments, with opportunities for feedback, and for developing a chosen theme further for the final project. Some students felt the course was a bit demanding. However, the general level of achievement by the end was relatively high. This is something I might emphasize, by way of encouraging the students, in the future. The grade distribution was as follows: A (1), B (2), C (1), E (1) Undervisningsformer As discussed in the section above, the outcomes were communicated and developed through “modelling” (discussion in class of the primary material, how it developed, and its relationship to relevant social and historical contexts), as well as through assignments: the development of themes in the written assignments, with opportunities for feedback, and for delving further into a chosen theme for the final project. I also offered rubrics for the students to use when analyzing lyrics, to help them organize their thoughts about the themes, images, use of language, and to pose questions regarding difficult/confusing aspects. The students’ contributions and motivation varied. There was a small, core group that attended regularly and engaged in the material. A major problem was the time restrictions of the Lektorstudents, for whom this course is a requirement. In order to accommodate their demanding curriculum, our course needed to be scheduled entirely on one day, and had to begin after 14:00. This necessitated making the evening part digital. As the student report notes, this situation made the division into “Lecture” and “Seminar” a bit awkward. My solution was to focus primarily on history and culture in the Lectures, and then the artistic manifestations in the Seminars. This worked well for some students; for others, it was not optimal. As the student report notes, students who did not attend found it difficult to understand what was going on in class. As it turned out, all the Lektorstudents except for one ended up dropping the course due to schedule difficulties. Recognizing this fiasco, the Spanish section has made changes in which courses are required for Lektorstudents, and how the required course will be administered. The Corona restrictions also deprived the course of key aspects that brought the subject matter to life on previous iterations: a visiting presentation by a local tango DJ; a tango lesson by a local teacher; a visit to a local venue to see and hear tango live. I have made contacts with the tango community in Trondheim, and this should all be possible in a future versions of the course. I did, however, manage to arrange a private tour for us at the Rockheim museum, to consider a Nordic example of cultural appropriation and innovation in popular music. It was fantastic, and I also invited a number of my Spa1401 students. We will continue to collaborate with the people at Rockheim. Vurderingsformer As expressed above, the course papers allowed students to develop their understanding of the issues by building on their work throughout the semester; and my comments and other opportunities for feedback during the process of writing, emphasized the connections between tango and relevant contexts. The students also gave class presentations, on different historical, political, social matters, or on particular artists.

Vurderingsordning: - Semesteroppgave. Oppgaven skal ha et omfang på ca 2500-3000 ord. Oppgaven teller 2/3 i fastsettingen av endelig karakter.- Muntlig eksamen varer ca. 20 minutter. Muntlig eksamen gjennomføres etter innlevering av semesteroppgaven. Det vil bli informert om dato for muntlig eksamen i starten av semesteret. Muntlig eksamen teller 1/3 i fastsettingen av endelig karakter.Det gis separate karakterer for hver eksamensdel. I den samlede karakteren vektes deleksamenene som oppgitt ovenfor. På vitnemål og karakterutskrifter fra NTNU vil kun samlet endelig karakter stå oppgitt. Alle deleksamener må ha karakteren E eller bedre for at studenten skal bestå eksamen som helhet. Ved stryk må alle deleksamener tas på nytt. Ved gjentak av bestått emne må alle deleksamener tas på nytt.Eksamen skal i sin helhet besvares på spansk. Det vil ikke bli gitt gjentakseksamen i SPA2501 i semester hvor det ikke er undervisning i emnet.

Emnet er en spesialisering innenfor historie og samfunn fra det spanskspråklige målområdet. Studentene fordyper seg i dagsaktuelle temaer fra den spanskskspråklige verden. De siste temaene har vært tangokultur og peruansk kultur og samfunn.

Forelesninger og seminarer. Det legges opp til en høy grad av studentdeltagelse i emnet, både gjennom forberedelser hjemme og muntlig deltagelse på forelesningene og på seminarene. Godkjent obligatorisk aktivitet er bare gyldig i det semesteret godkjenningen gis.

KUNNSKAPERKandidaten:<ul><li>har avansert kunnskap om et spesifikt tema innen fagområdet spanskspråklig kulturkunnskap</li><li>kjenner til sentrale utviklingstrekk innen det aktuelle temaet</li></ul> FERDIGHETERKandidaten:<ul><li>kan formidle fagkunnskapen tilegnet i emnet på spansk både i lengre skriftlige tekster, i muntlig samhandling og som foredrag</li><li>kan anvende fagkunnskapen til utredning og problemløsning i relevante jobber og videre studier</li><li>har tilegnet seg tilstrekkelig innsikt i den valgte fordypningen til å kunne kommunisere meningsfylt med spesialister på feltet </li><li>kan orientere seg videre og holde seg oppdatert innen feltet</li></ul> GENERELL KOMPETANSEKandidaten:<ul><li>har innsikt i kildekritikk</li><li>kan formulere et analytisk resonnement</li><li>kan presentere og diskutere problemstillinger, synspunkter og løsninger, både skriftlig og muntlig</li><li>kan gå i dialog på generelt grunnlag med mennesker med ulik fagbakgrunn.</li></ul>

2 skriftlige innleveringer (1000-1200 ord hver)

1 muntlig oppgave basert på en av de skriftlige oppgavene

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The general quality of the course was high. We considered major aspects of Argentine history and culture: massive immigration at the turn of the 20th century; modernization and shifts from rural to urban culture; the changing social situation for both men and women, and the consequences for the relationships between them; the neighborhoods, spaces and social activities of 20th-century Buenos Aires; historical and political circumstances, from liberals, dictators, Perón (Juan and Eva), through the “dirty war” (1974-83). The relationship between tango lyrics and classical and contemporary literature was also considered, with the attendant themes of temporality and change, love and jealousy, existential dread and social satire, linguistic innovations, etc. Musical and dance forms were also touched upon. Some students felt the focus was not particularly relevant to their academic and professional plans. If I give this course again, I will attempt to communicate more strongly the relevance of tango (as an art form, cultural production, mode of social interaction and imagining) to fundamental issues of Latin American history, language, society. One possible alteration to achieve this would be to shift, in the second half of the course, to a focus on “Rock Nacional,” which perhaps more explicitly engages with social and political issues. By the time the students got the final paper and oral interview, they generally demonstrated a fairly sophisticated ability to discuss how an artistic form of expression (tango) related to a number of the social and historical contexts referred to above.

The learning outcomes, as suggested in the comments above, are relevant, and they were, to a large extent, achieved. That is to say, the students developed an advanced knowledge of a specific theme within modern Hispanic culture and language. These outcomes were communicated and developed through “modelling” (discussion in class of the primary material, how it developed, and its relationship to relevant social and historical contexts), as well as through assignments: the development of themes in the written assignments, with opportunities for feedback, and to develop a chosen theme further for the final project. Some students felt the course was a bit demanding. However, the general level of achievement by the end was relatively high. This is something I might emphasize, by way of encouraging the students, in the future. The grade distribution was as follows: A (3), B (3), C (2), D (2)

As discussed in the section above, the outcomes were communicated and developed through “modelling” (discussion in class of the primary material, how it developed, and its relationship to relevant social and historical contexts), as well as through assignments: the development of themes in the written assignments, with opportunities for feedback, and to delve further into a chosen theme for the final project. I also offered rubrics for the students to use when analyzing tango lyrics, to help them organize their thoughts about the themes, images, use of language, and to pose questions regarding difficult/confusing aspects.The students’ contributions and motivation seemed to vary. There was a small, core group that attended regularly and engaged in the material; others came and went throughout the semester.  The learning atmosphere was also a bit uneven. Without a suitable permanent space, we moved back and forth between classes and buildings, which sometimes was disruptive. Having both the “group” class and “lecture” part all in one long time block, once a week, was also challenging. I was uncomfortable with the Corona situation at the beginning of the semester, and as a result was hesitant and perhaps a bit indecisive about how to get students to interact during class. The Corona restrictions also deprived the course of key aspects that brought the subject matter to life last time I taught it: a visiting presentation by a local tango DJ; a tango lesson by a local teacher; a visit to a local venue to see and hear tango live. I have made contacts with the tango community in Trondheim, and this should all be possible in a future iteration of the course.

As expressed above, the course papers allowed students to develop their understanding of the issues by building on their work throughout the semester; and my comments and other opportunities for feedback during the process of writing, emphasized the connections between tango and relevant contexts. The students also gave class presentations, on different neighborhoods in Buenos Aires, and/or different art forms (Flamenco, Hip Hop, Klezmer, were among the topics they could choose), with a focus on their relationship to tango.

- Semesteroppgave. Oppgaven skal ha et omfang på ca 2500-3000 ord. Oppgaven teller 2/3 i fastsettingen av endelig karakter. 
- Muntlig eksamen varer ca. 20 minutter. Muntlig eksamen gjennomføres etter innlevering av semesteroppgaven. Det vil bli informert om dato for muntlig eksamen i starten av semesteret. Muntlig eksamen teller 1/3 i fastsettingen av endelig karakter. 

Det gis separate karakterer for hver eksamensdel. I den samlede karakteren vektes deleksamenene som oppgitt ovenfor. På vitnemål og karakterutskrifter fra NTNU vil kun samlet endelig karakter stå oppgitt.

Alle deleksamener må ha karakteren E eller bedre for at studenten skal bestå eksamen som helhet. Ved stryk må alle deleksamener tas på nytt. Ved gjentak av bestått emne må alle deleksamener tas på nytt.
 
Eksamen skal i sin helhet besvares på spansk.
Det vil ikke bli gitt gjentakseksamen i SPA2501 i semester hvor det ikke er undervisning i emnet.

Emnet er en spesialisering innenfor historie og samfunn fra det spanskspråklige målområdet.

Det vil velges et spesifikt tema hvert semester som man fordyper seg i. Aktuell tematikk er migrasjon i den spanskspråklige verden, transatlantiske relasjoner, europeisk og latinamerikansk samarbeid og integrasjonsmodeller, dagsaktuelle temaer innenfor den spanskspråklige verden, derunder områdestudier relatert til det spanskspråklige. 


Forelesninger og seminarer. Det legges opp til en høy grad av studentdeltagelse i emnet, både gjennom forberedelser hjemme og muntlig deltagelse på forelesningene og på seminarene. 

Godkjent obligatorisk aktivitet er bare gyldig i det semesteret godkjenningen gis.


KUNNSKAPER
Kandidaten:
- har avansert kunnskap om et spesifikt tema innen fagområdet spanskspråklig kulturkunnskap
- kjenner til sentrale utviklingstrekk innen det aktuelle temaet

 FERDIGHETER
Kandidaten:
- kan formidle fagkunnskapen tilegnet i emnet på spansk både i lengre skriftlige tekster, i muntlig samhandling og som foredrag
- kan anvende fagkunnskapen til utredning og problemløsning i relevante jobber og videre studier
- har tilegnet seg tilstrekkelig innsikt i den valgte fordypningen til å kunne kommunisere meningsfylt med spesialister på feltet
- kan orientere seg videre og holde seg oppdatert innen feltet 

GENERELL KOMPETANSE 
Kandidaten:
-har innsikt i kildekritikk 
-kan formulere et analytisk resonnement 
-kan presentere og diskutere problemstillinger, synspunkter og løsninger, både skriftlig og muntlig 
-kan gå i dialog på generelt grunnlag med mennesker med ulik fagbakgrunn. 


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Spanskspråklig kultur, historie og samfunn i det 20. og 21. århundret - SPA2501