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Dr Diana R. Battaglia
Lecturer in Spanish and  Latin American Studies

diana.battaglia@ucd.ie
Monday- Wed 11-12 please book your place in advance

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After an undergraduate and MA degree in Foreign Languages and International Communication at the University of Catania (Italy), I have completed a Ph.D. at the University of Leeds (UK). My thesis, entitled "Representing Cubanness: Time, Space and Cultural identity in the work of Leonardo Padura Fuentes", focused on the narrative representation of Cuban identities. Starting from the narrative categories of time and space I analyse how Padura's characters constantly negotiate and reshape their identities in relation to the Cuban socio-political changes of the Special Period and post-Soviet era. My research interests include contemporary Latin American literature, especially Cuban literature; the relationship between contemporary cultural production, cultural identity and society in Cuba; Spanish and Latin American detective fiction, and the representation of cultural memory and cultural identity in crime fiction. Before coming to UCD I worked for various year as a PG teaching assistant and language tutor at the University of Leeds and, then, as a Lecturer in Latin American Studies at Queen's University Belfast teaching both content and language modules at all levels.

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Diana Battaglia Profile | University College Dublin

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After an undergraduate and MA degree in Foreign Languages and International Communication at the University of Catania (Italy), I have completed a Ph.D. at the University of Leeds (UK). My thesis, entitled "Representing Cubanness: Time, Space and Cultural identity in the work of Leonardo Padura Fuentes", focused on the narrative representation of Cuban identities.

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The course material (texts and films) include blood scenes and  violence (often sexual violence), disturbing images, wounded, tortured or mutilated bodies, strong language including sexual references, sexual and racial discrimination, sexism, sex scenes and some drug use. (In short all you can expect from crime fiction!)

Due to the specificity of crime fiction, close reading and analysis of crime scenes, dead bodies, sexual crimes and forensic analysis of bodies and scenes will be common in this module. If you are sensitive to violence, graphic languages, graphic images or you might feel distressed when approaching such topics, you might want to consider a different module.

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You know that you do not like detective fiction.
You are very sensitive to violence, graphic languages, graphic images.
You do not like reading novels.
You do not like the Latin American varieties of Spanish language.
You do not like doing group work or group assignments. You are not a team player.
You do not like using technology or having to learn how to use a new app or software as pat of your assignment.
You do not enjoy reading novels /watching films in a foreign language.
You do not like modules that require a good amount of historical knowledge and social awareness of the country studied.
You do not enjoy doing bibliographical research, reading secondary sources, understanding  critical approaches to literature and cultural production.
You do not like doing close reading of passages/clips, text analysis, and open class discussion.

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LEONARDO PADURA

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Trailer Vientos de La Habana (episode 1 of the series) https://www.youtube.com/watch?v=SSvQClW1baI
Trailer series Netflix Cuatro estaciones en La Havana  https://www.youtube.com/watch?v=wlsyeXwIsQM

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"Marshland" (La Isla Mínima) Oficial Trailer - English Sub.

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PALERMO. EL CAMALEÓN Y LOS LEONES BY ALEJANDRO SOIFER

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PALERMO. EL CAMALEÓN Y LOS LEONES BY ALEJANDRO SOIFER

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El Secreto de sus ojos - Trailer español subtitulado

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2022-23 UDC Crime, Passion, Mystery module handout

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2nd level course on Hispanic detective fiction.
Features: Literary/cultural course generally taught in English but all the reading are in Spanish. Assessment written/ presented in English (opportunity to write it in Spanish is offered).

The course is focused on the crime genre features, historical evolution, varieties and subgenres. It intends to familiarize and possibly attract students to the genre.

Rational for the language: Students in level 2 should:
-familiarise themselves with cultural production of the countries they study and in the language they study.
-Be able to appreciate varieties of Spanish from  different countries.
-engage with content and language integrated learning and develop their cultural awareness.
- Continue their  language leaning progression in line with the BA curriculum.

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The course is delivered through some introductory lectures during which the tutor introduces the genre features, the historical and social context of each country, the authors, films and  texts their main features and themes.
The tutor will provide beforehand guidelines for the reading of the material and will help the students to compare and confront their interpretation of the different themes, aspects and features of each text/film.

The languages of teaching and learning will be both English and Spanish.

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On successful completion of this module students will be able to:
·         Identify and appreciate the main features of the detective genre

Demonstrate a general knowledge of the main features, topics and themes of Hispanic detective fiction.

understand how literature/films, in general, and the detective genre, in particular, respond and adapt to different contexts and socio- cultural scenarios.

compare and judge critically a given selection of literary texts and films, applying pertinent tools and techniques for the analysis of cultural products.

Analyse and interpret written texts and films and develop a wider ability for critical thinking and cultural analysis

Demonstrate the ability to use adequately secondary sources and bibliography to support their critical analysis of the selected cultural objects.

improve their general knowledge of Spanish and recognize some of the varieties of Spanish. Identify some cultural trends, traditions and historical events of Spanish speaking countries.

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useful questions for analysis of the novels/films and to use for our class discussion: examples

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useful questions for analysis of the novels/films and to use for our class discussion: examples

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•       Analysis of genre narrative features: What elements of the specific literary genre can you recognise? Are they elements of the whodunit/hardboiled/police novel/spy story/thriller? What info/clues do we have on the case/ investigation? Any unexpected twist?

•       Analysis of the setting (time and space): year, month, season, country, city, the crime scene, urban vs rural space, the weather and natural elements.  Any specific symbolic value associated with the space/weather/etc?

•       Analysis of the characters:

Main characters: the detective (what kind of detective is he? How is his job?), the victim, the murderer...

Additional characters: the informers, the helpers, the suspects.
Who are they? How do they look like? What is their role in the story? Are they good or bad (can you tell?) Do they change their role in the story in any way? How do they interact with each other? To what extent the characters are influenced by their context? Any difference in the representation and role of female and male characters? Any difference in the representation of young and older characters?

·         Analysis of the structure/language of the book/film: what happens in terms of the story-line? Is it linear? Does it start in the middle? Jumps back and forward? Who is the narrator? What is the perspective? Who do you identify with as a reader/spectator? How is the language (estilo/registro, low/high/colloquial) used and why the author uses this kind of language?

·         Analysis of the socio/historical themes (critical value?): reference to the specific cultural/historical/ socio-political/ economic context? Does the author express a judgement on the context? Any wider/global concern /topic that exceeds the regional and local setting?

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https://padlet.com/referrals/diana_battaglia1

If this link does not work go to https://padlet.com/ and create an account. Then you will be able to create a free Padlet.

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20% Padlet group project  (10th March)
+ reflective piece (at least 200 words each member or 800 for the group) on their learning and research, what you liked or disliked, challenges and success.

20% group video presentation on padlet project  (20th March)

evaluation criteria:
-Comprehension of topic and knowledge of characters, plot , setting,  etc.
-identification of key genre features.
- clarity of delivery of presentation
- evidence of appropriate research on the specific character
-novelty/ creativity of the project
- group affinity and team-working
- presentation skills

group examples:
group. the detective
group. the sidekick
group.  the helper: Candito
group.  Karima  the femme fatale (?)
group. the victim

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the detective

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Candito

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Manolo the sidekick

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The femme fatal

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Lisette: the victim

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Havana

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Resisting invisibility: detecting the female body in Spanish crime fiction by Aramburu, Diana

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Resisting invisibility: detecting the female body in Spanish crime fiction by Aramburu, Diana

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http://ucd.summon.serialssolutions.com.ucd.idm.oclc.org/#!/search/document?ho=t&l=en&q=Female%20characters%20in%20crime%20fiction&id=FETCHMERGED-ucd_catalog_b223279523

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http://library.ucd.ie/iii/encore/record/C__Rb2143802__Scrime%20fiction__P0%2C17__Orightresult__U__X6?lang=eng&suite=cobalt

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Female corpses in crime fiction : a transatlantic perspective / Glen S. Close

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Female corpses in crime fiction : a transatlantic perspective / Glen S. Close

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http://library.ucd.ie/iii/encore/record/C__Rb2232270__Scrime%20fiction__P0%2C1__Orightresult__U__X6?lang=eng&suite=cobalt

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Crime scenes : Latin American crime fiction from the 1960s to the 2010s / edited by Charlotte Lange and Ailsa Peate

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Crime scenes : Latin American crime fiction from the 1960s to the 2010s / edited by Charlotte Lange and Ailsa Peate

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http://library.ucd.ie/iii/encore/record/C__Rb2212955__Scrime%20fiction__P0%2C23__Orightresult__U__X4?lang=eng&suite=cobalt

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Contemporary Hispanic crime fiction : a transatlantic discourse on urban violence / Glen S. Close

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Contemporary Hispanic crime fiction : a transatlantic discourse on urban violence / Glen S. Close

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http://library.ucd.ie/iii/encore/record/C__Rb2143810__Scrime%20fiction__P0%2C16__Orightresult__U__X6?lang=eng&suite=cobalt

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An Introduction to the Police Procedural: A Subgenre of Detective Genre

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An Introduction to the Police Procedural: A Subgenre of Detective Genre

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https://www.researchgate.net/publication/331017648_An_Introduction_to_the_Police_Procedural_A_Subgenre_of_Detective_Genre

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Leonardo Padura Fuentes est l'auteur le plus célèbre travaillant à Cuba aujourd'hui. Il a écrit des scripts de films, deux livres de nouvelles et une série de romans policiers traduits en 10 langues au dernier comptage. Ses essais politiques servent d'aides scolaires pour les cours dans les universités du monde entier.

Malgré tout ceci, Padura (comme il s'appelle lui-même) n'attire pas beaucoup de visiteurs de l'étranger. Les touristes s'approchent rarement de l'étude faisant l'objet de son livre, dans la banlieue de classe ouvrière de Mantilla. Non, les gens qui viennent à La Havane à la recherche d'un écrivain, recherchent la plupart du temps les traces d'Ernest Hemingway. Ils affluent au bar Floridita où ils boivent ses daiquiris glacés. Ils se rassemblent à l'hôtel Ambos Mundos, la première résidence cubaine d'Hemingway.
Ce n'est pas surprenant, alors, que la plume prolifique de Leonardo Padura se penche vers toute la légende d'Hemingway à Cuba. C'est une confrontation qui devait arriver – un auteur cubain travaillant avec acharnement se dresse face à une icône américaine disparue. Le fils natif marche côte à côte de l'expatrié célèbre. Et encore "Adios, Hemingway" malgré la menace apparente de son titre éliminatoire, prend plus de coups de poing qu'il n'en lance au vieux Papa. Padura est nettement plus intéressé à comprendre la légende qu'à la détruire.

"Je voulais écrire quelque chose qui soit plus sur la vie réelle d'Hemingway", dit Padura. "Le roman se concentre sur les années 50, lorsqu'Hemingway commença à affronter ses deux plus grandes frayeurs: l'incapacité d'écrire et sa propre mort".
"Adios, Hemingway" est un mystère de meurtre, le cinquième de la série Mario Conde (et le premier de padura à avoir été traduit en anglais en 2005). Mario Conde est un flic qui pourrait plutôt être écrivain, et qui avoue avoir un sentiment de "solidarité avec les écrivains, les fous et les ivrognes". L'Hemingway de la fin des années 50 s'adaptait facilement à ces trois catégories, mais il y avait un problème: il trahissait généralement les gens qui étaient gentils avec lui, et c'est quelque chose que Conde et son créateur ont du mal à pardonner. Donc, lorsque Conde déterre un cadavre âgé de 40ans dans la cour d'Hemingway, il part à la recherche de cet homme avec le zèle d'un Philip Marlowe ou de tout détective fictionnel digne de ce nom.

Hemingway et Padura ont plusieurs choses en commun: la barbe, la chemise guayabera de circonstance, l'intérêt enthousiaste pour le sport (Padura espérait devenir joueur de baseball professionnel jusqu'à ce qu'il réalise "Je n'avais pas suffisamment de force pour devenir un bon frappeur"). Les deux hommes commencèrent comme journalistes, puis laissèrent leurs yeux de reporter les mener à une sorte de fiction qui s'efforce, par-dessus tout, à dire la vérité. Et les deux hommes choisirent de vivre et de travailler loin du centre de La Havane: Padura dans la maison, construite par son grand-père, où il est né; Hemingway dans sa "Finca Vigia"(Ferme vigie), un état du 19ème siècle situé à environ 16kilomètres à l'Est de La Havane.

Les similitudes se terminent brusquement quand on en vient aux caractères. On pouvait lire sur un panneau écrit à la main situé sur la porte d'entrée d'Hemingway: "Les visiteurs non invités ne seront pas reçus". Padura est un hôte extrêmement généreux, un homme qui semble n'aimer rien de mieux que de consacrer son temps à ses invités, conviés ou non.

Quand on lui demande d'expliquer pourquoi il ne peut imaginer de quitter La Havane, le cadre de tous ses romans jusqu'ici, Padura hausse les épaules, puis dit, "Je suis une personne bavarde. La Havane est un lieu où vous pouvez vraiment engager une conversation avec un étranger à un arrêt de bus".

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Leonardo Padura Fuentes est l'auteur le plus célèbre travaillant à Cuba aujourd'hui. Il a écrit des scripts de films, deux livres de nouvelles et une série de romans policiers traduits en 10 langues au dernier comptage. Ses essais politiques servent d'aides scolaires pour les cours dans les universités du monde entier.

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Entrevista con Leonardo Padura y Félix Viscarret por 	'Vientos de la Habana‘ 

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Entrevista con Leonardo Padura y Félix Viscarret por 	'Vientos de la Habana‘ 

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Entrevista con Leonardo Padura y Félix Viscarret por 'Vientos de la Habana'

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Cuatro estaciones en La Habana - Trailer HD

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Modernidad y postmodernidad: La novela policial en IberoaméricaAuthor(s): Leonardo Padura FuentesSource: Hispamérica, Año 28, No. 84 (Dec., 1999), pp. 37-50

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Modernidad y postmodernidad: La novela policial en IberoaméricaAuthor(s): Leonardo Padura FuentesSource: Hispamérica, Año 28, No. 84 (Dec., 1999), pp. 37-50

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Modernidad y postmodernidad: La novela policial en Iberoamérica on JSTOR

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Leonardo Padura Fuentes, Modernidad y postmodernidad: La novela policial en Iberoamérica, Hispamérica, Año 28, No. 84 (Dec., 1999), pp. 37-50

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Assignment 2 essay 60% (1800 words limit + 10% leeway) deadline end of teaching term.

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Assignment 2 essay 60% (1800 words limit + 10% leeway) deadline end of teaching term.

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For all the titles you need to make references and define the subgenres of crime fiction you are working with and the specific features, characters typic of crime fiction, that you will be analyzing. Please note that no one of the titles requires a simple retelling of the plot. You must use appropriate academic secondary sources (no blogs, book-film reviews, dictionaries, Wikipedia, please) and reference them properly using a recognized citation style.

1. Compare two (or more) of the main characters of two cultural objects studied (detective/ murderer/victim). Explain the differences and similarities between the two. Are these features typical of a subgenre of crime fiction? Consider the features of this genre we discussed in class and refer to them in your analysis and provide examples to support your view.

2. Compare the representation of 2 (or more) main female characters in two cultural objects analysed in the module. What is their role in the story? Do they conform or challenge the stereotypes associated with women in the detective canon or in the subgenre of detective fiction they pertain to?

3. Analyse the representation of the space in two of the  cultural objects studied: Any specific function or symbolic value associated with the city space, the districts, the landscape and the weather? Are these features o functions typical of the genre of crime fiction?

Further instructions on the comparative essay:

•      The essay should attempt to showcase your newly acquired knowledge. Show that you master the key concepts, topics, themes and issues treated in the course. Show accuracy and precision (double check the information and sources you use, be precise about dates, names, events, contextualise them)

•      It is not the summary of each text/film but an integrated argument based on the two texts/films.

•      Take into account the research question for the analysis: what are you looking at?

•      Make sure to be familiar with the general topic and plot of the text/film, wrong information about plot, author, characters, etc will result in failing the assignment

•      You cannot re-use the same character you analysed for the padlet project. You cannot reuse material that you included in the padlet project. You can decide to use either Vientos de Cuaresma or Vientos de La Habana as one of your cultural objects for the comparative essay. However, you will have to focus on a different character/aspect than what you did in the padlet and you will have to compare it with one of the films or the short story that we discussed after the break ( La isla mínima, El secreto de sus ojos or El camaleón y los leones).

•      Any change to the proposed titles needs to be agreed and approved by the tutor.

•      Use appropriate academic secondary sources (not Wikipedia, or film/book reviews done by the general public or high school /university students)

•      Use appropriate referencing style. Please check this link https://libguides.ucd.ie/academicintegrity/referencingandcitation

•      Be aware of plagiarism. Please check this link

https://www.ucd.ie/t4cms/Plagiarism_Policy_Academic_Policy_2005.pdf