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

Curso 2021/2022
Fecha de aprobación por la Comisión Académica 22/07/2021

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

  • Ioana Ruxandra Gruia
  • Beatriz Revelles Benavente
  • María Adelina Sánchez Espinosa
  • Orianna Aketzalli Calderón Sandoval

Tutorías

Ioana Ruxandra Gruia

Email
Tutorías 1º semestre
  • Martes 9:30 a 12:30 (Previo Correo Electronico)
  • Jueves 9:30 a 12:30 (Previo Correo Electrónico)

Beatriz Revelles Benavente

Email
  • Primer semestre
    • Martes 10:00 a 13:00 (Despacho)
    • Jueves 10:00 a 13:00 (Despacho)
  • Segundo semestre
    • Martes 10:00 a 13:00 (Despacho)
    • Jueves 10:00 a 13:00 (Despacho)

María Adelina Sánchez Espinosa

Email
  • Primer semestre
    • Martes 9:30 a 12:30 (Despacho)
    • Jueves 9:30 a 12:30 (Despacho)
  • Segundo semestre
    • Martes 9:30 a 12:30 (Despacho)
    • Jueves 9:30 a 12:30 (Despacho)

Orianna Aketzalli Calderón Sandoval

Email

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.

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.

Evaluation criteria: Relevance and creativity of comments, critical ability, ability to generate further discussion, reading and correct use of class materials,

Percentage over final grade: 20%

Assessment method 2: Final Assignment

Description: 10-15 pp essay applying any of the issues seen in class to a new case study.

Evaluation criteria: Innovation, creativity, critical ability and agile use of pertinent bibliography.

Deadline for the submission of the critical dossier: March 30, 2022.

Percentage over final grade: 50%

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

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.

Percentage over final grade: 100%

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. The application should expose the arguments for such a petition and be supported with the relevant supporting documents. All applications will be studied by the GEMMA Master Academic Board.

"Evaluación Única Final" will consist of:

Assessment method: Final Assignment

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.

Información adicional

Escenario A (Enseñanza-Aprendizaje presencial y tele-presencial)

Horario (Según lo establecido en el POD)

GUEST PROFESSORS

  • Dr. Ioana Gruia. Universidad de Granada. Monday 18th and Wednesday 2oth, October 2021. 
  • Dr. María Paula Martín Salván. Universidad de Córdoba. Monday 17th, January 2021.
  • Dr. María Jesús López Sánchez Vízcaino. Universidad de Córdoba. Tuesday 14th, December 2021.
  • Dr. Asma Lamrabet. Thursday 20th, October 2021
  • Dr. Marian López Cao. Universidad Complutense de Madrid. Tuesday 8th, February 2022.
  • Dr. Victor Seidler. Goldsmiths, University of London (UK). Wednesday 23rd and Thursday 24th, February 2021.
  • Dr. Sayak Valencia Triana. Colegio de la Frontera Norte (Mexico). Tuesday 2nd and Thursday 4th, October 2021.
  • Dr. Marek Wojtaszek. Lodz University (Poland). Monday 21st, February 2022.

VOICES OF GEMMA

  • Dra. Orianna Calderón Sandoval. Contratada Postdoctoral. Universidad de Örebro, Suecia. Thursday 14th, October 2021.
  • Ángela Harris Sánchez. Contratada FPU y doctoranda del Programa “Estudios de las Mujeres. Discursos y prácticas de Género”. Monday 10th, January 2022.
  • Agostina Invernizzi. Contratada beca predoctoral La Caixa. Monday 25th, October 2021
  • Dra. Lola Martínez Pozo. Profesora Sustituta Interina. Universidad de Granada.
  • Dra. Dresda Méndez de la Brena. Universidad de Granada. Wednesday 12th, January 2022.
  • Dra. Beatriz Revelles Benavente. Profesora Ayudante Doctora. Universidad de Granada. Tuesday 16th, November 2021.

 

 

 

Herramientas para la atención tutorial (Indicar medios telemáticos para la atención tutorial)

Does not apply to GEMMA since Aula Clara Campoamor allows for the keeping of social distance

Medidas de adaptación de la metodología docente

Evaluación Ordinaria

Evaluación Extraordinaria

Evaluación única final

Escenario B (Suspensión de la actividad presencial)

Horario (Según lo establecido en el POD)

GUEST PROFESSORS

  • Dr. Ioana Gruia. Universidad de Granada. Monday 18th and Wednesday 2oth, October 2021. 
  • Dr. María Paula Martín Salván. Universidad de Córdoba. Monday 17th, January 2021.
  • Dr. María Jesús López Sánchez Vízcaino. Universidad de Córdoba. Tuesday 14th, December 2021.
  • Dr. Asma Lamrabet. Thursday 20th, October 2021
  • Dr. Marian López Cao. Universidad Complutense de Madrid. Tuesday 8th, February 2022.
  • Dr. Victor Seidler. Goldsmiths, University of London (UK). Wednesday 23rd and Thursday 24th, February 2021.
  • Dr. Sayak Valencia Triana. Colegio de la Frontera Norte (Mexico). Tuesday 2nd and Thursday 4th, October 2021.
  • Dr. Marek Wojtaszek. Lodz University (Poland). Monday 21st, February 2022.

VOICES OF GEMMA

  • Dra. Orianna Calderón Sandoval. Contratada Postdoctoral. Universidad de Örebro, Suecia. Thursday 14th, October 2021.
  • Ángela Harris Sánchez. Contratada FPU y doctoranda del Programa “Estudios de las Mujeres. Discursos y prácticas de Género”. Monday 10th, January 2022.
  • Agostina Invernizzi. Contratada beca predoctoral La Caixa. Monday 25th, October 2021
  • Dra. Lola Martínez Pozo. Profesora Sustituta Interina. Universidad de Granada.
  • Dra. Dresda Méndez de la Brena. Universidad de Granada. Wednesday 12th, January 2022.
  • Dra. Beatriz Revelles Benavente. Profesora Ayudante Doctora. Universidad de Granada. Tuesday 16th, November 2021.

Herramientas para la atención tutorial (Indicar medios telemáticos para la atención tutorial)

  • Online via GOOGLE MEET/ ZOOM.
  • Appointments via SWAD or email

Medidas de adaptación de la metodología docente

  • The UGR protocols for the transformation of face-to-face teaching to online teaching will be followed.
  • Online lessons via Google MEET. Same schedule as face-to-face lessons.
  • Tutorials via appointments within the teacher's office hours.

Evaluación Ordinaria

The assessment methods will be the same as those for the face-to-face evaluation described above.

Evaluación Extraordinaria

The assessment methods will be the same as those for the face-to-face evaluation described above.

Evaluación única final

The assessment methods will be the same as those for the face-to-face evaluation described above.