POW 4930/6905  (3407) Crime and Detective Fiction in Brazil Spring 2006

Ficção de crime e de detetive no Brasil
T  11:45-1:40  MAT 114  Th 12:50-1:40  MAT 009

Instructor: Dr. M. Elizabeth Ginway
eginway@rll.ufl.edu  149 Dauer Hall  http://web.clas.ufl.edu/users/eginway/
Phone:  392-2017 Ext. 232
Office Hours: M, T  3:00-3:50, Th 1:55-:245

Required Texts:
1. Copypack available at GatorTextbooks
2. Rubem Fonseca, A grande arte  (1983)
3. Caio Fernando Abreu, Onde andará Dulce Veiga (1990)
4. Nelson Motta, O canto da sereia  (2001)

Useful websites:
Ronald Knox's Decalogue (1929)

S. S. Van Dine's Twenty Rules for Writing Detective Stories (1928)

William Marling's Guide to Hard-Boiled Fiction

Detective Fiction Wikipedia

Guide to Classic Mystery and Detection Home Page

America Mystery Novels--Film Noir

Bloody Murder in Brazil
(There are errors in spelling O mysterioso should be O Misterio; Douter Leite should be Doutor Leite;  Maria Alice Barroso's Quem matou Pacífico is from 1962, not 1984).

Literary fiction vs. Genre Fiction, Christy Tillery French http://www.authorsden.com/visit/viewarticle.asp?AuthorID=4307&id=18884

Crime stories and thrillers

Neo-Noir, Crimes of Passion: The Mark of Cain, Paul Coughlin

Course description: This course will trace the history and conventions of crime and detective fiction in Brazil, exploring how Brazilian authors adapt a foreign genre to portray Brazilian reality.  Crime fiction published between the 1880s and 1940s tends to emphasize Brazilian culture and settings, while detective works from the1930s to the 1960s generally follow the rational deductive model, with touches of Brazilianness.  The1960s and 1970s witness an increase in violent crime, blurring the line among the crimes committed by the police, and by the upper and lower echelons of society.  In the 1980s, there is a full scale appropriation of the noir detective model by Brazilian authors, who use it to explore the issues of the underworld of major cities. Rubem Fonseca uses his detective-protagonist to delve into the literary and popular culture of Rio de Janeiro, and Caio Fernando Abreu uses kitsch to pay homage to the figure of the femme fatale in São Paulo. The investigative journalist of Nelson Motta's novel, meanwhile, exemplifies the globalization of the genre in Salvador, Bahia.

Course objectives: by the end of the semester, students will
1. understand the parameters of crime and detective fiction in general as well as the  history of the genre in Brazil
2. trace how genre was adapted by Brazilian authors to convey their own purposes, themes, and culture
3. learn about issues of class, race and gender as well as Brazilian cultural myths in this popular literary genre
4.  hone their own reading, critical thinking, and writing skills in Portuguese

NB: Center for Latin American Studies presents a Spring 2006 Film Series: Brazilian Cinema. Please plan to attend the film Outro lado da rua (2004) which pays homage to Hitchcock's film, The Rear Window.  This film will be screened on April 17 at 7:30 pm at the Hipppodrome, 25 SE 2nd Place in downtown Gainesville.  Films are free and open to the public.

Mid-term and final exam, 40%, short answer, essay format
One paper (in Portuguese or English) 3-5 pages, 30%
Reading log of notes or reactions (7 entries) (1 every 2 weeks) 20%
Participation 10%.
Absence policy  4 absences, no penalty; after that, a half point will be subtracted from your final grade per absence.  Remember that Tuesday's class will count as two absences.
Attendance of the Hippodrome film will also count

I.  10, 12 de janeiro
Introdução, parâmetros do gênero
Detetive/Policial/Noir/Crime -- os parâmetros  e convenções do gênero
Brasilidade e um gênero internacional
Medeiros e Albuquerque, "Se eu fosse Sherlock Holmes"
Jerônimo Monteiro "O fantasma da Quinta Avenida"
Marcos Rey "O último cuba-libre"
Conan Doyle, Edgar Allan Poe/Bibliografia de Sandra Reimão

II.  17, 19 de janeiro
Crime de paixão à brasileira 1880-1910
Machado de Assis. "A cartomante."
João do Rio, "Histórias de gente alegre."
João do Rio, "Rosendo Moura"
Pós-graduação: sobre "A cartomante" http://muse.jhu.edu/journals/mln/v113/113.5douglass.html
Reading log 1

III.  24, 26  de janeiro  Crime e mistério anos 30 e 40
Medeiros e Albuquerque, "A morte do Presidente."
Monteiro Lobato, "O estigma."
Luiz Lopes Coelho, "A morte no envelope"
Paulo Corrêa Lopes, "Um caso estranho"
Aníbal Machado, "A morte da Porta-estandarte"
Pós graduação: Neo-Noir, Crimes of Passion: The Mark of Cain, Paul Coughlin
Demko's Crime in Brazil:

IV.  31 de janeiro, 2 de fevereiro
Policial regional
Maria Alice Barroso, Quem matou Pacífico? (1962)
Pós-graduação: Phyllis Zatlin Boring, " Maria Alice Barroso: A Study in Point of View" Luso-Brazilian Review 14 (1977): 29-39.
Reading log, 2

V.  07, 09 de fevereiro
Maria Alice Barroso, Quem matou Pacífico? (Continuação)
Crime, anos 60-70
O mistério dos MMM (1965)
Rubem Fonseca, "O exterminador" (O quarto selo)
Pós: Christopher Ballantyne, "The Rhetoric of Violence in Rubem Fonseca"
Luso-Brazilian Review 23.2 (1986): 1-20.

VI.  14, 16 de fevereiro
Rubem Fonseca, "Passeio noturno" I & II"  "Feliz ano novo"
Exame I

VII.  21, 23 de fevereiro
Crime e policial, anos 70 diatdura
José Louzeiro, Introdução ao romance, Pixote, ou a infância dos mortos  (1975)
Wander Piroli, "Lá no morro"
Ignácio de Loyola Brandão, "As cabeças de segunda-feira"  (1976)
Rubem Fonseca, "Mandrake" (1979)
Amelia Simpson, "True Crime Stories During the Dictatorship: Brazil's Romance-Reportagem"  Studies in Latin American Popular Culture 11 (1992);  Randal Johnson, Lúcio Flávio and Pixote, Luso-Brazilian Review 24.2 (1987): 35-48
Extra: Hector Babenco, Pixote (1980)
1 de março  quarta, às 16:00 TUR 2318
Reading log, 3

VII. 28 de fevereiro,  02 de março
Policial literário, pós-moderno, anos 80
Rubem Fonseca, A grande arte (1983)
English: High Art
Pós graduação: Nelson Viera, "'Closing the Gap' between High and Low: Intimations on the Brazilian Novel of the Future" Latin American Literary Review 20 No. 40 (1992): 109-19.

 VIII.  07, 09 de março
Rubem Fonseca, A grande arte  (1983)
(English: High Art)
Reading log 4

IX. Férias de primavera  11 -18 de março

X.  21, 23 de março
Filme: Bufo e Spallanzani  (filme)
Rubem Fonseca, A grande arte  (continuação)

XI.  28, 30 de março
O policial, kitsch, o policial paulista
Caio Fernando Abreu, Onde andará Dulce Veiga? (1990)
Post script to English translation, Whatever happened to Dulce Veiga?
Reading log, 5

XXII.  03, 05, 07 de abril
O homem que copiava  (filme)
Fernando Caio Abreu, Onde andará Dulce Veiga? (continuação)
Pós: Lidia Santos, Kitsch Tropical,  "La canonización del kitsch" 177-99

XIII. 11, 13 de abril
Policial globalizado
Nelson Motta, O canto da sereia  (2001)
Pós-graduação: Milton Araújo Moura: "World of Fantasy, Fantasy of the World:
Geographic Space and the Representation of Identity in the Carnival of Salvador, Bahia"
Reading log 6

XIV.  18, 20 de abril
Policial baiano
Nelson Motta, O canto da sereia (continuação)
O outro lado da rua (17 abril) Hippodrome, Brazilian film series 7:30 pm

XV.  24, 26 de abril
Mistura de gêneros, globalização, crime no espaço sideral
Carlos Orsi Martinho, "Pressão fatal"
Review for final
Reading log, 7

Take-home final

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