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

Curso 2024/2025
Fecha de aprobación por la Comisión Académica 16/07/2024

Máster

Máster Universitario Erasmus Mundus en Estudios de las Mujeres y de Género

Módulo

Universidad de Granada - Módulo Optativo

Rama

Ciencias Sociales y Jurídicas

Centro Responsable del título

International School for Postgraduate Studies

Semestre

Primero

Créditos

5

Tipo

Optativa

Tipo de enseñanza

Presencial

Profesorado

  • Orianna Aketzalli Calderón Sandoval
  • Gerardo Rodríguez Salas
  • María Adelina Sánchez Espinosa

Tutorías

Orianna Aketzalli Calderón Sandoval

Email
  • Tutorías 1º semestre
    • Miercoles 17:00 a 20:00 (Despacho Fac. Traduccion)
    • Jueves 17:00 a 18:00 (Despacho Fac. Traduccion)
    • Viernes 11:00 a 13:00 (Despacho Fac. Traduccion)
  • Tutorías 2º semestre
    • Martes 17:00 a 20:00 (Despacho Fac. Traduccion)
    • Miercoles 11:00 a 12:30 (Despacho Fac. Filosofia y Letras)
    • Jueves 11:30 a 13:00 (Despacho Fsac. Traduccion)

Gerardo Rodríguez Salas

Email
  • Tutorías 1º semestre
    • Martes 12:30 a 14:30 (Despacho)
    • Martes 9:30 a 10:30 (Despacho)
    • Viernes 12:30 a 14:30 (Despacho)
    • Viernes 9:30 a 10:30 (Despacho)
  • Tutorías 2º semestre
    • Martes 9:30 a 10:30 (Despacho)
    • Martes 12:30 a 14:30 (Despacho)
    • Viernes 12:30 a 14:30 (Despacho)
    • Viernes 9:30 a 10:30 (Despacho)

María Adelina Sánchez Espinosa

Email
  • Tutorías 1º semestre
    • Miercoles 9:30 a 10:30 (Despacho)
    • Miercoles 12:30 a 14:30 (Despacho)
    • Viernes 9:30 a 12:30 (Despacho)
  • Tutorías 2º semestre
    • Miercoles 9:30 a 10:30 (Despacho)
    • Miercoles 12:30 a 14:30 (Despacho)
    • Viernes 9:30 a 12:30 (Despacho)

Breve descripción de contenidos (Según memoria de verificación del Máster)

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.

Prerrequisitos y/o Recomendaciones

Competencias

Competencias Básicas

  • CB6. Poseer y comprender conocimientos que aporten una base u oportunidad de ser originales en desarrollo y/o aplicación de ideas, a menudo en un contexto de investigación.
  • CB7. Que los estudiantes sepan aplicar los conocimientos adquiridos y su capacidad de resolución de problemas en entornos nuevos o poco conocidos dentro de contextos más amplios (o multidisciplinares) relacionados con su área de estudio.
  • CB8. Que los estudiantes sean capaces de integrar conocimientos y enfrentarse a la complejidad de formular juicios a partir de una información que, siendo incompleta o limitada, incluya reflexiones sobre las responsabilidades sociales y éticas vinculadas a la aplicación de sus conocimientos y juicios.
  • CB9. Que los estudiantes sepan comunicar sus conclusiones y los conocimientos y razones últimas que las sustentan a públicos especializados y no especializados de un modo claro y sin ambigüedades.
  • CB10. Que los estudiantes posean las habilidades de aprendizaje que les permitan continuar estudiando de un modo que habrá de ser en gran medida autodirigido o autónomo.

Resultados de aprendizaje (Objetivos)

  • 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.

Programa de contenidos Teóricos y Prácticos

Teórico

  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

Bibliografía

Bibliografía fundamental

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.

Enlaces recomendados

Metodología docente

Evaluación (instrumentos de evaluación, criterios de evaluación y porcentaje sobre la calificación final.)

Evaluación Ordinaria

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. 

 

Evaluación Extraordinaria

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. 

Evaluación única final

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. 

Información adicional