Guía docente de Gender, Art and Literature: the Representation of Women in Literary and Visual (M15/56/4/20)

This course is taught in English. Following the advice of the consortium board, this year we have also included “GEMMA voices”: sessions conducted by GEMMA alumni who are now doctoral or postdoctoral researchers and/or professors.

• To make students familiar with the research done by academics and other professionals in the fields of Women’s Studies and Gender.
• To illustrate research experiences and methodologies so that students can see other researchers in action, share their experiences and contextualise their own research.
• To run a workshop where students themselves talk about their own research experiences at a time when master theses must seriously be thought of just before starting the final GEMMA term.

1. Doing gender in art and media
2. Women’s writing, crossing boundaries
3. Feminist rewritings
4. Literature and new technologies
5. Decolonising feminist practices
6. Feminist New Materialisms and artistic discourses

Specific readings for every session will be provided at least one week before they take place. The following is a list of background reading which students may find

useful:

BUIKEMA, Rosemarie and VAN DER TUIN, Iris. Eds. 2009. Doing Gender in Media, Art and Culture. London & New York: Routledge.

CALDERON-SANDOVAL, O.; SANCHEZ ESPINOSA, A. (2019) “Feminist Documentary Cinema as a Diffraction Apparatus: A Diffractive Reading of the Spanish Films, Cuidado, resbala and Yes, We Fuck!”. Social Sciences, 8(7), 206. Available at: https://www.mdpi.com/2076-0760/8/7/206.

CARTY E., LINDA AND TALPADE MOHANTY, CHANDRA (Eds.). Feminist Freedom Warriors. Genealogies, Justice, Politics, and Hope. Haymakert Books, 2018.

COLAIZZI, Giulia. 1995. Feminismo y teoría fílmica. Valencia: Episteme.

De LAURETIS, Teresa. 1986. Alice doesn’t: Feminism, Semiotics, Cinema. Bloomington: Indiana University Press.

DOLPHIJN, Rick.; VAN DER TUIN, Iris. “The Transversality of New Materialism” in New Materialism: Interviews & Cartographies. Open Humanities Press, pp. 93 – 114.

DONAPETRY CAMACHO, María .2001.Toda ojos. Oviedo: KRK Ediciones. 116

EAGLETON, Mary. 1996. Feminist Literary Theory. A Reader. Oxford: Blackwell Publishers.

FETTERLEY, Judith. 1978. The Resisting Reader. Bloomington: Indiana University Press.

HEILMANN, Ann. 2000. New Woman Fiction: Women Writing First Wave-Feminism. Basingstoke: Palgrave Macmillan.

HONGISTO, Ilona (2015): Soul of the Documentary. Framing, Expression, Ethics. Amsterdam: Amsterdam University Press. Available at: https://www.oapen.org/ search?identifier=579464 (Read only the prologue and the epilogue).

ILG, Ulrike, 2004. “The Cultural Significance of Costume Books in Sixteenth-Century Europe”. On RICHARDSON, Catherine, 2004. Clothing Culture, 1350– 1650. Aldershot (England), Ashgate, pp. 29 – 47.

KAPLAN, Ann. 1983. Women and Film: Both Sides of the Camera. New York: Methuen.

KUHN, Annette. 1982. Women’s Pictures. Feminism and Cinema. London: Routledge.

LÓPEZ SÁNCHEZ-VIZCAÍNO, MARÍA JESÚS. Acts of Visitation: The Narrative of J.M. Coetzee. Amsterdam and New York: Rodopi, 2011.

MARTÍN SALVÁN, Paula, RODRÍGUEZ SALAS, Gerardo and JIMÉNEZ, Julián (Eds.) Community in Twentieth Century Fiction. London: Palgrave, 2013.

MAYNE, Judith. 1993. Cinema and Spectatorship. London: Routledge.

MULVEY, Laura. 1975. “Visual Pleasure and Narrative Cinema.” In Screen 16, 6-18.

OZYURT, Mine. 2009. Gender Bending Fantasies in Women’s Writing. Verlag.

REVELLES-BENAVENTE, BEATRIZ (2021). Intra-mat-extuality: feminist resilience within contemporary literature. European journal of english studies. 25(2): 190 - 206

SANCHEZ ESPINOSA, Adelina. 2005. “Empowering the Trauma of Homophobia: Oscar Wilde’s Subversive Self in De Profundis.” In Maria Holmgren Troy and Elisabeth Wennö, ed. Memory, Haunting, Discourse.Karlstad: Karlstad University Press.

SANCHEZ ESPINOSA, Adelina. 2006. “Diosas a la Carta para artistas decadentes. Una lectura feminista de The Well-Beloved”. En De Habitaciones propias y otros espacios conquistados. Estudios sobre mujeres y literatura en lengua inglesa en homenaje a Blanca López Román, Margarita Carretero González, et al, ed. Granada: Universidad de Granada, 61-74.

SANCHEZ ESPINOSA, Adelina. 2007. “Cuerpos asediados, cuerpos camuflados: Thomas Hardy y la crisis de género en la narrativa finisecular victoriana” In Adelina, Sánchez Espinosa et al., ed. Cuerpos de mujeres: miradas, representaciones e identidades. Colección FEMINAE, 24. Granada: Universidad de Granada, 265- 117 286.

SANCHEZ ESPINOSA, Adelina y LUKIC, Jasmina. 2011. “Feminist Approaches to Close Reading” en Theories and Methodologies in Postgraduate Feminist Research. Researching Differently. Rosemarie Buikema et.al., ed. Routledge, 130-151.

SMELIK, Anneke. 1998. And the Mirror Cracked. Feminist Cinema and Film Theory. Houndmills, Basingstoke: Palgrave MacMillan, 1998.

SMELIK, Anneke. 2007. “Feminist Film Theory”. In Pam Cook. Ed. The Cinema Book, London: British Film Institute. 3rd rev. edition, 491-504.Online.

SMELIK, Anneke & Lykke, Nina, Eds. 2008. Bits of Life: Feminism at the Intersections of Media, Bioscience, and Technology. University of Washington Press.

Continuous assessment throughout the duration of the course and three assessment methods:

Assessment method 1: Attendance and active class participation

Description: attendance will be registered for every session. Active class participation will be attained by the production of class exercises (brief commentaries, reviews, post-class/post reading reflections, etc) uploaded onto the PRADO platform.

Evaluation criteria: Relevance and creativity of comments, critical ability, ability to generate further discussion, reading and correct use of class materials, interactive engagement with other participants.

Percentage over final grade: 50%

Assessment method 2: Final Assignment in the form of an oral presentation applying any of the issues dealing with the relations between gender, art and literature seen in class to a new relevant case study.

Description: It can be about any issue dealing with the relations between gender, art and literature. The preparation of this activity will be done in group and individual tutorials.

Evaluation criteria: Innovation, creativity, clarity of exposition, ability to argue, critical ability, agile use of pertinent bibliography.

Deadline for the submission of the essay: March 15, 2025.

Percentage over final grade: 50%

ANY FORM OF PLAGIARISM IN ANY OF THE ACTIVITIES OR ASSIGNMENTS (INCLUDING UNAUTHORISED USE OF AI) WILL LEAD TO THE FINAL GRADE 0% AND TO WHATEVER LEGAL MEASURES THE UGR OR/AND THE GEMMA CONSORTIUM MAY DECIDE TO IMPOSE. 

Students who have not been evaluated through continuous assessment or who have failed in the first call will be asked to produce:

Assessment method: 

Final Assignment in the form of an oral presentation applying any of the issues dealing with the relations between gender, art and literature seen in class to a new relevant case study.

Description: It can be about any issue dealing with the relations between gender, art and literature. The preparation of this activity will be done in group and individual tutorials.

Evaluation criteria: Innovation, creativity, clarity of exposition, ability to argue, critical ability, agile use of pertinent bibliography.

Percentage over final grade: 100%

ANY FORM OF PLAGIARISM IN ANY OF THE ACTIVITIES OR ASSIGNMENTS (INCLUDING UNAUTHORISED USE OF AI) WILL LEAD TO THE FINAL GRADE 0% AND TO WHATEVER LEGAL MEASURES THE UGR OR/AND THE GEMMA CONSORTIUM MAY DECIDE TO IMPOSE. 

Article 8 of the "Normativa de Evaluación y Calificación de los Estudiantes de la Universidad de Granada" allows students who cannot fullfil the requirements for continuous assessment because of duely justified reasons to be evaluated at the end of the academic year. Students needing this form of evaluation should apply within the first two weeks of the academic year following the procedure specified by this UGR regulation.

Evaluación Única Final" will consist of:

Assessment method: Final Assignment (100%)

Description: 15-20 pp essay on any issue dealing with the relations between gender, art and literature.

Evaluation criteria: Innovation, creativity, clarity of exposition, ability to argue, critical ability, agile use of pertinent bibliography.

ANY FORM OF PLAGIARISM IN ANY OF THE ACTIVITIES OR ASSIGNMENTS (INCLUDING UNAUTHORISED USE OF AI) WILL LEAD TO THE FINAL GRADE 0% AND TO WHATEVER LEGAL MEASURES THE UGR OR/AND THE GEMMA CONSORTIUM MAY DECIDE TO IMPOSE.