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2021/2022

Gender-based Heritage

Code: 105818 ECTS Credits: 6
Degree Type Year Semester
2503878 Sociocultural Gender Studies OT 3 2
2504235 Science, Technology and Humanities OT 4 0
The proposed teaching and assessment methodology that appear in the guide may be subject to changes as a result of the restrictions to face-to-face class attendance imposed by the health authorities.

Contact

Name:
Carlos Sanchez Marquez
Email:
Carlos.Sanchez.Marquez@uab.cat

Use of Languages

Principal working language:
catalan (cat)
Some groups entirely in English:
No
Some groups entirely in Catalan:
Yes
Some groups entirely in Spanish:
No

Prerequisites

This course has no prerequisites

Objectives and Contextualisation

The main goal of this course is to acquire deep knowledge on the history of heritage (material and intangible) from a gender perspective, in order to recover the names and works of the creators of the past.

Competences

    Sociocultural Gender Studies
  • Demonstrate ability to work autonomously, self-analysis and self-criticism.
  • Express correctly and in a non-sexist or homophobic manner both orally and in writing.
  • Identify and question gender representations in the history of ideas, arts and culture, as well as in the construction of scientific knowledge. 
  • Interpreting and interrelating the conceptual bases of feminist theories. 
  • Students can apply the knowledge to their own work or vocation in a professional manner and have the powers generally demonstrated by preparing and defending arguments and solving problems within their area of study.
  • Students must develop the necessary learning skills in order to undertake further training with a high degree of autonomy.

Learning Outcomes

  1. Analyze the representations of sexualities in cultural productions.
  2. Apply the concepts of gender theory to the analysis of cultural texts.
  3. Distinguish the transformations of gender relations in the history of culture.
  4. Make an inclusive use of language.
  5. Make valuations and corrections of your own work.
  6. Search, select and manage information autonomously, both in structured sources (databases, bibliographies, specialized journals) and in information distributed on the network.
  7. Students can apply the knowledge to their own work or vocation in a professional manner and have the powers generally demonstrated by preparing and defending arguments and solving problems within their area of study.
  8. Students must develop the necessary learning skills in order to undertake further training with a high degree of autonomy.

Content

1. PATRIMONI AND GENDER. A HISTORICAL APPROACH

1.1. What is heritage? Concept and typologies

1.2. Heritage is (also) ours: cultural goods, women and gender.

1.3. The birth of the feminist history of the arts

1.4. Gender, genius and creation

1.5. The museum: masculine space of memory

1.6. How to educate in the heritage: case studies

 

2. WOMEN ARTISTS: THE STORY OF A LONG OMISSION

2.1. From Antiquity to the Middle Ages

2.2. Being a woman in the Renaissance and Baroque periods

2.3. Women and artistic practice in the eighteenth century

2.4. From the 19th century to the avant-gardes

2.5. Being a woman and an artist today

2.6. Female agents in art and heritage: collectors, patrons and promoters

2.7. Female models in the artistic imaginary. From Lilith to Elisabeth Sidal

2.8. Architecture and gender

 

3. WOMEN, PHOTOGRAPHY AND CINEMA

3.1. Behind the cinematograph from the origins: from Alice Guy-Blaché to Isabel Coixet

3.2. Stereotypes and social culture of women in cinema

3.3. Making the invisible visible: women in the history of photography

 

4.A LOOK AT INTANGIBLE CULTURAL HERITAGE FROM A GENDER PERSPECTIVE

 

Methodology

The methodology to be followed during the course will be as follows:

 -Most of the course (80%) will consist of plenary or master sessions given by the professor, in person or online via TEAMS.

-15% of the sessions will be dedicated to the presentation of work by the students (seminars).

-5% of the sessions will consist of lectures by experts in some aspects of art history, heritage and gender.

-Visits to exhibitions or spaces (whenever possible and according to eventualities) that may be useful for the development of the subject will be proposed.

 

The teaching methodology and evaluation proposed in the guide may undergo some modification subject to the onsite teaching restrictions imposed by health authorities.

 

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.

Activities

Title Hours ECTS Learning Outcomes
Type: Directed      
Theorical classes 40 1.6 2, 3, 8, 7
Type: Supervised      
Final work 20 0.8 6, 3, 8
Type: Autonomous      
Attendance to lectures given by experts. Visits to exhibitions. 10 0.4 2, 3, 7
Autonomous study 60 2.4 2, 8, 7
Reading of recommended texts 20 0.8 6, 3

Assessment

First partial Test-- 30% 

Segond partcial test--30%

Final work -- 25% 

Compulsory readings -- 15%

Compulsory readings to be chosen by the professor.

Recommendations

In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.

Recovery procedure

In case of need, a recovery test (exam) will be carried out for those students who do not pass the continuous assessment tests as a whole. To participate in the recovery, the students must have been previously evaluated in a set of activities whose weight equals a minimum of 2/3 of the total grade of the subject, and have obtained a minimum grade of 3,5 out of 10.

Conditions for “Not evaluable”

Students who do not complete at least 2/3 of the assignments will be considered as “Not evaluable”, exhausting the enrolment rights of the subject.

Information regarding adaptation of evaluations to the hybrid teaching system in the event of an epidemic

In the event that tests or exams cannot be taken onsite, they will be adapted to an online format made available through the UAB’s virtual tools (original weighting will be maintained). Homework, activities, and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access these virtual tools, or will offer them feasible alternatives.

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Final work 25% 0 0 6, 3, 5
Readings 15 0 0 6, 5, 8
Written exam 1 30% 0 0 1, 2, 8, 7
Written exam 2 30% 0 0 2, 3, 4, 8, 7

Bibliography

Alario Trigueros, María Teresa. Arte y feminismo. San Sebastián: Nerea, 2008. 

Aliaga, Juan Vicente. Arte y cuestiones de género. San Sebastián: Nerea, 2004.

Bornay, Erika. Las hijas de Lilith. Madrid: Cátedra, 1990.

Bornay, Erika. Arte se escribe con M de mujer. Barcelona: SD Edicions, 2009.

Cao, Marián. Mulier me fecit: hacia un análisis feminista del arte y su educación. Madrid: Horas y Horas, 2011. 

Colaizzi, G. (ed.), Feminismo y teoría fílmica, Valencia, Episteme, 1995. 

Cortés, José Miguel. Políticas del espacio. Arquitectura, género y control social. Barcelona: Actar, 2013.

Chadwick, Whitney. Mujer, arte y sociedad. Barcelona: Destino, 1999.

Delauretis, T., Alicia ya no. Feminismo, Semiótica, Cine, Madrid, Cátedra, 1992.

Duby, G. i Perrot, M. (eds.), Historia de las mujeres, 5 vols. Madrid, Taurus, 2000.

Faxedas, M.Lluïsa. Feminisme i història de l’art. Girona: Universitat de Girona, 2009.

Godoy, Mª Jesús. La mujer en el arte: una contralectura de la modernidad. Granada: Universidad de Granada, 2007. 

Greer, G., The obstacle race. The fortunes of women painters and their work. Londres: Secher &Warburg, 1979.

Kaplan, A. Las mujeres y el cine. A ambos lados de la cámara. Madrid: Cátedra, 1998 (1ª edición 1983). 

Kuhn, A. Cine de mujeres. Feminismo y cine. Madrid: Cátedra, 1991. 

Mayayo, Patricia. Historia de mujeres, historias del arte. Madrid: Cátedra, 2003.

Nochlin, Linda. Women, Art and Power and Other Essays. Londres: Thames and Hudson, 1989.

Parquer, R.; Pollock, G., Old Mistresses. Women,Art and Ideology. Londres: Harper Collins, 1981.

Pollock, Griselda. Visión y diferencia. Feminismo, feminidad e historias del arte. Buenos Aires: Fiordo, 2013 (1ª edición 1988).

Porqueres, Bea. Deu segles de creativitat femenina: una altra historia de l’art. Bellaterra: ICE-UAB, 1995. 

Porqueres, Bea. Reconstruir una tradición: las artistas en el mundo occidental. Madrid: Horas y Horas, 1994. 

Sánchez Romero, Margarita. Arqueología y género, Granada: Universidad de Granada, 2005.

Sánchez Márquez, Carles; Ramos Serra, Gemma (eds.), Dona i artista. La col·lecció del museu de Terrassa, Terrassa: Ajuntament, 2019.

Serrano de Haro, Amparo. Mujeres en el arte. Barcelona: Plaza & Janés, 2000.

 

 

Software

No specific software is required.