syllabus

575-5887 or email me

Mexico is a nation that North Americans know very little about. In fact what floods the media and speechs of pundits are various stereotypes of illegal immigrants crossing the Rio Grande, political and gang violence, and gory tales of narcotrafficking. What I hope to do in this course is destablize many of our stereotypes of our distant neighbors to the south and address Mexicans' historical struggles to achieve political stability, autonomy, and economic prosperity. In this course, my goals are manyfold: 1) to provide a concise overview of Mexican history from independence to the twentieth century that includes elite and plebeian voices alike; 2) to utilize 'rebelllion and revolution' as thematic and analytical devices to engage key historical problems that have shaped Mexico, both its past and present. We will discuss the Wars of Reform that broke out after independence, the Mexican Revolution, the Cristero movement, the student and cultural movements of the twentieth century, and the Zapatista uprising in Chiapas. We will also address themes of revolution and rebellion in literature, art, and music. Clearly, this class will be interdisciplinary in its format, perspective, and organization. The course will be organized around lectures (especially at the beginning for the overview of Mexican history) and discussion. We will view and analyze film and art. It is expected that students will actively participate in class and from time to time students will lead class discussion. I encourage you to read in Spanish if you are able and keep on Mexican current events outside of class.

Michael J. Gonzales, The Mexican Revolution, 1910-1940. New Mexico, 2002.
Paul Vanderwood, The Power of God against the Guns of Government. Stanford, 1998.
Carlos Fuentes, The Death of Artemio Cruz. Noonday Press, 1991.
Elena Poniatowska, Massacre in Mexico. Missouri, 1991.
John Womack, Rebellion in Chiapas. Norton, 1999.
Eric Zolov, Refried Elvis: The Rise of the Mexican Counterculture. California, 1999.
Other readings as linked within syllabus. My web page also contains useful links for research.

Note in syllabus that readings are grouped under differnent headings. These headings will be our themes for session and ought to guide you as you read the materials and organize your thinking. From time to time, I will provide you with guiding questions for discussion and/or assignments. Students are also encouraged to formulate their own questions for discussion.

Attendance
Regular attendance is required and expected. I take attendance every class meeting. Missing class will negatively impact your participation and attendance grade. Even if you could not complete the reading, come to class.

Discussion
Students in this course are intellectual colleagues who come together to discuss and analyze specific readings and issues in Mexican history. The purpose of class discussion is to animate our academic experience and for each of you to raise questions, propose interpretations, and to enter into a dialogue with each other and me over interesting aspects of Mexican studies. Our forum is safe and accessible. Students should limit their comments and discussion to Mexican history. In addition, reactions and analyses of readings and materials should be scholarly and thoughtful. Rarely are we profound in our comments -- so please don't wait for that moment of genius to participate in class discussion!! Remember class discussion can be a waste of our time if you are not engaged with the material, so strive to be prepared and thoughtful.

I will

act as moderator in discussion sessions. If you are unable to complete the day's assignment, at least skim the contents to familiarize yourself with the themes and questions under study. Each student will be responsible for framing one class discussion. I will assign discussants early in the semester. As discussion leader, you will briefly frame the author's arguments, outline the significant issues raised by the reading(s) and/or art and film, and catalyze class discussion with a question (have 3-4 questions prepared in case the first one falls flat!) Do not summarize the readings in detail. Instead be provocative --- possible angles to address are: use of sources, historical interpretations, larger implications of the research and thesis, and confusing and/or compelling aspects of the work. What did you find most interesting? most problematic? Be open-ended in how you frame questions -- the goal is to spark discussion.

Late and Missed Work
I do not accept late work or allow for make-up work unless you have been hospitalized, suffered a death in the family, contracted the avian flu (stay at home!), or have been abducted by aliens (bring a note). If you genuinely have a conflict, attempt to make arrangements ahead of time.

Plagiarism
The University of Arkansas strives to be a center of academic excellence. As part of our Statement of Ethics, the University strives to preserve academic honor and integrity by repudiating all forms of academic and intellectual dishonesty, including cheating, plagiarism and all other forms of academic dishonesty. Academic dishonesty is unacceptable and is subject to a disciplinary response. Students who are caught cheating or committing plagiarism may be given a failing grade in the course by the professor and may be subject to dismissal or further discipline. Plagiarism is often misunderstood. It can be defined as submitting someone else's work as your own. It is not permissible to "cut and paste" and then just cite another's work. In writing for homework or projects, you should read and learn, process through your mind, relate ideas, and then express what you learned in your own words. Cite the references where you found your information. If you do use someone else's words, you must use quotation marks and cite. You should not overuse quotes -- save them for a rare occurrence. If you need help in learning how to cite the work of others see the Chicago Manual of Style.

Assignments
Besides considerable reading and discussion, the course requires several writing assignments and a research project. Written work will be evaluated on the following criteria: 1) use of relevant class material (evidence); 2) expression of ideas in a clear, concise, and engaging prose (style); and 3) development of an argument or point of view that is pertinent to the issue at hand and has breadth, coherence, and insight (interpretation).

A – excellent in all three areas. Offers an insightful argument based on solid,
        ample evidence
B – good. Strong in all three areas or notable strengths in one balanced by
         weaknesses in another
C – average. Adequate performance in one or more areas offset by serious weakness
         in others that leaves presentation fragmented, unclear, or narrow
D – poor. Notable problems in all three areas. Remedial work needed to improve
        substantive understanding or basic communication
F – unacceptable. Serious flaws in all three areas. No evident engagement in assignment.

Grading
Class attendance and participation.................35%

        Attendance            (50)           10%
        Participation           (75)           15%
        Discussion Leader (50)           10%
Map Quiz (25)................................................5%
Written Work................................................60%
        Reading/Film Analyses   (150) 30%
        Research Paper              (150) 0%
Total.............................................................100%

Students with disabilities that may impede the learning experience should talk to me at the beginning of the semester about any special arrangements needed for note taking, writing assignments, etc.

Film: "Viva Zapata" -- directed by Elia Kazan, screenplay written by John Steinbeck, starring Marlon Brando as Zapata.We will view this film in both class periods. There will also be a writing assignment.