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Miradas: Contextos para conversar y escribir
Professor Claudia M. Mejía
Professor Conchita L. Davis, Tufts University

ISBN-10: 0131944126
ISBN-13: 9780131944121

Publisher: Prentice Hall
Copyright: 2008
Format: Paper; 264 pp
Published: 09/26/2007

Suggested retail price: $72.40
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Miradas focuses on the acquisition of cultural competence and communication skills through innovative themes, culture, grammmar reviews, and writing workshops.  This text solves a variety of needs in the third-year Spanish course:  developing reading skills, strategies for literary analysis, expanding vocabulary, consolidating grammar and writing proficiency, and offering connections with other cultural manifestations such as music and film, all within a communicative context.  Miradas’ integrative plan features oral and written activities that stimulate critical thinking and help students appreciate the cultural context in which the different works were created.Miradas truly brings students from the high intermediate level to the advanced level of proficiency in the four skills, as defined by the ACTFL Guidelines.

  • Inclusion of different cultural elements:  written texts, songs, paintings, films along with cultural information woven throughout each chapter in cultural notes and footnotes.
    • Students will learn the language throught different inputs, making the learning process more exciting and exposing them to the Hispanic culture (from Latin America, the USA, and Spain) as a whole.
    • Professors will have the flexibility to choose from the different manifestations the ones that better suit the needs and interests of their students.
  • All chapter components are thematically linked.  For example, grammar explanations include examples from the readings; grammar exercises are contextualized keeping in mind the content of the unit. Writing workshops and Diaries are meant to practice the corresponding grammar and to reflect on the theme of the unit.        
    • By having all the components contextualized and related to the thematic unit, students will have the opportunity to acquire critical thinking skills and reinforce their learning by having to rethink the issues from different approaches. 
    • This intergration of components helps to avoid the problem of using one book for readings, one book for grammar, and one book for composition which are totally disconnected thematically.

    • The book is ideal for accomodating different teaching needs and styles because of the amount and variety of sources and activities.  Depending on their needs, they can concentrate more in one or another section of the text, use some parts for outside practice, focus more on writing in one unit and maybe on the discussion of the film in the next.

  • Includes a wide variety of contextualized activities from individual exercises to pair and group activities, some of which are web-based.

    • Gives students the opportunity to use the language in different ways: for individual practice, to communicate with others and to articulate comparisons with his/her own culture.

    • Instructors can plan their lessons based on truly dynamic student oriented classes where there is a focus on cooperative learning, but at the same time, with plenty of opportunities and ideas for students to do individual work and research outside class.

 

 

 

 

Unidad 1

Identidad

Arte: Las dos Fridas, Frida Kahlo, México

Introducción: <<La Rana que quería ser una Rana auténtica>>, Augusto Monterroso (fábula), Guatemala

Lectura 1: <<Geografía humana>>, Gloria Fuertes (poema), España

Lectura 2: <<El poder de la identidad>>, Manuel Castells (ensayo), España

Lectura 3: <<La casita de sololoi>>, Elena Poniatowska (cuento), México

Ojos abiertos: De eso no se habla, María Luisa Bemberg, Argentina

Ojo avizor: Cláusulas de relativo (o adjetivas) y pronombres relativos

Taller de redacción: La descripción

 

Unidad 2

Herencia: Resistencia y asimilación

Arte: Ilustración, Guamán Poma de Ayala, Perú

Introducción: <<La comunicación intercultural>>, Miquel Rodrigo Alsina (ensayo, fragmento), España

Lectura 1: <<Cuento del cronista>>, Tino Villanueva (poema), EE.UU./México

Lectura 2: <<Nuestra América>>, José Martí (ensayo, fragmento), Cuba

Lectura 3: La niña blanca y los pájaros sin pies (<<Doña Luisa>>), Rosario Aguilar (novela, fragmento), Nicaragua

Oídos abiertos: <<Caracundé>>, Susana Baca, Perú

Ojo avizor: Pretérito, imperfecto y pluscuamperfecto

Taller de redacción: La narración

         

Unidad 3

Memoria histórica

Arte: Fragmento del mural del Estadio Victor Jara, Brigada Ramona Parra, Chile

Introducción: <<Memorias y desmemorias>>, Eduardo Galeano (ensayo, fragmento), Uruguay

Lectura 1: <<No, desaparecidos>>, Fernando Birri (poema), Argentina

Lectura 2: El país bajo mi piel, Gioconda Belli (autobiografía, fragmento), Nicaragua

Lectura 3: <<Un año del ejército zapatista>>, Subcomandante Marcos (ensayo), México

Oídos abiertos: <<El profeta>>, Yolocamba I Ta, El Salvador

Ojo avizor: Cláusulas nominales y secuencia de tiempos

Taller de redacción: La reseña

 

Unidad 4

Juicios y prejuicios

Arte: Portrait of the Artist as the Virgin of Guadalupe, Yolanda López, EE.UU.

Introducción: <<Los prejuicios>>, Marcelo Colussi (ensayo), Argentina

Lectura 1: <<Las dulces señoras>>, Marjorie Agosín (poema), Chile/EE.UU.

Lectura 2: <<Naranjas rojas y amargas>>, Nieves García Benito (cuento), España

Lectura 3: <<El incidente de Maiquetía o 'Isaac salvado de las jaulas'>>, Álvaro Mutis (cuento), Colombia

Ojos abiertos: Todo sobre mi madre, Pedro Almodóvar, España

Ojo avizor: Cláusulas con si

Taller de redacción: El ensayo de opinión

 

Unidad 5

Imaginación y humor

Arte: El milagro, Carmen Lomas Garza, EE.UU.

Introducción: Viñeta, Quino, Argentina

Lectura 1: <<Fantasía y creación artística en América Latina y el Caribe>>, Gabriel García Márquez (ensayo), Colombia

Lectura 2: <<La Palliri>>, Víctor Montoya (cuento), Bolivia

Lectura 3: Decir sí, Griselda Gambaro (obra de teatro), Argentina

Ojos abiertos: La vida es silbar, Fernando Pérez, Cuba

Ojo avizor: Cláusulas adverbiales

Taller de redacción: El cuento

 

Claudia Mejia was born in Medellín, Colombia. She studied Linguistics and Literature at the Pontificia Bolivariana University of Medellín and later pursued her graduate studies in the United States. In 1997, she completed a Master of Arts in Latin American Literature and Culture from Boston College. Since then she has taught Spanish in several universities in the U.S: Harvard, Brandeis and Tufts, where she was a full-time lecturer and course administrator for ten years.  She currently lives in the Middle East.

 

Conchita L. Davis was born in Madrid, Spain. She studied Spanish Language and Literature at the Universidad Autónoma of Madrid, where she received her Ph.D. in Second Language Acquisition. She started her career as an instructor of Spanish to non-native speakers in the Fundación Ortega y Gasset in Toledo, Spain, where she taught for 5 years. She moved to the United States in 1988, and taught and coordinated first year Spanish at The Ohio State University and later at Boston University. She has been a lecturer and course administrator for third year Spanish at Tufts University since 2001.

Look at the Spanish-speaking world through Miradas, a textbook for high intermediate and advanced students of Spanish that builds language skills and develops cultural awareness. Miradas covers five distinct themes (Identity, Heritage, Memory, Prejudices, and Fantasy and Humor) from the perspective of writers, artists, musicians, and filmmakers. Miradas’innovative and integrative plan features oral and written activities that stimulate critical thinking and help students appreciate the cultural context in which the different works were created. The Miradas Companion Website at www.prenhall.com/miradas offers resource links where students can find additional information on the authors and web-based activities related to the chapter theme.

View a Sample Chapter PDF: /samplechapter/0131944126.pdf

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