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Cultural Studies

Code: 40246 ECTS Credits: 10
Degree Type Year Semester
4313178 Comparative Literature: Literary and Cultural Studies OT 0 2


Antonio Penedo Picos

Teaching groups languages

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Prerequisites required to enter the master.

Objectives and Contextualisation


A transdisciplinary understanding of both the work method and the selection and interaction with the objects of study.


  • Analyse how literary tradition has been built up and the literary and cultural processes that have played a decisive role in it.
  • Apply the ideological foundations of cultural analysis to the different areas of literary criticism and comparativist studies.
  • Examine the ideological foundations of cultural representations of gender and sexuality.
  • Interpret, in accordance with the principal analysis methodologies, the thematic and symbolic contents of the work in terms of its rhetorical and pragmatic strategies.
  • Make creative, original contributions to the comparativist study of literary and cultural texts.
  • Organise, plan and manage projects.
  • Present research findings to experts and non-experts.
  • Reason critically based on analysis and synthesis.
  • Work in an interdisciplinary team in different contexts.

Learning Outcomes

  1. Analyse the manifestations of characters' different social and gender roles
  2. Approach the different objects of study from socio-political, historical and comparative perspectives.
  3. Assess the sign/symbol and signified/meaning interaction in the mythologems of the works selected for interpretation.
  4. Connect the different formats under study (music, cinema, television, internet) with their different artistic canons.
  5. Identify the epistemological foundations and the conceptual and terminological instruments of western literary tradition.
  6. Organise, plan and manage projects.
  7. Present research findings to experts and non-experts.
  8. Reason critically based on analysis and synthesis.
  9. Work in an interdisciplinary team in different contexts.




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.





 Dr. Núria Santamaria Roig Nuria.Santamaria@uab.cat



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





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.





PhD. Eduard Vilella     Eduard.Vilella@uab.cat

It would be hard to find an author who has raised such a diffuse and continuous interest throughout the centuries as Dante. This is a phenomenon that involves a wide range of cultural spheres of western culture. In addition to his status as one of the most prominent classics in literary history, Dante holds in contemporary culture an unparalleled vigour as regards authors of his category. My sessions aim to briefly explore these realities, presenting centrally the Divine Comedy and examining some of the recent forms of creative reception it has elicited in postmodern narrative and post-dramatic theater, as well as rock, comics, painting and film.


Auerbach, E., Mímesis. La representación de la realidad en la literatura occidental, Fondo de Cultura Económica, México, 1983.

Coetzee, J. M., “‘¿Qué es un clásico?’, una conferencia”, Costas extrañas. Ensayos, 1986-1999, Debate, Barcelona, 2005, págs. 11-29.

Metamorphosing Dante : appropriations, manipulations, and rewritings in the twentieth and twenty-first centuries / edited by Manuele Gragnolati, Fabio Camilletti, and Fabian Lampart , Weien, Turia-Kant, 2011

Dante on view : the reception of Dante in the visual and performing arts / edited by Antonella Braida and Luisa Cale. London, Routledge, 2016.


Komparatistische Perspektiven Auf Dantes 'Divina Commedia': Lektüren, Transformationen und Visualisierungen, Heimgartner, Stephanie ; Schmitz-Emans, Monika; Schmitz-Emans, Monika ; Heimgartner, Stephanie. Berlin, De Gruyter, 2017.

Página web "Dante Today"






PhD. Beatriz Ferrús    Beatriz.Ferrus@uab.cat


Cultural studies in Latin America have had enormous impact and a distinctive development. The historical significance of modes of circulation of Latin America's own cultural productions, located in a "peripheral modernity", the importance of Latin American cultural criticism and heightened attention to issues around the way in which culture determines identities and the political implications of this have turned the continent into a fertile space for their development. They distinctively connect with post and decolonial studies, feminist movements and debates around Latin American identity.


1.Genealogy and own conceptuality. Latin American identity. Otherness. Transculturation. Hybridity. Heterogeneity. Peripheral modernity. Border.

2. The roleof Latin American cultural criticism. Genealogies of the literate city. National/continental. Challenges to the western canon. Orality/writing.

3. Gender studies, postcolonial/decolonial studies and subalternities in Latin America.

4. Case studies.




Andalzúa, Gloria. Borderlans. La frontera: The New Mestiza, Madrid, Capitán Swing, 2016.

Cornejo Polar, Antonio, Escribir en el aire, ensayo sobre la heterogeneidad sociocultural en las literaturas andinas, Lima, Centro de Estudios Literarios Antonio Cornejo Polar, 2018.

García Canclini, Néstor, Culturas híbridas. Estrategias para entrar y salir de la modernidad, México, Debolsillo, 2009.

Quijano, Aníbal, Modernidad, identidad y utopía en América Latina, Lima, Sociedad y Política Ediciones, 1988.

Szurmuk, Mónica (ed.), McKee Irwin, Robert (ed.), Diccionario de estudios culturales latinoamericanos, México, Siglo XXI.





PhD. Iván Gómez García ivangg@blanquerna.url.edu



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 explorethe 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.



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.




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, 2, 4, 5, 7, 8, 9


   The evaluation will consist of three types of contributions: 1. The monitoring of computer material distributed computerically; 2. Presentation of a five-page review of some of the speeches presented for the faculty (free choice). 3. Presentation of a final project of the module in which the questions, notions and perspectives raised during the course are integrated and reflected in a coherent manner.


The final grade will be the weighted result of the three tests.


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.



 Test 1: One-page commentary on the concept and applications of Cultural Studies. (25%)

Test 2: Presentation of a five-page review of some of the speeches presented for the teachers (free choice). (25%)

Test 3: Presentation of a final work of the module in which the questions, notions and perspectives raised during the course are integrated and reflected in a coherent manner. (50%)


The final grade will be the weighted result of the three tests.

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
TFM 60 140 5.6 1, 2, 3, 4, 5, 6, 7, 8, 9


 Cada docente subministrará la bibliografía correspondiente a su temario. 


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