Degree | Type | Year | Semester |
---|---|---|---|
4313178 Comparative Literature: Literary and Cultural Studies | OT | 0 | 2 |
Prerequisites required to enter the master.
A transdisciplinary understanding of both the work method and the selection and interaction with the objects of study.
Dr. Antonio Penedo-Picos Antonio.Penedo@uab.cat
1. Parameters and key concepts of Cultural Studies.
2. The connection between Cultural Studies and the epistemological Canon of the twentieth century: formalism, structuralism, semiotics, phenomenology, hermeneutics and deconstruction.
3. Ideology and aesthetic experience.
4. Fiction, History and ‘Social Reality’.
5. The circuit of culture: hegemony, margins and centrality - Who decides and why?
6. Meaning and sense, biology, neurobiology, corporality and sciences of the spirit - Quantum physics.
7. Economy, technology and (new) social classes.
8. Subjectivity, identity and ‘semiotic training’ of the person.
9. Media orders and ethical orders: the artwork as mediation.
10. Ethnicity, raciality, nationalism and globalization - alterglobalization.
11. Sexuality, gender (s) and aesthetic representation.
12. From the theocentric society to the new urban models: the debate on the concepts of sacred and secular - Towards a redefinition of the civil and political.
13. Myth, symbol and canon in the new cultural models: a) ‘convergence culture’. b) ‘crossmedia’ c) television, film, videogame and Internet formats.
SCENARIOS: TRANSFORMATIONS AND METAMORPHOSIS
Dr. Núria Santamaria Roig Nuria.Santamaria@uab.cat
UAB AND INSTITUT DEL TEATRE
The performing arts have often used the idea of mutation and transformation in order to formulate the kind of artistic and intellectual refraction that involves the staging, or at least, the stageable. Starting from this conceptual axis, the first session focuses on the environment of the dramaturgical transformations that try to provide the classicwith contemporary eloquence. Thesecond session reproduces the idea of metamorphosis associated with a reflection on theatrical languages, procedures and techniques that speculate on identities.
I. Metamorphosis of the textual
1. Canon and tradition revisited.
2. Loans, quotes, translations and replies: contemporary rewritings of the classics.
3. Bastard theatricalities: parasitic dramaturgies and current staging.
II. Metamorphosis of the corporal
1. Entities and / or wrappers:
a. Interpreters and actors.
b. Costume and nudity.
2. Dynamic identities and alchemies of identity: transformism, fregolism and transvestism
THE IMPORTANCE OF STORYTELLING IN THE CREATION OF IDENTITIES IN THE FIELD OF DESIGN
PhD. Lluís Sallés lsdesign@grn.es
ELISAVA Escuela Universitaria de Barcelona de Diseño e Ingeniería
1. The three stages of identity.
2. Merchandise as a reflection.
3. Storytelling and Storydoing.
4. Accompanying objects.
5. The commercial story.
6. The brand syndrome.
The narrative structures that build identities in the different media, where fiction flowed since the appearance of the novel, and later in its audiovisual version, the cinema, today cannot compete with the great factory of desires that is merchandise.
Mercantile identity is a form of sentimental and socio-cultural imposition. It emerges in the narrative: the grand narrative, the intermediate narrative and the nano-narrative. All of them are responsible for the construction of the individual's identity.
We start from the assumption that through commodity indoctrination we fluctuate between identity multiverses. The merchandise uses a whole typology of stories and narrative structures to, through our intimate references and emotions linked to them, build artificial identities that keep our Gaussian bell of desire active, allowing the market to turn the novelty on and off with the help of the trend phenomenon.
POETICS OF THE END OF THE WORLD: TRANSITS THROUGH DYSTOPIAN UNIVERSES
Dr. Iván Gómez García ivangg@blanquerna.url.edu
UNIVERSITAT RAMON LLULL-BLANQUERNA Ciencies de la Comunicació
Presentation of the sessions:
Historians and economists often remind us that they do not deal with the future, because it is something unknown and unpredictable. But there are few who have wanted to imagine, from the field of fiction, what will be the future that awaits us.
Authors as diverse as Aldous Huxley or William Gibson have explored the implications of our future through capital works, lighting up a subgenre within science fiction, the dystopian, which has shown itself as one of the most active and recurring in cinema and literature.
Through these sessions we will explore the political implications of a series of essential works of the dystopian genre, studying cinema and literature in a comparative way, analyzing in detail the ideas and positions that important authors have developed over the last century.
Dystopia works not only as a warning of our (in) avoidable future, but also as a critical diagnosis of our most immediate present.
That’s why the objective of the study is not only to map the dystopia genre but to explore how, through imagination, these works have thought about the future, have developed a discourse on our present and have positioned themselves on issues essential within our cybercultural landscape.
Content of the sessions: Poetics of the End of the World: Transits through the dystopian universes
1. Utopia: The questioned idea about a better future.
2. About the (im) perfect kingdoms: the topos of a good life.
3. The era of turbocapitalism: a countergeography of the"fragile" capital.
4. The hell of a mechanized world: classical dystopias (from Orwell to Bradbury)
5. Cyberpunk as an (inner) image of capital (from J.G. Ballard to William Gibson)
6. (Dat) Apocalypse Snow: the world buried by information.
7. Industrialization, modernization and rationality: Exposure to urban life.
8. The city as an emerging system: urban environments and information.
9. About the end of progress: poetics of the end of the world.
Bibliography:
Baccolini, R., Moylan, T. (eds.): Dark Horizons. Science Fictionand the Dystopian imagination. New York: Routledge, 2003.
Barber, S.: Ciudades proyectadas. Cine y espacio urbano. Barcelona: Gustavo Gili, 2006.
Brockman, J. (ed.): Los próximos cincuenta años. El conocimiento humano en la primera mitad del siglo XXI. Barcelona, Kairós, 2004.
Brockman, J. (ed.): El nuevo humanismo y las fronteras de la ciencia. Barcelona: Kairós, 2007.
Buck-Morss, S.: Mundo soñado y catástrofe: La desaparición de la utopía demasas en el Este y el Oeste. Madrid: Antonio Machado, 2004.
Catalán, M.: El prestigio de la lejanía. Ilusión, autoengaño y utopía. Barcelona: Ronsel, 2004
Dahrendorf, R.: Conflicto social moderno. Madrid:Mondadori, 1990.
Davis, E.: Techgnosis. Myth, magic and mysticismin the age of information.London: Serpents Tail, 2004. Domingo, A.: Descenso literario a los infiernos demográficos. Barcelona: Anagrama, 2008.
Fernández Buey,F.: Utopías e ilusiones naturales. Mataró: ElViejo Topo, 2007.
Kluitenberg, E.: Delusive Spaces. Essays on Media, Culture and Technology. Rotterdam: NAi Publishers, 2008.
Kosko, B.: El futuro borroso o el cielo en un chip. Barcelona: Crítica, 2000.
Molinuevo, J.L.: Humanismo y Nuevas Tecnologías. Madrid: Alianza, 2004.
Molinuevo, J.L.: La vida en tiempo real. La crisis de las utopías digitales. Madrid: Biblioteca Nueva, 2006.
Nicholas Taleb, N.: El Cisne Negro. El impacto de lo altamente improbable. Barcelona: Paidós, 2010.
Nicholas Taleb, N.: Antifrágil. Las cosas que se benefician del desorden. Barcelona: Paidós, 2013.
Ryan, M.L.: La narración como realidad virtual. Barcelona: Paidós, 1999.
Sennett, R.: Vida urbana e identidad personal.Barcelona: Península, 2001
Sloterdijk, P.: Esferas III. Espumas. Esferología plural. Madrid: Siruela, 2006.
Wegner, Phillip E. (ed.): Imaginary Communities. Utopia, the Nations, and the Spatial Histories of Modernity. Berkeley: University of California Press, 2002.
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Cada sesión y cada docente aplicará diferentes enfoques metodológicos, siempre desde la coherencia interna que supone la práctica de los Estudios Culturales.
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.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Supervised | |||
Proactive participation | 110 | 4.4 | 1, 7, 4, 2, 5, 8, 9 |
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.
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.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
TFM | 60 | 140 | 5.6 | 1, 7, 4, 2, 5, 6, 8, 9, 3 |
Cada docente subministrará la bibliografía correspondiente a su temario.
No specifications added.