Contemporary Spanish Literature
Code: 100595Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Spanish and Chinese Studies: Language, Literature and Culture | OB | 3 |
| English and Spanish Studies | OB | 3 |
| Catalan and Spanish Studies | OB | 3 |
Contact lecturer
- Name :
- José Ramón Lopez Garcia
- Email :
- joseramon.lopez@uab.cat
Teaching staff
- Francisca Montiel Rayo
Group languages
You can consult this information at the end of the document.
Prerequisites
By obtaining the minimum of credits in basic training subjects, students have demonstrated to have acquired the basic competences and they will be able to express themselves orally and in writing. For this reason, any spelling and expression errors that may be committed will lead to a score decrease in the final grade (0,25 points for each error).
Activities, practical sessions and papers submitted in the course must be original and under no circumstances will the total or partial plagiarism of third-party materials published on any medium be admitted. Any submission of non-original material without properly indicating its origin will automatically result in a failure rating (0).
It is also expected that students know the general rules of submission of an academic work. However, students could apply the specific rules that the teacher of the subject may indicate to them, if they deem it necessary.
Objectives
The objective of the subject is to provide the student with a basic knowledge of the process of Spanish literature from the twenties of the twentieth century to the first decade of the present century, gained both from the reading of some fundamental works and from the relationship between these books and their historical moment, as well as a series of basic tools for the study and analysis of the texts of contemporary Spanish literature.
Learning outcomes
- Interpret literary works critically taking into account the relations between the different areas of literature and its relation to human, artistic and social areas.
- Use the adequate terminology in the construction of an academic text.
- Present work in formats adapted to demands and personal styles, both individual and in small groups.
- Select and gather together the basic critical biography for the field of study with the main works and authors for the subject.
- Analyse a situation and identify its points for improvement.
- Identify and analyse the main characteristics of literary genres from contemporary Spanish literature.
- Contextualise the literary production of contemporary literature from an ideological and social viewpoint.
- Relate literary aspects of different works of Spanish contemporary literature.
- Comment on a text from the contemporary era with the figures of thought and expression.
- Critically analyse a contemporary theatrical text and be able to write a text commentary.
- Use the appropriate terminology in the construction of an academic text and in the transmission of their knowledge.
- Comment on a text taking into account the figures of thought and expression.
- Critically interpret literary works taking into account their historical and social context.
- Comment on literary texts, apply the acquired tools and take into account the historical and sociocultural context.
- Critically interpret literary works take into account the relationships between different areas of literature and its relationships with human, artistic and social areas.
Contents
LESSONS AND MANDATORY READINGS (*)
1. From the artistic vanguards to advanced literature:
1.1. The surrealism.
(*) García Lorca, Federico, Poeta en Nueva Yok.
1.2. The social novel.
(*) Carnés, Luisa, Tea rooms. Mujeres obreras.
2. Spanish literature during the Civil War and postwar period:
2.1. The republican exili: Play and narrative genres.
(*) Aub, Max, Escritos sobre el exilio.
2.2. Francoism: narrative genres.
(*) Martín Gaite, Carmen, Las ataduras.
3. Spanish literature and democratic society:
3.1. The poetry of experience and other poetic tendencies.
(*) García Montero, Luis, Habitaciones separadas.
3.2. Memory literature: Play.
(*) Mayorga, Juan, Himmelweg.
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Tutorials | 12 | 0.48 | |
| Lectures and practicals | 60 | 2.4 | |
| Individual study and preparation of papers, analytical comments and presentations | 75 | 3 |
The learning of this subject by the students is distributed as follows:
- Directed activities (35%). These activities are divided into master classes and seminars and classroom practices led by the faculty, in which theoretical explanation is combined with discussion of all types of texts.
- Supervised activities (10%). These tutorials are programmed by the teacher, dedicated to correcting and commenting on problems at different levels of literary analysis.
- Autonomous activities (50%). These activities include both time devoted to individual study and production of reviews, papers and analytical comments written, as well as oral presentations.
- Evaluation activities (5%). The evaluation of the subject will be carried out through oral presentations and written tests.
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Assistance and participation: delivery of brief questionnaires on the readings before their comment in class. | 10% | 0 | 0 | 1, 5, 8, 11, 12, 13, 14 |
| First written test | 35% | 1.5 | 0.06 | 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 |
| Second written test | 35% | 1.5 | 0.06 | 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 |
| Reading of the compulsory bibliography previously determined by the teacher on which an activity to be carried out in class will be based on the date agreed at the beginning of the course. | 20% | 0 | 0 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15 |
The final grade of the subject will be obtained from the following three partial notes (its value, in the final grade, it is indicated in parentheses):
1.- Assistance and participation: delivery of brief questionnaires on the readings before their comment in class. (10%).
2.- Reading of the compulsory bibliography previously determined by the teacher on which an activity to be carried out in class will be based on the date agreed at the beginning of the course (20%).
3.- A written test on the first part of the syllabus and the first three readings [35%].
4.- A written test on the second part of the syllabus and the last three readings [35%].
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. Those assessment activitys in which there have been irregularities (copying, unauthorized use of AI, etc.) are not recoverable.
This subject entirely prohibits the use of AI technologies in all of its activities. Any submitted work that contains content generated using AI will be considered academic dishonesty; the corresponding grade will be awarded a zero, without the possibility of reassessment. In cases of greater infringement, more serious action may be taken.
The review of the tests will be carried out during an interview previously agreed with the teacher.
To pass the course, students must obtain a minimum weighted average of 5 on the assessment activities.
Students who do not achieve this grade and who have previously been assessed on at least two-thirds of the course may participate in the resit (excluding the bibliography activity), provided they have obtained a minimum average grade of 3.5. The grade obtained in the resit will replace the initial grade for the final weighted average calculation.
Students will receive a grade of Not Assessable if they have not completed more than 30% of the assessment activities.
Single assessment
Students who have accepted this modality of evaluation must deliver and carry out the following evaluation activities on the day determined in the evaluation calendar that will be made public during the first week of the course:
1- Reading work and analysis of previously determined bibliography: 30%.
2- Partial exam 1: 35%.
3- Partial exam 2: 35%.
The student will be able to retake the course if they have completed the three activities (bibliography activity and the two written tests) and have an overall grade equal to or greater than 3.5. The result of the retake test will replace the grade of the failed test to calculate the final grade for the subject.
Erasmus students who request to advance an exam must present to the teacher a written document from their home university that justifies their request.
Bibliography
MANDATORY READINGS
1) García Lorca, Federico. Poeta en Nueva York, edición de Piero Menarini, Madrid, Espasa Calpe, Colección austral. Poesía, 146, 2009; Edición de Andrew A. Anderson. Barcelona, Galaxia Gutenberg, 2013.
2) Carnés, Luisa. Tea rooms. Mujeres obreras, edición de Antonio Plaza, Gijón, Hoja de Lata, 2016.
3) Aub, Max. Escritos sobre el exilio, edición de Manuel Aznar Soler. Sevilla, Renacimiento, Biblioteca del Exilio-36, 2008.
4) Martín Gaite, Carmen. Las ataduras, prólogo de Ana María Moix, Madrid, Siruela, 2020;Madrid, Debolsillo, 2025.
5) García Montero, Luis, Habitaciones separadas. Madrid, Visor. 1994; Habitaciones separadas (Veinte años sí es algo), prólogo de Jesús García Sánchez, edición de Juan Carlos Abril, Madrid, Visor, 2014.
6) Mayorga, Juan. Himmelweg. El jardín quemado, edición de Emilio Peral Vega, Madrid, Cátedra, 2024.
GENERAL
GARCÍA DE LA CONCHA, Víctor (ed.) (1984). Época contemporánea: 1914-1939, tomo 7 de la Historiay crítica de la literatura española, Barcelona: Crítica.
GRACIA, Jordi (ed.) (2000). Los nuevos nombres: 1975-2000. Primer suplemento, tomo 9/1 de la Historia y crítica de la literatura española. Barcelona: Crítica.
GRACIA, Jordi y RÓDENAS DE MOYA, Domingo (2011). Historia de la literatura española. 7. Derrota y restitución de la Modernidad (1939-2000). Barcelona: Crítica.
MAINER, José-Carlos (19812ª). La edad de plata (1902-1939). Ensayo de interpretación de un proceso cultural. Madrid: Cátedra.
MAINER, José-Carlos (ed.) (1979). Modernismo y 98, tomo 6 de la Historia y crítica de la literatura española. Barcelona: Crítica.
MAINER, José-Carlos (ed.) (1994). Modernismo y 98. Primer suplemento, tomo 6/1 de la Historia y crítica de la literatura española. Barcelona: Crítica.
MAINER, José-Carlos (2010). Historia de la literatura española. 6. Modernidad y nacionalismo (1900-1939), dirigida por José-Carlos Mainer. Barcelona: Crítica.
PRIETO DE PAULA, Ángel Luis y LANGA PIZARRO, Mara (2007). Manual de literatura española actual: de la transición al tercer milenio. Madrid: Castalia.
SÁNCHEZ VIDAL, Agustín (ed.) (1995). Época contemporánea: 1914-1939. Primer suplemento, tomo 7/1 de la Historia y crítica de la literatura española, Barcelona, Crítica.
SANZ VILLANUEVA, Santos (ed.) (1999). Época contemporánea: 1939-1975. Primer suplemento, tomo 8/1 de Historia y crítica de la literatura española. Barcelona: Crítica.
VILLANUEVA, Darío (ed.) (1992). Los nuevos nombres: 1975-1990, tomo 9 de Historia y crítica de la literatura española. Barcelona: Crítica.
YNDURÁIN, Domingo (ed.) (1980). Época contemporánea: 1939-1980, tomo 8 de Historia y crítica de la literatura española. Barcelona: Crítica.
FEDERICO GARCIA LORCA, POETA EN NUEVA YORK
FERNÁNDEZ CIFUENTES, Luis (ed.) (2005). Estudios sobre la poesía de Lorca, Madrid, Istmo.
GARCÍA POSADA, Miguel (1981). Lorca: interpretación de “Poeta en Nueva York”, Madrid, Akal.
GEIST, Anthony L. (1986), “Las mariposas en la barba: una lectura de Poeta en Nueva York”, Cuadernos Hispanoamericanos, 435-436, pp. 547-566.
GIBSON, Ian (1987). Federico García Lorca. De Nueva York a Fuente Grande (1929-1936), Barcelona, Grijalbo.
HARRIS, Derek (1978). García Lorca. Poeta en Nueva York, Londres, Grant and Cutler.
IGLESIAS ARELLANO, Mariana (2021). El amor y la transformación en "Poeta en Nueva York\". Granada: Universidad de Granada.
LLERA, José Antonio (2013). Lorca en Nueva York: una poética del grito, Kassel, Reichenburger.
LLERA, José Antonio (2018). Donde meriendan muerte los borrachos: lecturas de \"Poeta en Nueva York\". Mérida: Editora Regional de Extremadura.
MAURER, Christopher y ANDERSON, Andrew A. (eds.) (2013). Federico García Lorca en Nueva York y La Habana. Cartas y recuerdos. Barcelona: Galaxia Gutenberg / Círculo de Lectores.
SORIA OLMEDO, Andrés (2004). Fábula de fuentes: tradición y vida literaria en Federico García Lorca. Madrid: Publicaciones de la Residencia de Estudiantes.
LUISA CARNÉS, TEA ROOMS
ARIAS CAREAGA, Raquel (2017). “La literatura de Luisa Carnés durante la Segunda República: Tea rooms”, Cultura de la República, 1, pp. 55-72. Disponible en: https://revistas.uam.es/index.php/crepublica/article/view/7621
Cultura de la República, 7 (2023). Monográfico dedicado a Luisa Carnés. Disponible en: https://revistas.uam.es/crepublica/issue/view/1212
HELLÍN NISTAL, Lucía (2019). “Tea Rooms. Mujeres obreras: una novela de avanzada de Luisa Carnés”, Kamchatka, 14, pp. 179-202. Disponible en: https://ojs.uv.es/index.php/kamchatka/article/view/13806
OLMEDO, Iliana (2014a). “El trabajo femenino en la novela de la Segunda República: Tea rooms (1934) de Luisa Carnés”, RILCE, 30 (2), pp. 503-524. Disponible en: https://revistas.unav.edu/index.php/rilce/article/view/232
OLMEDO, Iliana (2014b). Itinerarios del exilio. La obra narrativa de Luisa Carnés. Sevilla, Renacimiento
SOMOLINOS MOLINA, Cristina (2022). Rojas las manos: mujeres trabajadoras en la narrativa española contemporánea. Granada: Comares.
SOMOLINOS MOLINA, Cristina (2023). “La 'mujer nueva' ha hablado”: diálogos entre Luisa Carnés y Alexandra Kollontai en Tea rooms. Mujeres obreras (1934)”.Castilla. Estudios de Literatura, (14), 833–861. https://doi.org/10.24197/cel.14.2023.833-861
MAX AUB, Escritos en el exilio
Alonso, Cecilio (ed.), Actas del Congreso Internacional “Max Aub y el laberinto español” (Valencia-Segorbe, 1993), Valencia, Ayuntamiento de Valencia, 1996, II tomos.
Aznar Soler, Manuel, Los laberintos del exilio. Diecisiete estudios sobre la obra literaria de Max Aub, Sevilla, Renacimiento, 2003.
Buschmann, Albrecht, Max Aub entre vanguardia y exilio.Sevilla, Renacimiento, 2022.
Caudet, Francisco, Galdós y Max Aub: poéticas del realismo. Alicante, Universidad de Alicante, 2011.
El Correo de Euclides: anuario científico de la Fundación Max Aub (2006-...): http://www.maxaub.org/
Entresiglos. Max Aub: http://www.uv.es/entresiglos/max/
Faber, Sebastiaan, “Un pasado que no fue, un futuro imposible. Juegos parahistóricos en los cuentos del exilio de Max Aub”, Clío, 18 (noviembre de 2000): http://clio.rediris.es/exilio/Aub/aub.htm
Malgat, Gérard, Max Aub y Francia o la esperanza traicionada, Sevilla, Renacimiento, 2007.
Monti, Silvia (ed.), Max aub de la farsa a la tragedia. Actas de las Jornadas de estudio (Verona, 13-14 de junio de 2003), Verona, Edizioni Fiorini-Università degli Studi di Verona. Dipartamento di Romanistica, 2004.
Moraleda García, Pilar, Temas y técnicas del teatro menor de Max Aub, Córdoba, Servicio de Publicaciones de la Universidad de Córdoba, 1989.
Sánchez, Zapatero, Javier, Max Aub y la escritura de la memoria, Sevilla, Renacimiento, 2014.
Sanz Álvarez, María Paz, Narrativa breve de Max Aub, Madrid, Fundación Universitaria Española, 2004.
Soldevila Durante, Ignacio, La obra narrativa de Max Aub (1929-1969), Madrid, Gredos, 1973.
Soldevila Durante, Ignacio, El compromiso de la imaginación. Vida y obra de Max Aub, Segorbe, Fundación Max Aub, 1999.
Valender, James y Rojo, Gabriel (eds.): Homenaje a Max Aub. México: El Colegio de México, 2005.
CARMEN MARTÍN GAITE, LAS ATADURAS
ALEMANY BAY, Carmen (1990), La novelística de Carmen Martín Gaite: Aproximación crítica, Salamanca: Ediciones de la Diputación de Salamanca.
CIPLIJAUSKAITÉ, Biruté (2000), Carmen Martín Gaite (1925–2000), Madrid: Ediciones del Orto.
JURADO MORALES, José (2001). Del testimonio al intimismo. Los cuentos de Carmen Martín Gaite. Cádiz, Servicio de Publicaciones de laUniversidad de Cádiz. Disponible en: SKM_C25822040713350 (uca.es)
JURADO MORALES, José (2003). La trayectoria narrativa de Carmen Martín Gaite. Madrid: Gredos.
JURADO MORALES, José (2018). Carmen Martín Gaite. El juego de la vida y la literatura. Madrid: Visor Libros.
O'LEARY, Catherine y RIBEIRO DE MENEZES, Alison (eds.) (2008). A Companion to Carmen Martín Gaite. Woodbridge, U.K. / Rochester, N.Y.: Tamesis.
TERUEL, José (2025). Carmen Martín Gaite. Una biografía. Barcelona: Tusquets.
LUIS GARCÍA MONTERO, Habitaciones separadas
ABRIL, Juan Carlos (2015). “Dos momentos decisivos en la poesía de Luis García Montero”, Signa. Revista de la Asociación Española de Semiótica, 24, pp. 149-162. Disponible en: https://dialnet.unirioja.es/servlet/articulo?codigo=5057981
ABRIL, Juan Carlos y CANDEL VILA, Xelo (eds.) (2009). El romántico ilustrado. Imágenes de Luis García Montero. Sevilla: Renacimiento.
ABRIL, Juan Carlos y FERNÁNDEZ SERRATO, Juan Carlos (ed.) (2018), La hora de escribir: perspectivas sobre Luis García Montero. Madrid: Visor.
AMANN, Elizabeth (2010). “Separate Rooms: Luis García Montero and the Reading of Experience”, Symposium.Quarterly Journal in Modern Literatures, 64.3, pp. 187-201.
DÍAZ DE CASTRO, Francisco (1996). “Habitaciones separadas de Luis García Montero\", Ínsula, 594, pp. 22-24.
OLEZA, Juan Carlos. (2003). “Luis García Montero: ‘El insomnio de Jovellanos’, un tiempo mío entre dos olas”. En: Jesús García Sánchez (ed.), Centuria. Cien años de poesía en español. Madrid: Visor, pp. 403-418
SCARANO, Laura (2004). Las palabras preguntan por su casa. La poesía de Luis García Montero. Madrid: Visor.
JUAN MAYORGA, Himmelweg
AZNAR SOLER, Manuel (2011). «Memoria, metateatro y mentira en Himmelweg, de Juan Mayorga», estudio introductorio a, Juan Mayorga. Himmelweg. Estudio introductorio, notas y apéndices de Manuel Aznar Soler. Ciudad Real: Ñaque, pp. 15-128.
BRIGNONE, Germán (2017). Tránsitos, apropiaciones y transformaciones: un modelo de cartografía para la dramaturgia de Juan Mayorga. Madrid: Consejo Superior de Investigaciones Científicas.
BRIZUELA, Mabel (ed.) (2011). Un espejo que despliega. El teatro de Juan Mayorga. Córdoba: Universidad Nacional de Córdoba, Facultad de Filosofía y Letras.
DI PASTENA, Enrico (2010). “El reloj y la canción: la dimensión metatextual en Himmelweg, de Juan Mayorga”, Annali dell'istituto Universitario Orientale di Napoli. Sezione Romanza, 52, pp. 29-57.
DÍEZ PUERTAS, Emeterio (ed.) (2019). Poliedro: acerca de Juan Mayorga. Madrid: Ediciones Antígona.
FRANCISCO RODÓ, Alicia(2017). “El tiempo delos vencidos en Himmelweg de Juan Mayorga. El teatro histórico como teatro político”, Anagnórisis. Revista de investigación teatral, 16, pp. 220-244. Disponible en: http://anagnorisis.es/pdfs/n16/AliciaFrancisco(220-244)n16.pdf
GARCÍA BARRIENTOS, José-Luis (2016). “Puesta en escena de lo irrepresentable (Análisis de la dramaturgia de Himmelweg)”. En: José-Luis García Barrientos (ed.), Análisis de la dramaturgia española actual. Madrid: Ediciones Antígona, pp. 225-264.
MONLEÓN, José (2004). “Himmelweg, de Juan Mayorga: La construcción de la memoria”, Primer Acto: Cuadernos de Investigación Teatral, 305, pp. 25–27.
NOTA: Com citar i elaborar la bibliografia: https://www.uab.cat/web/estudia-iinvestiga/com-citar-i-elaborar-la-bibliografia-1345708785665.html.
Software
Not any.
Course groups and languages
The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE
| Type of teaching | Group | Language | Semester | Shift |
|---|---|---|---|---|
| (TE) Theory | 2 | Spanish | second semester | morning-mixed |
| (PAUL) Classroom practices | 2 | Spanish | second semester | morning-mixed |