Checking date: 03/01/2020


Course: 2019/2020

(17518)
Study: Master in Theory and Critique of Culture (253)
EPH


Coordinating teacher: CHECA PUERTA, JULIO ENRIQUE

Department assigned to the subject: Department of Humanities: Philosophy, Language, Literature Theory

Type: Electives
ECTS Credits: 6.0 ECTS

Course:
Semester:




Competences and skills that will be acquired and learning results.
Access to case analysis, and the methodologies of their study, related to the relationships between narrative forms and constructions of social meanings and cultural representations. Specifically, the following skills will be developed: ¿Analyze the relationship between narrative forms and the construction of social meanings and cultural representations. ¿Acquire the necessary conceptual instruments for the study of narrative forms, the construction of social meaning and the representation of culture. ¿Acquire the methodological instruments that allow addressing this study. Know and understand the theories currently present in studies on the subject matter of the subject. Know the relevant bibliography. To be able to carry out the practice of study in an interdisciplinary way. To be able to use oral and written methods of study and criticism. Being able to prepare academic texts, oral and written, related to the subject. As a result of learning, the student will know the main issues involved in the study of narrative forms, the construction of social meaning and the representation of culture, as well as the theories that have dealt with them, will have the conceptual and methodological instruments To address them, he will be able to handle the bibliography on the subject and prepare a short paper on the issues involved in the subject with the relevant academic and conceptual rigor.
Description of contents: programme
In this subject, special emphasis will be placed on the study of the performing arts as a system of representation and construction of social imaginary, taking into account two fundamental areas that, despite their differences, share many common features. These two axes that will shape the course are those of the scenic representation of immigration and those of the scenic representation of disability. About representation, in general. The choice of theater and performance as devices that build imaginary arises within the scope of living arts, in constant tension with other mass media, such as audiovisual and virtual. In this sense, it is obligatory to know some of the fundamental procedures and the characteristic languages ¿¿of the performing arts, as well as different problems that arise when producing or reading those imaginary, such as the tension between reality and fiction, the position that occupy the performer and its nature or the possible conflicts caused by the relationship between ethics and aesthetics, among others. ABUÍN, ANXO (2006). Escenarios del caos. Entre la hipertextualidad y la "performance" en la era electrónica, Valencia, Tirant lo Blanch. ALBRECHT, GARY L. (ed.) (2005). Encyclopedia of Disbility, 5 vol. Thousand Oaks, USA: Sage. ¿¿, (2001). Handbook of Disability Studies. Thousand Oaks, USA: Sage. ALCÁZAR, JOSEFINA (1998). La cuarta dimensión del teatro. Tiempo, espacio y video en la escena moderna, México, Centro Nacional de las Artes. ALEGRE, Olga. (2003). La discapacidad en el cine. Santa Cruz de Tenerife: Octaedro. ANDERSON, Perry (2000). Los orígenes de la posmodernidad, Barcelona, Anagrama. ANTEBI, Susan. (2009). Carnal Inscriptions. Spanish American Narratives of Corporeal Difference and Disability. New York: Palgrave Macmillan. ANTEBI, Susan/JÖRGENSEN, Beth E. (ed.). 2016. Libre Acceso. Latin American Literature and Film through Disability Studies. Albany: State University of New York Press. ¿. 2016a: ¿Introduction. A Latin American Context for Disability Studies¿. En: Antebi/Jörgensen 2016: 1-26. ARISTÓTELES, (2018). Poética, Valentín García Yebra (ed.), Madrid, Gredos. ARTAUD, ANTONIN (1986). El teatro y su doble, Barcelona, Edhasa. AUERBACH, Erich, (1996). Mimesis. La representación de la realidad en la literature occidental. Buenos Aires, Fondo de Cultura Económica. AUGÉ, Marc (2005). Los no lugares. Espacios del anonimato, Barcelona, Gedisa. BERGER, Peter L. y Thomas LUCKMANN. (2015). La construcción social de la realidad. Buenos Aires: Amorrortu.Birge, Sarah. 2010. ¿No Life Lessons Here: Comics, Autism, and Empathetic Scholarship¿. En: Disability Studies Quarterly 30, 1, [31-10-2016]. BOURRIAUD, NICOLAS (2006). Estética relacional, Buenos Aires, AH. --- (2008). Post-producción, Buenos Aires, A.H.. BROZAS POLO, Mª PAZ (2003). La expresión corporal en el teatro europeo del siglo XX, Ciudad Real, Ñaque. CHECA, Julio y Susanne HARTWIG (eds.). (2018). ¿Discapacidad? Literatura, teatro y cine hispánicos vistos desde los disability studies. Alemania: Peter Lang. CORNAGO BERNAL, ÓSCAR (1999). La vanguardia teatral en España (1965-1975), Madrid, Visor. ---, (2005). Resistir en la era de los medios, Madrid, Verbuert. ---, (2005). Políticas de la palabra, Madrid, Fundamentos. ---, (2008). Éticas del cuerpo: Juan Domínguez, Marta Galán, Fernando Renjifo, Madrid, Fundamentos. DE TORO, Fernando y Alfonso de Toro (eds.), (1998). Acercamientos al teatro actual (1970-1995), Madrid, Iberoamericana. DIEGO, ROSA DE Y VÁZQUEZ, LYDIA (eds.), (2001). La máquina escénica: drama, espacio, tecnología, Bilbao, Universidad del País Vasco. EAGLETON, TERRY, (2001). La idea de cultura, Barcelona, Paidós. FIEDLER, Leslie A. (1979). Freaks: Myths and images of the secret self. Simon and Schuster ---.1982. ¿Pity and Fear: Images of the Disabled in Literature and the Popular Arts¿. En: Salmagundi 57: 57-69. --. 1996. The Tyranny of the Normal: Essays on Bioethics, Theology and Myth, USA, David R. Godine Publisher. FISCHER-LICHTE, ERIKA, (1999). Semiótica del Teatro, Madrid, Arco Libros. ---, (2000). History of European Drama and Theatre, Oxford, Routledge. ---, (2005). Theatre, Sacrifice, Ritual. Exploring forms of Political Theatre, New York, Routledge. ---, (2008). The transformative power of Performance, Oxford, Routledge. ---, (2011). Estética de la Performance. FOSTER, Hal (ed.) (1983). La posmodernidad, Barcelona, Kairós. FOUCAULT, Michel, (2000). Los anormales. Buenos Aires, Fondo de Cultura Económica. ¿.(2009). Nacimiento de la biopolítica. Barcelona, Akal. FRASER, Benjamin. (2016). Cultures of Representation. Disability in World Cinemas Contexts. New York: Columbia University Press. ¿. (2013). Disability Studies and Spanish Culture. Films, Novels, the comic and the Public Exhibition. Liverpool: Liverpool University Press. GÁMEZ Fuentes, María José. (2005). ¿Representing disability in 90¿s Spain: the case of ONCE¿. En: Journal of Spanish Cultural Studies 6, 3 (oct. 2005): 305-318. GARCÍA-CARPINTERO, Manuel, (2016). Relatar lo ocurrido como invención. Madrid, Cátedra. GARLAND Thomson, Rosemarie. (1997). Extraordinary Bodies. Figuring physical disability in American culture and literature. New York: Columbia UP. ¿ (ed.). (1996). Freakery. Cultural Spectacles of the Extraordinary Body. New York: New York UP. GOFFMAN, Erving. (1968). Stigma. Notes on the Management of Spoiled Identity. Harmondsworth: Penguin. ¿. (2015). Estigma. La identidad deteriorada. Amorrortu GOODLEY, Dan. (2011). Disability studies. An Interdisciplinary Introduction. London et al.: Sage. GRANIZO Rodríguez, S. (2014) ¿Representación cultural de la discapacidad¿. En: PODIUM 26: 9-24. GRUE, Jan. (2015). Disability and Discourse Analysis. Farnham, Surrey/Burlington, Vermont: Ashgate. HARTWIG, Susanne. (2017). ¿Espacio(s) teatrale(s) y diversidad funcional¿ [se publicará en Revista de Literatura]. ¿. (2016). ¿Andere Geschichten über geistige Behinderung? Die Spielfilme Le huitième jour (1996), Yo, también (2009) und León y Olvido (2004)¿. En: Germanisch-Romanische Monatsschrift 66, 2 (2016): 225-240. HIRSCHBERG, Marianne. (2003). ¿Normalität und Behinderung in den Klassifikationen der Weltgesundheitsorganisation¿. En: Waldschmidt, Anne (ed.), Kulturwissenschaftliche Perspektiven der Disability Studies. Tagungsdokumentation. Kassel: bifos, 2003: 117-128. HOOKS, Bell. (1990). ¿marginality as site of resistance¿. En: Ferguson, Russell et al. (ed.), Out There: Marginalization and Contemporary Cultures. New York: The New Museum of Contemporary Art/Cambridge, Mass./London: The MIT Press: 341-342. GIANNACHI, GABRIELLA, (2004). Virtual Theaters, New York, Routledge. HERNÁNDEZ SÁNCHEZ, Domingo (ed.) (2003). Arte, Cuerpo, Tecnología, Salamanca, Ediciones Universidad. HUERTA CALVO, JAVIER (dir.), (2003). Historia del Teatro Español, Madrid, Gredos. INGSTAD, Benedicte./Reynolds White, Susan. (1995). Disability and Culture. Berkeley/Los Angeles/London: University of California Press. JUÁREZ-ALMENDROS, Encarnación. (2013). ¿Disability Studies in the Hispanic world: Proposals and Methodologies¿. En: Arizona Journal of Hispanic Cultural Studies 17: 153-160. KLOEPFER, Rolf. (2007). ¿The Sea Inside: On the Principles of One¿s Own Performance of the Other¿. En: Anderson, Joseph D./Fisher Anderson, Barbara (eds.). Narration and Spectatorship in Moving Images. Newcastle upon Tyne: Cambridge Scholars: 148-167. KUPPERS, Petra. (2014). Studying Disability Arts and Culture. An Introduction. Basingstoke et al.: Palgrave Macmillan. KOWZAN, Tadeusz, (1970). Literatura y espectáculo, Madrid, Taurus. LAWSON, John Howard (1995). Teoría y técnica de la escritura de obras teatrales, Madrid, ADE. LE BRETON, David, (2002). La sociología del cuerpo. Buenos Aires, Nueva Visión. --. (2003). Antropología del cuerpo y modernidad. Buenos Aires, Nueva Visión. ¿(2016). Desaparecer de sí. Una tentación contemporanea. Madrid, Siruela. LEHMANN, H.-THIES, (2002). Le Théâtre postdramatique, Paris, L¿Arche. LOTMAN, Yuri, (1982). Estructura del texto artístico, Madrid, Istmo. MAMET, David (1996). La ciudad de las patrañas, Madrid, Debate. ---, (1998). Los tres usos del cuchillo, Barcelona, Alba. ---, (1995). Una profesión de putas, Madrid, Debate. MARGALIT, Avishai. (2010). La Sociedad decente. Barcelona: Paidós Ibérica. MITTCHELL, David T./Snyder, Sharon L. (2000). Narrative Prosthesis. Disability and the Dependencies of Discourse. Ann Arbor: The University of Michigan Press. ¿. (1997). ¿Introduction: Disability Studies and the double Bind of Representation¿. En: Mitchell, David T./Snyder, Sharon L., The Body and Physical Difference. Discourses of Disability. Ann Arbor: The University of Michigan Press: 1-31. MURRAY, Stuart. (2008). Representing Autism. Culture, Narrative, Fascination. Liverpool: Liverpool University Press. ¿. (2008a). ¿Hollywood and the Fascination of Autism¿. En: Osteen 2008: 244-255. NUSSBAUM, Martha C. (2001). Upheavals of Thought. The Intelligence of Emotions. Cambridge: Cambridge UP. ¿. (2012). Crear capacidades: propuestas para el desarrollo humano. Barcelona: Paidós Ibérica. OJEDA, David. (2005). ¿Artes escénicas y discapacidad¿. En: Revista de Ciencias Sociales Sociedad y Utopia 26, Madrid: 35-56. Ojeda, David/SV Flys, Elena. (2015). ¿La creación espectacular con personas con discapacidad y la accesibilidad universal del arte y la cultura escénica¿. En: Revista Acotaciones 35: 1-28. OLIVER, Michael. (2009). Understanding Disability. From Theory to Practice. 2a ed., Basingstoke et al.: Palgrave Macmillan. OSTEEN, Mark (ed.). (2008). Autism and Representation. New York et al.: Routledge. ¿. (2008a). ¿Autism and Representation. A Comprehensive Introduction¿. En: Osteen 2008: 1-47. QUAYSON, Ato. (2007). Aesthetic nervousness. Disability and the Crisis of Representation. New York: Columbia UP. PAVIS, PATRICE, (2003). El análisis de los espectáculos, Barcelona, Paidós. PORRAS Navalón, María Pilar/VERDUGO Alonso, Miguel Ángel. (2018). La voz de la discapacidad en la literatura española. Salamanca: INICO. PROUT, Ryan. (2008). ¿Cryptic Triptych: (Re)Reading Disability in Spanish Film 1960-2003: El cochecito, El jardín de las delicias, and Planta cuarta¿. In: Arizona Journal of Hispanic Cultural Studies 12: 165-187. RIZK, Beatriz, (2001). Posmodernismo y teatro en América Latina: Teorías y prácticas en el umbral del siglo XXI, Frankfurt am Main, Vervuert. ROBERTS, Peter (1983). Mimo. El arte del silencio, Bilbao, Universidad de Deusto. ROUBINE, Jean-Jacques, (2002). Introducción ás grandes teorías do teatro, Vigo, Galaxia. SÁNCHEZ Montes, María José (2004). El cuerpo como signo, Madrid, Biblioteca Nueva. SÁNCHEZ, José A., Dramaturgias de la imagen, (1999). Cuenca, Universidad de Castilla-La Mancha. ---, (1999). La escena moderna. Manifiestos y textos sobre teatro de la época de las vanguardias, Madrid, Akal. ---, (2007). Prácticas de lo real en la escena contemporánea, Madrid, Visor. ---, (2006). Artes de la escena y de la acción en España 1978-2002, Cuenca, UCLM. ¿, (2016). Ética y Representación. México: Paso de Gato. SCHECHNER, RICHARD, (2000). Performance. Teoría y Prácticas Interculturales, Buenos Aires, Libros del Rojas. SENNET, Richard. (2001). Vida urbana e identidad personal. Barcelona: Península. SHERRY, Mark. (2008). Disability and Diversity: A Sociological Perspective. New York: Nova Science. SNYDER, S. (2002). Disability Studies: enabling the humanities. New York: Modern Language Association SNYDER, Sharon L./MITCHELL, D. (2006). Cultural locations of disability. Chicago: The University of Chicago Press. STEYERL, Hito. (2008). ¿Die Gegenwart der Subalternen¿. En: Gayatri Chakravorty Spivak, Can the Subaltern Speak? Postkolonialität und subalterne Artikulation. Aus dem Englischen von Alexander Joskowicz und Stefan Nowotny, Wien: Turia + Kant: 5-15. SPIVAK, Gayatri Chakravorty. (1988). ¿Can the Subaltern Speak?¿. En: Cary Nelson/Lawrence Grossberg (ed.), Marxism and the Interpretation of Culture. Basingstoke: Macmillan Education: 271-313. ¿. (1988b). In Other Worlds. Essay in Cultural Politics. New York/London: Routledge. SZONDI, Peter, (1994). Teoría del drama moderno. Tentativa sobre lo trágico, Barcelona, Destino. THOMAS Couser, G. (2005). ¿Disability, life narrative and representation¿. En: PMLA 120, 2: 602-606. ÜBERSFELD, Anne, (1989). Semiótica teatral, Madrid, Cátedra-Universidad de Murcia. ----, (1996). La escuela del espectador, Madrid, ADE. VILLEGAS, Juan, (2000). Para la interpretación del teatro como construcción visual, California, Irvine. ¿¿, (2001). Discursos teatrales en los albores del siglo XXI, Irvine, Gestos. WATSON, Ian, (1993). Hacia un tercer teatro. Ciudad Real, Ñaque. WATSON, Nick/Roulstone, Alan/Thomas, Carol (ed.). (2012). Routledge Handbook of Disability Studies. London/New York: Routledge. Hybridity, heterogeneity, transnationalism and transculturalism are just some of the terms that have invaded the marketplace of ideas over the past several years and that reflect one of the contemporary world¿s dominant social realities: the massive displacement of peoples across borders and the creation of constricted multicultural zones of interaction and conflict within the confines of single nations. The Spanish speaking world has been affected by this phenomenon in particular ways, in both Spain and North America. In this course we will study how playwrights and stage artists¿Spanish, Latin American (Mexican) and Latino¿working in various genres have responded to this reality, how and why they have chosen to craft the collective experience of the border¿political and cultural¿as performance, and how they have attended to the resulting cultural and political tensions. Regarding the representation of disability, the course aims to review dramatic texts and shows that offer images about people with functional diversity, so that it is possible to study how they appear represented or invisible, what are the stereotypes and stigmas that are revealed and that allow us to assess what kind of cultural and political construction is proposed from the scenarios.
Learning activities and methodology
Discussion of relevant texts on the contents of the subject. Presentations of the teacher of the general contents and of the indicated texts and discussion with the students to verify their understanding and for the indication of the fields of problems they imply, as well as of the instruments that can be used in it. Oral presentations by students and debates.
Assessment System
  • % end-of-term-examination 50
  • % of continuous assessment (assigments, laboratory, practicals...) 50

The course syllabus and the academic weekly planning may change due academic events or other reasons.