Linking Life and Lyric: The Federico García Lorca Course

Linking Life and Lyric: The Federico Garca Lorca CourseAuthor(s): Linda L. ElmanSource: Hispania, Vol. 87, No. 1 (Mar., 2004), pp. 143-149Published by: American Association of Teachers of Spanish and PortugueseStable URL: http://www.jstor.org/stable/20063016 .Accessed: 04/05/2014 00:38

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Linking Life and Lyric: The Federico Garc?a Lorca Course

Linda L. Elman DePauw University

Abstract: Diverse print materials and media are readily available to support a varied and engaging curriculum on the life and works of the Spanish poet, Federico Garc?a Lorca. The content of this monographic course encompasses biography, personal correspondence, a friend's diary, film, CD-ROM technology, music and student performance, selected to showcase Lorca's poetry, drama, literary lectures, sketch art and musical compositions. Creative incentives for

promoting student discussion and critical analysis are suggested in the course description. Recent research on the

pedagogical value of performance undergirds course design and methodology. Two unique events highlight the semester class. The first function, a tribute to Lorca with poetry recitation, song and a slide series, features guest artists from Spain, college music students, modern languages faculty and a prize-winning poetry professor from the English Department. The second entertaining and educational enterprise is a student performance of Tragicomedia de don Crist?bal y la se?a Rosita. The actual curriculum and events provide a model susceptible of multiple variations for varying levels and circumstances.

Key Words: [Garcia] Lorca (Federico), performance, pedagogy, poetry, drama, puppets, music, memoirs, Lorca's puppet play, biography, film

The wealth of print material and media available in English and Spanish on the life and work of Federico Garc?a Lorca supports a curriculum that can be varied and engaging for students, because of the substantial depth and diversity of these resources (particularly

since the centenary celebration). Additionally, Lorca's personal biography provides the ideal backdrop for study of his wide-ranging works. In a letter to Jorge Guillen, Lorca decries being classified exclusively as the "gypsy" poet. "Me va molestando un poco mi mito de gitaner?a. Confunden mi vida y mi car?cter. No quiero de ninguna manera. Los gitanos son un tema. Y nada m?s [...] No quiero que me encasillen" (Epistolario Completo 414). Therefore, because Lorca's multifaceted talent has produced not just poetry and plays, but art and musical compositions as well, course content and teaching strategies should honor Lorca's creative breadth.

In this article, I detail the curriculum and pedagogy for a monographic course taught in

Spanish at the 300-level in a small, liberal arts college environment. Taking as a cue Lorca's penchant for performance (director and actor with La Barraca, literary lecturer, entertainer of family and friends, and one of the more convivial cohorts from El Rinconcillo), I organized class activities to exploit their performance or interactive value. The Lorca who once performed a "Mata Hari" dance at a saint's day party (with two inverted teacups on his chest like breasts) to the complete delight of his hosts would have endorsed, I believe, a more "play-full" approach to the teaching of his work. In his personal journal, Carlos Morla Lynch (Chilean ambassador to Spain and close friend of the poet) affectionately evokes an intensely spirited Lorca: "[un Federico que] viene y se va, que irrumpe como una exhalaci?n y luego se hace humo, que r?e, que canta, que recita poemas y se ilumina, que cuenta historietas, que coge la guitarra o se sienta al

piano, que se exalta, se apasiona [...], se aflige y se ensombrece" (14). Morla Lynch senses Lorca's boundless character and, thus, his observation suggests a more open course structure and

dynamic teaching method.

Clearly, Lorca loved to try out his plays on his friends by "performing" for them at informal gatherings. Morla Lynch recalls the night Lorca, over a period of six hours, read As? que pasen

Elman, Linda L.

"Linking Life and Lyric: The Federico Garc?a Lorca Course"

H?spanla 87.1 (2004): 143-149


144 H?spanla 87 March 2004 cinco a?os to his assembled friends: "La ha le?do a un ritmo sostenido, con un ardor y una

impetuosidad arrebatadoras. Le brotaban llamas por los ojos, por la boca, por las narices, y vibraciones refulgentes por el pelo, las orejas y todos los poros del cuerpo" (105). Morla Lynch goes on to describe the impact of the playwright's performance on his intimate audience: "Lo hemos escuchado con curiosidad primero, luego con inter?s creciente y, por ?ltimo, como

embrujados" ( 105). Finally, he wonders if it would ever be possible to bring to the stage an equally bewitching interpretation of the play: "Y mientras nuestro poeta dobla su manuscrito, me

pregunto si la creaci?n realizada en la escena [...] lograr? provocar el hechizo?esa cosa casi inhumana materializada?que obtiene le?da por su autor" (112).

Although we could never recreate the magic of Lorca's own reading, we often approximated the experience by focusing on oral interpretation in the classroom. A collection of essays published in Teaching Shakespeare Through Performance addresses the topic of performance (reading/acting) as a pedagogical tool. Even if the instructor is not trained in acting, and even if the class is not a drama class per se, the contributors see great value in this technique. Speaking specifically about ACTER (A Center for Theatre, Education, and Research), Lois Potter validates the literature teacher's role as

"acting coach": "While it is tempting to leave all this sort of work to people who are better trained than oneself [...], [t]he more you watch other performers work in the classroom, the more you begin to see how to make students, and yourself, comfortable with the idea of acting. How much ability you yourself have does not matter" (238).

From the beginning of the semester, then, three strategic goals for the course were:

1) To encompass Lorca's diversity as poet, playwright, artist and musician in the course content;

2) To maximize student involvement through oral poetry recitation, singing and acting; 3) To capitalize on the extensive biographical background of the writer as an adjunct to his

artistic production.

Even though Lorca's poetry, drama and drawings are sufficiently meritorious works

independent of his life story, our insights into the poet's personal struggles and triumphs helped us to appreciate more fully the texts we studied. Although some scholars debate the virtue of any literary analysis that attends to the explicit or implicit presence of the playwright in his dramas, our strategy was an unapologetic, deliberate practice of using Lorca's life story as a prism through

which we might access meaning, and experience greater enjoyment of his works.1 In order to link Lorca's life to his literature, three books were particularly useful: Biograf?a esencial by Ian Gibson, Epistolario completo edited by Christopher Maurer and Andrew A. Anderson, and the

personal journal of Carlos Morla Lynch, En Espa?a con Federico Garc?a Lorca. In addition, Maurer's CD-ROM provided the majority of the visual images used to enhance instruction.

Indeed, the challenge of finding and piecing together like a puzzle all the support materials made course preparation an adventure. For example, as our point of departure on the opening day of the semester, I read aloud Morla Lynch's journal entry recounting the first time he met Federico Garc?a Lorca. Projected on a large screen alongside me was a photograph of the young poet selected from among hundreds of images on Maurer's CD-ROM.

[As Lorca arrives]: No se puede afirmar que es guapo, pero tampoco que no lo es, por cuanto posee una vivacidad que todo lo suple y 'un no s? qu?' de muy abierto en su fisonom?a que reconforta y tranquiliza de buenas a primeras, que luego seduce y que, por ?ltimo, conquista definitivamente. Y ninguna de esas actitudes absurdas con que los

pedantes pretenden acreditar su cultura. (26)

[As Lorca departs]: Ha tardado tanto en despedirse [...] Se siente el golpe estrepitoso de la puerta de la calle. Se ha marchado. Y se produce entonces una cosa inesperada, que no es normal, que tiene algo de sortilegio. El vac?o de su ausencia. (27)

On another day, to accompany the study of the narrative poem, "Llanto por Ignacio S?nchez

Mej?as," we read Morla Lynch's account of the profound impact of the news of the bullfighter's


Linking Life and Lorca 145 death upon his circle of friends (399). Throughout the semester, Morla Lynch's very personal

memoirs gave intimate insights into the poet's charismatic character. Selected letters from the Epistolario completo were incorporated with the study of Lorca's

poetry and plays to further personalize my presentation of the material. Lorca's first letter to his

family from New York, for instance, served as prelude to our study of some of the New York poetry; the exuberant tone of the letter contrasts sharply with the bleak, critical tone of several poems. Other letters reflect his excitement on those occasions when his plays debuted, or his anxiety during negotiations with actresses and agents in preparation for mounting a drama

production.

Apart from researching and editing all the lore about Lorca, another pedagogical challenge was that of creating strategies for encouraging discussion and facilitating the interpretation of texts. All of us who teach Lorca understand that some of his poetry is not easily deciphered. One key to teaching the art of meaningful interpretation is to promote student interaction with the material that surpasses the typical homework of a precursory reading or the passive reception of a lecture (one in which the teacher's interpretation becomes definitive). In order to call the students' attention to the kind of assiduous reading one must practice when reading poetry, I in vented a kind of

"scavenger hunt" with the poem, "Romance Son?mbulo." The class was divided into teams to search out a list of images and pertinent details (typed on green paper, of course) such as: what other colors are mentioned in the poem and what do they represent, who are the voices and what do they say, what animal is named and tell its location, etc. Once all identifica tions were made, the group had to memorize the opening stanza of the poem and recite it to me

chorally. The first group to finish won green erasers; all students received green candy. More

importantly, in the discussion that followed the game, students compared their individual prepara tion of the poem outside of class with their close group reading during the game. All agreed that

they paid much more attention to descriptive detail during the activity and that they especially noticed how wonderful the poem sounded when they were required to memorize and recite the

opening lines. Thus, I encouraged the class for future assignments to make written "image inven tories" while reading Lorca's poems and to read aloud, or memorize and recite selected verses.

In the shift from poetry to the dramas, the integrity of the course goals was preserved. For

example, to initiate our discussion of the play Do?a Rosita la Soltera, I prepared a fairly tradi tional series of comprehension questions based on act 1. For a unique touch, each question (typed on slips of pink paper this time) was stapled to a different seed packet. After allowing ten minutes for students to write a response to the question with supporting quotes from the text, I suggested that one of them had received the

"perfect" flower to symbolize the drama. Consequently, each student was invited to argue why his/her particular flower was the most "significant" in the garden.

The packet with "Pink Maidens" was deemed the best (teacher's opinion), due to its color, naturally, and the fact that "maiden" connotes an unmarried woman. The students truly surprised me with their inventive defenses. How clever their interpretations had been, each perceiving that his or her flower had some degree of relevance to this play with the subtitle, "El lenguaje de las flores"!

Another way my students were helped to interpret the opening scene of a Lorca play was a

pre-performance exercise designed to identify significant symbolism. We gathered around a table where students placed a piece of paper on which they had written what they believed was an

important word in Blood Wedding (act 1, scene 1). Of course, many of their chosen words were the same that a teacher might have presented as symbolic: knife, flowers, cemetery, blood, etc. Students then read aloud a brief excerpt from the scene, explaining the way(s) Lorca used their chosen word in context. Finally, with a few props (a man's hat, a black mantilla, a knife) the scene

was performed by several students. Afterwards the actors (Madre and Novio) were encouraged to reflect on their respective roles, while entertaining questions from the "spectators." Themes of obsession and gender-role expectations were identified and discussed. Moreover, the performance reflected the atmosphere of premonition and foreboding that prevails in the opening scene, running counterpoint to the supposedly optimistic occasion of the imminent wedding.


146 H?spanla 87 March 2004 Hence, the class began to intuit the symbolism of the title, Bodas de Sangre.

In act 1, scene 3, the setting is the Novia's cave. For the warm-up activity prior to their oral

reading, students were asked to use their bodies to "set the stage" in a tableau vivant representing the scenery. While one person stood on a chair with arms stretched out to symbolize the cross, two students served as "curtains" (one arm behind the waist like "tie-backs") framing the doorway to the cave. This kinetic strategy not only required that the students understand the stage directions, but also helped them to visualize the setting Lorca intended. This preliminary activity was

inspired by Michael Shapiro's essay, "Improvisational Techniques for the Literature Teacher."

Shapiro emphasizes the importance of introductory activities to real actors and people trained in theater (186). He finds that using improvisational games helps students develop more imaginative responses to Shakespeare's work (191).

Two special events were included in the course curriculum. The first, "Music's Lorca," was a tribute to the writer as a poet and a musician. Student choruses and faculty colleagues recited a selection of Lorca's poems in Spanish and in English. To complement the poetry, a trio of Spanish

musicians (including the great-nephew of Lorca) collaborated with a student pianist and vocal soloists to perform several of the canciones populares and "La Zapatera."2 Referring to the

Canciones Populares, which were collected and arranged by Lorca, Morla Lynch remarks in his

diary: "Todos estos goces inefables hechos realidades se los debemos a Federico. ?l ha reunido estos poemas y cantares que palpitan dispersos por aldeas y campi?as, y sin adulterarlas, atesorando como en un relicario todos sus aromas, nos los presenta como quien ofrece un ramo

de flores recogido en las praderas" (203). A narrator knitted together the performance pieces with a biographical introduction and with excerpts from one of Lorca's lectures, "Como canta una ciudad de noviembre en noviembre." Throughout the evening, a student-prepared Power Point

display of Lorca's sketches, personal photographs and scenes from Granada was projected on a wall adjacent to the stage. "Music's Lorca" drew a diverse audience, whose generous praise of the overall performance gratified the students, as well as our Spanish guests.

The culmination of the Lorca course was a puppet show instead of a traditional final exam.3 The class constructed a stage and fabricated puppets with the end goal of presenting Garcia Lorca's Tragicomedia de don Crist?bal y la se?a Rosita. Initially, the class collectively read and commented on the play with my guidance. In a subsequent class, small groups took on the tasks of assigning roles, determining props and writing summaries of the prologue and each act for distribution to the audience on performance night. During the puppet-making sessions, students read scenes aloud under my supervision; I corrected pronunciation and gave suggestions for

exploiting the play's comic moments. There were two in-class rehearsals and one extra rehearsal the night before the production. Students surprised themselves (and their teacher, who had more than a moment's hesitation about attempting this activity) with their resourcefulness and talent.

From a pedagogical perspective, the preliminary preparation and the final production were the ultimate hands-on, student-centered classroom experience. Without realizing it, students had read the play five times. Attention was paid to the most minute details of the stage directions, scenery and character portrayal. To read their parts effectively, students had to understand new

vocabulary, practice good pronunciation and intonation, and correctly transmit the emotions of the characters through movement and vocal modulation. The play delighted an audience of

Spanish professors, Latino students, and Spanish majors and minors. The puppeteers were exceedingly proud of their effort and particularly pleased by the audience's responses to the humor of the piece. My colleague, who videotaped the puppet show, commented on the high degree of student ownership evidenced in the performance. This, I believe, is what G. B. Shand

means when he writes about empowering student readers: "As in the rehearsal hall, so in the

classroom, much more is likely to be discovered, and to belong rightly to its discoverers, when

readers, as actors, are introduced to the tools of their textual craft, and then are left free to play" (255).

Despite the priority of "play," the course curriculum was not "soft" on requirements, as one can discern from the appended reading list. Students were assigned brief response papers, an


Linking Life and Lorca 147

essay exam, a short comparative poetry analysis and a final paper, all of which challenged them to write critically about Lorca's work. Regarding external criticism, I generally subscribed to

Elise Ann Earthman's model for teaching Antony and Cleopatra:

Rather than have them bog down in the details, I concentrate on developing in students an understanding of the plot, the characters, and the themes of the play. I tell them such tidbits about Shakespeare's language or the Elizabethan world as they will find interesting, and I leave the rest alone [...] days of background on Shakespeare, the Elizabethan Age, the Roman Empire, and performance of Antony through the ages, followed by illustration of

rhyme scheme and scansion through selected sonnets, would cause many of my students to quit before they began. (280-81)

Similarly, in an occasional lecture to my students, I read from Leslie Stainton's biography and from Lorca's own conferencias, public talks he gave on literary topics. For our study of some of the New York poems, all the students read aloud from Lorca's lecture, "Poeta en Nueva York," interspersing recitations of the poems at the appropriate moment, imitating what Lorca had done.4 Some of my students who live in New York filled in details of the urban setting unfamiliar to the rest of us.

For each instance that I chose to incorporate critical articles, I did so in conjunction with a performance strategy. For example, having scheduled class in a small auditorium and taken one student into my confidence, he (as El Autor) and I (in the role of the shoemaker's wife) performed the prologue to La Zapatera Prodigiosa.5 The unannounced performance simulated how an actual audience would have been introduced to the farce through the metatheatrical character of El

Autor. Afterwards, I divided the class into two groups: one read Francesca Colecchia's article about Lorca's use of prologue, while the other group read Hershberger's study on metatheatrical devices in Lorca's theater. Then, I read highlights from Rosanna Vitale's book, El Metateatro en la Obra de Federico Garc?a Lorca. Finally, students from each group summarized their article to the others. Later, when we prepared the puppet play, students could relate the concepts they had learned about metatheatre to Mosquito and Director in the Tragicomedia.

The life's work of Federico Garc?a Lorca, charismatic man and gifted writer, has left an indelible impression on my students. Through performance they became empowered readers and

interpreters of Lorca's texts. Moreover, the classroom atmosphere was energized by their collaborative efforts and enthusiasm. There were moments when I was certain the duende of the

poet was present. I hope all my students have an opportunity to visit Granada and the Huerta de San Vicente. I want them to step into Lorca's bedroom, see the balcony outside his window and recall (perhaps recite) the verses: "?Si muero / dejad el balc?n abierto!" For me, the course was extremely rewarding in every aspect. My love of Lorca's poetry and plays was rekindled, as was

my deep regret that the genius of Federico was stolen too soon from this world. In view of this sad fact, Morla Lynch's words quoted earlier, "el vac?o de su ausencia," still resonate with all who

study Lorca. Fortunately, this marvelous poet continues to speak to us, even as he said he would in the following excerpt:

Quiero dormir un rato, Un rato, un minuto, un siglo; Pero que todos sepan que no he muerto:

Que hay un establo de oro en mis labios... (Gacela VIII, "De la muerte oscura" in Div?n del Tamarit)

The Reading List Ian Gibson's Garc?a Lorca. Biograf?a Esencial Selections from Carlos Morla Lynch's En Espa?a con Federico Garc?a Lorca Poems from all the sections of Christopher Maurer's anthology: Federico Garc?a Lorca.

Selected Verse and other selected poems Conferencias:

"Juego y Teor?a del Duende"


148 H?spanla 87 March 2004 "Imaginaci?n, Inspiraci?n, Evasi?n" "El Primitivo Canto Andaluz" "Poeta en Nueva York"

"Charla Sobre Teatro"

Criticism: Francesca Colecchia's "The

'pr?logo' in the Theater of Federico Garc?a Lorca: Towards the Articulation of a Philosophy of Theater"

Robert P. Hershberger's "Building and Breaking the Metadramatic Frame in La zapatera prodigiosa and Amor de don Perlimplin: The Dilemma of Social Convention"

Excerpts from Lorca's Prosa in?dita de juventud: "Mi pueblo" Selected letters from his Epistolario completo

Dramas:

Di?logo del Amargo Bodas de Sangre La Zapatera Prodigiosa Do?a Rosita la Soltera o el Lenguaje de las Flores T?teres de Cachiporra. Tragicomedia de don Crist?bal y la se?a Rosita

Vid?ocassettes: The Spirit of Lorca Federico Garc?a Lorca: Retrato de Familia (Remembering the Earth) Federico Garc?a Lorca. A Murder in Granada The Disappearance of Lorca

NOTES

lC. Christopher Soufas, "Lorca's Theatre in a Modernist/Performance Context." Gestos 19 (Apr. 1995): 44-45. 2We are fortunate to be affiliated with a School of Music; therefore, our musical tribute to Lorca was an important

component for those students in the course who are musicians. Their collaboration with the Spanish visitors was a unique feature of the evening's program. Our guests were Claudio de Casas (guitar), Miguel Malla (clarinet and percussion) and Javier Saiz (bass). Tracy Rucinski (translator for the acclaimed children's television series, "Marcelino Pan y Vino,") prepared and narrated the script.

3Students did submit a final paper in response to a question that encompassed the semester's work. The question hypothesized a disagreement between two professors: one argues that Lorca's plays are poetic, whereas the other contends that his poems are dramatic. Using three poems and three dramatic excerpts of their choice, students were to "settle" the hypothetical dispute by proving that both professors are correct in their views.

4In an interview in Montevideo, Uruguay, Lorca refers to five books of poems he has finished writing: "Uno se titula Poeta en Nueva York. Lo leer?, con comentarios, en una de las conferencias de Los Amigos del Arte." Federico

Garc?a Lorca, Obras, Prosa 1, ed. Miguel Garc?a-Posada, vol. 6 (Madrid: Akal, 1994), 557. We used Menarini's Spanish edition of Poeta, but the lecture is also available in translation in Maurer's edition (see Works Cited).

5In approximately fifteen minutes, standing in the fabric department of our local Wal-Mart, I fashioned a

magician's cape and lampshade hat for El Autor, using some inexpensive black materials. For a special effect, I affixed

small, pre-fabricated stars to the cape with safety pins. Next, an iridescent green remnant of silky cloth was fastened to the metal clip inside the lampshade, such that when El Autor doffed his hat, Lorca's directions were fulfilled: "Se quita el sombrero de copa y ?ste se ilumina por dentro con una luz verde, el autor lo inclina y sale de ?l un chorro de agua" (Zapatera 54).

WORKS CITED

Colecchia, Francesca. "The 'pr?logo' in the Theater of Federico Garc?a Lorca: Towards the Articulation of a Philosophy of Theater." Hispania 69 (1986): 791-96.

Cozart Riggio, Milla, ed. Teaching Shakespeare Through Performance. New York: The Modern Language Association of America, 1999.

Earthman, Elise Ann. "Shakespeare in the City." Cozart Riggio 277-85. Federico Garc?a Lorca. A Murder in Granada. Princeton, NJ: Films for the Humanities, 1995.


Linking Life and Lorca 149 Federico Garc?a Lorca: Retrato de Familia. Prod. Enrique Nicanor. Perf. Luis Garc?a Montero and members of Lorca's

family. Videocassete. Sunset United Media, 1998. (Also available in English version from Films for the Humanities under the title:

"Remembering the Earth.") Garcia Lorca, Federico. Bodas de Sangre. Eds. Allen Josephs and Juan Caballero. Madrid: C?tedra, 1998.

?. Do?a Rosita la Soltera o El Lenguaje de las Flores. Madrid: Espasa Calpe, 1992. ?. Epistolario Completo. Eds. Christopher Maurer and Andrew A. Anderson. 2 vols. Madrid: C?tedra, 1997. ?. Federico Garc?a Lorca. Poet in New York. Trans. Greg Simon and Steven F. White. Ed. Christopher Maurer. New

York: Noonday P, 1998. ?. La Zapatera Prodigiosa. Ed. Joaqu?n Forradellas. Madrid: Espasa Calpe, 1995. ?. Obras Completas. Ed. Miguel Garc?a-Posada. 6 vols. Madrid: Akal, 1989-98. ?. Poeta en Nueva York. Ed. Piero Menarini. Madrid: Espasa Calpe, 1998. ?. T?teres de Cachiporra. Tragicomedia de don Crist?bal y la Se?a Rosita. Madrid: C?tedra, 1998.

Gibson, Ian. Garc?a Lorca Biograf?a Esencial. Barcelona: Nexos, 1992.

Hershberger, Robert P. "Building and Breaking the Metadramatic Frame in La zapatera prodigiosa and Amor de don

Perlimplin: The Dilemma of Social Convention." Estreno 23.1 (Primavera 1997): 23-28. Maurer, Christopher, ed. Federico Garc?a Lorca. Selected Verse. New York: Farrar Straus Giroux, 1994. ?, ed. Federico Garc?a Lorca. CD-ROM. Madrid: Editorial Autor, 1998. [Note: this item was purchased through the

Fundaci?n Garc?a Lorca.] Morla Lynch, Carlos. En Espa?a con Federico Garc?a Lorca. P?ginas de un Diario Intimo 1928-1936. Madrid:

Aguilar, 1957.

Porter, Lois. "Teaching Shakespeare: the Participatory Approach." Cozart Riggio 235^3. Shand, G. B. "Reading Power: Classroom Acting as Close Reading." Cozart Riggio 244-255.

Shapiro, Michael. "Improvisational Techniques for the Literature Teacher." Cozart Riggio 184-95. Soufas, C. Christopher. "Lorca's Theatre in a Modernist/Performance Context." Gestos 19 (April 1995): 44-45. Stainton, Leslie. Lorca. A Dream of Life. New York: Farrar, Straus and Giroux, 1999. The Disappearance of Lorca. Perf. Andy Garcia, Edward James Olmos, and Esai Morales. Tristar, 1997. The Spirit of Lorca. Narr. Ian Gibson. Princeton, NJ: Films for the Humanities, 2000. Vitale, Rosanna. El Metateatro en la Obra de Federico Garc?a Lorca. Madrid: Editorial Plegos, 1991.


Article Contentsp. [143]p. 144p. 145p. 146p. 147p. 148p. 149

Issue Table of ContentsHispania, Vol. 87, No. 1 (Mar., 2004), pp. 1-208, I-XXVIIIFront MatterGood Sex, Bad Sex: Women and Intimacy in Early Modern Spain [pp. 1-12]Sobre la realidad improvisada en el teatro breve del Siglo de Oro [pp. 13-21]The Colonial Legacy in Ernesto Cardenal's Poetry: Images of Quetzalcoatl, Nezahualcoyotl, and the Aztecs [pp. 22-31]Emociones proscritas en la prosa de Gabriela Mistral: La subversin del discurso militarista [pp. 32-41]The Author as Privileged Authority in Unamuno's "Don Sandalio" [pp. 42-52]"The Fury and the Mire of Human Veins": Frida Kahlo and Rosario Castellanos [pp. 53-61]ReviewsPeninsularReview: untitled [pp. 62-63]Review: untitled [pp. 63-64]Review: untitled [pp. 64-66]Review: untitled [pp. 66-67]Review: untitled [pp. 67-69]Review: untitled [pp. 69-70]Review: untitled [pp. 70-71]Review: untitled [pp. 71-72]Review: untitled [pp. 72-73]Review: untitled [pp. 74-75]

Latin AmericaReview: untitled [pp. 75-77]Review: untitled [pp. 77-78]Review: untitled [pp. 78-79]Review: untitled [pp. 80-81]Review: untitled [pp. 81-82]Review: untitled [pp. 82-84]Review: untitled [pp. 84-86]Review: untitled [pp. 86-87]Review: untitled [pp. 87-88]Review: untitled [pp. 88-89]Review: untitled [pp. 90-91]

Pedagogy and LinguisticsReview: untitled [pp. 91-94]Review: untitled [p. 94-94]Review: untitled [pp. 94-96]Review: untitled [pp. 96-97]Review: untitled [pp. 97-98]Review: untitled [pp. 99-100]

New FictionReview: untitled [pp. 100-101]Review: untitled [pp. 101-102]Review: untitled [pp. 102-104]Review: untitled [pp. 104-105]

Media/ComputersReviews of Multimedia Textbook Ancillaries [pp. 107-114]Video Review [pp. 114-115]

Post-Conference ForumEditor's Comments/Remarks [p. 116-116]Convention Highlights / Pedagogical Forum: Thoughts on Service Learning: Plenary Address [pp. 117-121]Adams Spanish Immersion and the Ascension Parish Project: Two Service-Learning Projects, Two Levels of Success [pp. 122-127]A Statewide Initiative in Service-Learning and Community-Based Instruction [pp. 128-131]Service-Learning and Foreign-Language Teacher Education [pp. 132-134]Crossing the Border through Service-Learning: From Practice to Theory [pp. 135-136]Ms all del saln de clase: Una experiencia de integracin de aprendizaje de espaol y servicio comunitario en UGA [pp. 137-138]Authentic Children's Literature as a Tool for Reading and Writing in the Intermediate Language Class [pp. 139-140]

PedagogyIdea: Using Voice-Mail to Test and Extend Oral Practice [pp. 141-142]Linking Life and Lyric: The Federico Garca Lorca Course [pp. 143-149]

Applied LinguisticsThe Acquisition of the Null Subject Parameter Properties in SLA: Some Effects of Positive Evidence in a Naturalistic Learning Context [pp. 150-162]

Theoretical LinguisticsLexical Errors and the Acquistion of Derivational Morphology in Spanish [pp. 163-172]

The President's Corner [pp. 175-176]The Hispanic and Luso-Brazilian World: (De)constructing and (Re)negotiating Identities: (Re)dressing for Carnival in Fernando Trueba's "Belle poque" (1992) [pp. 177-184]The Hispanic and Luso-Brazilian World [pp. 185-202]Back Matter

Documents

Linking Life and Lyric: The Federico García Lorca Course