Guide in PDF format

Bachelor's Degree Final Project

Code: 106392
Credits: 6

2026/2027

Degree programme	Type	Course
Spanish Language and Literature	OB	4

Contact lecturer

Name :: Rebeca Martín López
Email :: rebeca.martin@uab.cat

Group languages

You can consult this information at the end of the document.

Prerequisites

- Students can enroll in the Degree Fianl Project (TFG) TFG once they have passed two thirds of the syllabus, that is, 160 ECTS.-The TFG is a 4th year second-semester. Students who are registered for the TFG a second time or who justify circumstance will be able to do the TFG durint the first semester if the Teachig Comitee grants permission.

- 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.

- In regards to writing, it's understood that the student will write paragraphs with full content. Obviously, spelling errors, punctuation and speech structure will be taken into account.

- 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 may indicate to them, if it is necessary.

Objectives

Unique training objective is the realization and presentation of an academic work of synthesis, applied to any of the subjects of the degree or to their interrelation.
This work includes two training activities:

1. The realization of a written work on a specific topic within the framework of the subjects included in the degree's syllabus. The written text of the TFG (Degree Final Project) must contain, according to the agreement between the tutor and the student, the presentation of a theoretical framework, a state of the issue made from the bibliographic search, the selection criteria of the analyzed materials, the critical analysis, a section of conclusions and the list of references used in the TFG.

2. The oral and public defense of the work before a court constituted specifically for that purpose.

Learning outcomes

Express ideas with a specific vocabulary appropriate to the discipline, following the rules of the Spanish language.
Organise the written discourse in such a way as to include in this work the parts of an academic text: theoretical framework, methodology, results, discussion of the data and conclusions.
Express themselves using argumentative procedures both orally and in writing, as required by a scientific work.
Answer the questions posed by the examining board in an appropriate manner.
Be able to draw up a work plan and the timing of activities.
Find solutions to problems in an autonomous manner.
Choose a linguistic phenomenon about the Spanish language that raises discussion and know how to develop this.
Select critically and effectively synthesize the literature on literary aspects and / or linguistic phenomena.
Present, describe and critically analyze a philological issue and be able to properly present it orally and in writing.
Produce original work that makes a contribution to the knowledge of Spanish language and literature, to the application of this knowledge, to its transfer to the professional sphere or to its social dissemination.
Discover the potential of information sources offered by the virtual world and know how to manage it at work.
Search for digital tools appropriate to the type of work being carried out.
Mention the sources consulted to avoid plagiarism.
Know how to use direct and indirect quotations in the text.

-The studies of the Spanish Language and Literature Degree must conclude with the elaboration and defense of a final work of degree: the Degree Final Project (TFG), of 6 ECTS credits.

-This work is part of the fourth-year supplementary training wich the student must attend along with the 54 optional credits of the training offer of the last year of the Degree.

-The Degree Final Project is an individual and autonomous work under the supervision of a teacher - tutor assigned from among the professors of the degree. Works realized in group are not admitted.

-The Degree Final Project consists of the presentation in writing and the oral defense of a topic referred to any of the subjects of the Degree or their interrelation. The text of the TFG, along with its oral presentation, will make it possible to evaluate in a global and synthetic way the mastering that students possess of the specific and transversal skills associated with the bachelor's degree. Students may select a topic related to Spanish

-Language, Spanish Literature, Theory of Literature and Comparative Literature or Linguistics, taking into account the wide range of topics offered by the degree. Exceptionally, some topics that involve initiation in Spanish linguistic or literary research may be proposed.

-The TFG must be written and defended orally in Spanish. As indicated below (sections 1.8 and Assessment), students in combined degree programmes must include an abstract of the TFG in the second language and also carry out part of the oral defense in that language.

Learning activities and methodology

Title	Hours	ECTS	Learning outcomes
Tutorials and correction of drafts	15	0.6	1, 2, 3, 5, 6, 8, 9, 11, 12, 13
Group tutorials and information sessions	4	0.16	7, 8, 14
Proposal and work within established deadlines (documentation, readings, synthesis and writing)	130	5.2	1, 2, 3, 4, 10

1. PROCEDURES FOR THE ASSIGNMENT OF DEGREE FINAL PROJECT

1.1 Students must select five topics from the list that appears at the end of this Teaching Guide: \"List of topics, Studies of Language, Spanish Literature and Theory of Literature and Comparative Literature\" or on the website of the Facultat de Lletres.

This list of topics has been provided by the teachers of the Department who can tutor the TFG. In some cases, works titles can be orientative, in order to later specify with the student the precise aspect that can be developed in the TFG.

In September 2025, an updated list of instructors and topics will be made available through the Moodle platform

1.2 The student will send through a form that will be previously provided to the students in the Moodle space of the subject, the five tutor proposals and topics of the Degree Final Project, according to order of priority, taking into account the calendari ndicated below (Section 2). At least three tutors must be selected from all those listed. The coordination will assign the tutors to the students according to the academic record of the students enrolled. It will be taken into account that the number of TFG directed by a tutor is balanced among all the teachers who can tutor the works and that the same tutor can't supervise more than 3 jobs among all the degrees in which the Department teaches.

1.3 If students are interested in a not listed topic, they should contact the coordination of the TFG, which will address them to the possible tutor and, if necessary, put them in contact with a specialist in the area. Likewise, students will contact the coordinator if interested in carrying out a co-authoritative work along with a professor from another department.

1.4 Inexceptional cases, the tutor may or may not accept the mentoring of a TFG, as well as students may decide if they prefer a tutordifferent from the one proposed in the list. In these cases, the tutor and/or the students will have toinform the coordination of the subject, which has the task of managing the allocation of topics and tutors.

1.5 Only in justified cases (Erasmus ...), the mentoring of a TFG will be carried out virtually, provided that the tutor agrees and communicates it to the TFG coordination. The TFG defense will always be face-to-face.

1.6 If the student has not contacted the teacher on the date determined for the delivery of evidence 1 (\"Follow-up\"), it will be considered NOT ASSESSED and the sutdent will not be able to continue with the other assessment activities.

1.7. The TFG of the Spanish Language and Literature degree must be written in Spanish language. The oral defense will also be in Spanish language. Students of combined degrees may write and defend their work in Spanish or in the language of the other degree they are studying.

1.8. TFGs in combined degree programmes affiliated with the Department of Spanish Philology must be written in Spanish and include an abstract of the project in the second language. The oral defense will consist of two parts: the defense of the TFG in Spanish and an oral summary in the second language (see the Assessment section for further details).

2. SCHEDULE

Semester B

July 2026: Registration period.
1^st – 16^th October 2026: Supervisor and topic preferences to be manifested.
19^th October – 13^th November 2026: Supervisor and topic assignment.
16^th November 2026: Publication of supervisor.
26 February 2027: Submission of Evidence 1.
20 May 2027: Submission of a complete draft of the TFG, with only the conclusions remaining to be completed.
10^th June 2027: submission of Evidence 2, that is, the complete and final version of the TFG for the supervisor. In the following days:
The supervisor evaluates Evidence 2 and authorises the submission of the final version of the thesis.
The student completes the metadata and activates the anti-plagiarism declaration and, if desired, the option for publication in the DDD.
18^th June 2027, by 14:00: submission of the TFG to the coordination team.
28^th June– 2^nd July 2027: TFG oral presentations.

Semester A (exceptional cases)

21^st September 2026: Deadline to request to do the TFG in semester with the conditions specified in each syllabus.
22^nd – 30^th September 2026: Supervisor and topic assignment.
25^th January 2027: Due date for final TFG version.
1^st – 5^th February 2027: TFG oral presentations.

3. RULES FOR THE PRESENTATION OF THE TFG

The student will submit the TFG through the tfe.uab.cat platform, in accordance with the instructions provided by the coordination team, as set out in the Student Handbook. Therefore, the entire process described below must be carried out via the aforementioned tfe.uab.cat platform.

-The student must submit a PDF copy of the Bachelor’s Dissertation (TFG).

-The cover page must include the following information:

Author’s name.
Supervisor’s name.
Title of the work.
Degree programme.
Academic year in which it is assessed and, as noted, the supervisor’s signature.

-The student must complete the metadata in Spanish, Catalan, and English, authorise or not the publication of their work, and sign the anti-plagiarism declaration.

-Length of the dissertation:

Between 4,000 and 9,000 words (15 to 25 pages).
The cover page, table of contents, bibliography, and any appendices are not included in the word count.

-Format must be A4, 1.5 line spacing, Times New Roman 12 pt.

-The student must follow a single documentation style, previously agreed with the supervisor, for in-text citations and the final bibliography (citation–note system, MLA, APA, etc.).

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.

Assessment

Continuous assessment activities

Title	Weight	Hours	ECTS	Learning outcomes
Oral Presentation	40%	1	0.04	1, 3, 4, 9
Assessment of the written work	60%	0	0	1, 2, 3, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14

The follow-up and the submission of the TFG will be done through the tool tfe.uab.cat

MONITORING

-As indicated in the section on the calendar, at the beginning of the teaching period of the course the student will agree on the follow-up of their TFG, specifying the number of mandatory supervision sessions and the planned submissions set by the supervisor. It is essential that the supervisor records the supervision sessions and agreed submissions through the tfe.uab.cat platform.

PLAGIARISM

-The work submitted for the course must be original, and under no circumstances will total or partial plagiarism of third-party materials published in any format be accepted. The student must properly acknowledge, in accordance with bibliographic documentation standards, the authorship of all citations and the use of external materials. The submission of non-original material without proper indication of its source (copying, unauthorized use of AI) will automatically result in a failing grade (0).

-Plagiarism is the act of copying from unidentified sources a text, whether a single sentence or more, and presenting it as one’s own work (this includes copying sentences or fragments from the internet and inserting them without modification into the submitted text), which is considered a serious offence. It is necessary to respect intellectual property and always reference the sources used, and it is essential to take responsibility for the originality and authenticity of one’s own work.

-The use of Artificial Intelligence (AI) technologies (or tools incorporating generative AI) to generate text is not permitted in Bachelor's Degree Final Projects (TFGs) in Philology programmes. This includes using AI to write, rewrite, translate, summarize, synthesize, compile a bibliography, extract quotations, produce an outline, or generate presentation slides, as students are required to demonstrate their own mastery of these academic skills. Permission to use AI for any other purpose is subject to the discretion of the TFG supervisor and the course coordinator. If such use is authorized, the student must obtain written approval from both the supervisor and the coordinator by means of a signed document, which must be attached to the TFG and must specify the tasks for which the student is permitted to use AI. In addition, the student must include a further appendix clearly describing how AI was used and providing a critical reflection on the ways in which the use of AI influenced both the research process and the final outcome of the project. Failure to disclose the use of AI in the TFG will be regarded as a breach of academic integrity and may result in a partial or total reduction of the final grade, or in more severe disciplinary sanctions in cases of serious misconduct.

ASSESSMENT

-The assessment of the TFG will take place only during the period between late June and early July. The TFG is a second-semester course; therefore, its submission and defence may only be carried out in the first semester in exceptional cases and following an interview with the coordinator.

-The assessment of the work is always individual and consists of two parts, both mandatory: the final dissertation and the oral defence.

-The supervisor is responsible for the first part of the assessment, which accounts for 60% of the final grade. This 60% is the result of adding the assessment percentages of the different evidences submitted to the supervisor. The supervisor must evaluate both the final outcome of the work and the follow-up process of the learning activities, taking into account the learning outcomes linked to the competencies specified in the course syllabus. (Evidence 1 and 2 uploaded to the course Moodle and to the tfe.uab.cat platform)

-In order to carry out the oral defence of the TFG, the student must obtain a minimum grade of 5 (out of 10) in the written part, assessed by the supervisor. The supervisor’s approval is an essential requirement for submitting the TFG.

-To pass the TFG, the student must pass both parts, written and oral, with at least a 5 (out of 10).

-The coordination team will announce the tribunals responsible for the oral defence within a maximum of three working days from the final submission date of the TFG.

-The second part of the assessment, accounting for 40% of the final grade, is carried out by a tribunal composed of two lecturers, before whom the work is orally defended. The oral defence is mandatory and always in person. In this second part, the student will give an oral presentation of their work not exceeding 15 minutes. After the defence, the tribunal may ask any questions it deems appropriate. For this part of the assessment, the tribunal will use a document outlining the aspects to be considered for evaluating oral competencies. The tribunal may also assess competencies related to written language.

-Students enrolled in combined degree programmes:

Students must include in their Final Degree Project an extended summary (between 5 and 8 pages) of the work carried out in the language of the degree combination that was not chosen for the main project (Language 2). This summary must include the objectives, methodology, an analysis of the results, and an evaluation of the conclusions.
Language proficiency and academic use of both degree languages will be assessed by an examination board composed of specialists in both languages.
The summary must be included in the same document as the Final Degree Project. It should be placed at the beginning of the project, after the table of contents. The document must include an abstract of approximately 150 words in Language 1, followed by an extended summary (5–8 pages) in Language 2. This summary must contain a synthesis of the main sections of the project (objectives, methodology, results, discussion, and conclusions) and include the essential bibliographical references already cited in the Final Degree Project written in Language 1, using the same citation style employed throughout the project. Tables and figures may not be included in this summary, as they will appear in the Language 1 section, although they may be referred to from the text of the Language 2 summary. If there are original quotations that require translation, they should be included in translation with a footnote.
Failure to comply with the required length (fewer than 5 pages or more than 8 pages) will be taken into account during the assessment.
The oral defence will consist of a presentation lasting no more than 15 minutes, followed by a question-and-answer session with the examination board lasting no more than 20 minutes. During the presentation, the final section covering the conclusions, the project's contributions, and future research should be delivered in Language 2, that is, the language of the degree combination in which the project was not written.
It is recommended that the presentation follow this structure:
Introduction to the topic and its justification.
Objectives.
Methodology.
Main results.
Conclusions, contributions of the project, and future research.
Once the presentation has concluded, the examination board will ask any questions it considers appropriate, and the student must respond with well-reasoned answers. The board's questions may address, among other topics, the bibliography, the methodology, or grammatical and language-use aspects found in the content of the project.

-The TFG coordination will publish grades on the Moodle platform according to the planned schedule.

-A TFG will be considered NOT ASSESSABLE if the student has not contacted the lecturer by the deadline set for submission of Evidence 1 (follow-up) and, therefore, cannot continue with other assessment activities. It will also be considered NOT ASSESSABLE if, once the follow-up has been submitted, the student has not delivered any of the other items listed in the “Calendar” section of this teaching guide.

-If the student decides not to submit their TFG in the enrolment call, they must inform their supervisor and the TFG coordination as soon as possible.

-The highest grade of honours distinction will be awarded by an external panel of lecturers. The committee will take into account 75% of the TFG grade and 25% of the student’s academic record from the last two years.

-The TFG is not subject to resit.

-The TFG is subject to the same ordinary and extraordinary review processes. Therefore, the supervisor must establish clear monitoring for both written evaluation and presentation, and the same applies to the oral defence. In this case, the tribunal will explicitly point out shortcomings in either the oral or written component.

SINGLE ASSESSMENT

This course does not provide a single assessment system.

Bibliography

About writing

BUSTOS GISBERT, J. M. (1996): La construcción de textos en español. Salamanca: Universidad de Salamanca.

CASSANY, D. (1995): La cocina de la escritura. Madrid: Anagrama, Colección Argumentos, 162. [Versión castellana, del autor de La cuina de la escriptura, Barcelona: Empúries, 1993].

CASSANY, D. (2007): Afilar el lapicero. Guía de redacción para profesionales. Madrid: Anagrama.

MONTOLÍO, E. (coord.) (2000): Manual práctico de escritura académica. Barcelona: Ariel. 3 vols.

NÚÑEZ LADEVÉZE, L. (1993): Teoría y práctica de la construcción del texto. Barcelona: Ariel.

REYES, G. (1998): Cómo escribir bien en español. Madrid: Arco/Libros.

WALKER, M. (2000): Cómo escribir trabajos de investigación. Barcelona: Gedisa, trad. de José A. Álvarez.

About research

COROMINA, Eusebi, Xavier CASACUBERTA y Dolors QUINTANA (2002): El trabajo de investigación (traducción y adaptación al castellano de Luisa Cotoner). Vic-Barcelona: Eumo-Octaedro.

ECO, Umberto (1983): Cómo se hace una tesis. Técnicas y procedimientos de investigación, estudio y escritura. Barcelona: Gedisa. [Versión castellana de Lucía Baranda y Alberto Clavería Ibáñez].

HARVEY, Gordon (2001): Cómo se citan las fuentes. Madrid: Nuer Ediciones.

HOLTUS, Günter, Michael METZELTIN y Christina SCHMITT (eds.) (1988-2004): Lexikon der Romanistischen Linguistik. Tübingen: Niemeyer, 1988-2004.

LÁZARO CARRETER, Fernando (1963): Diccionario de términos filológicos. Madrid: Gredos.

MONTEMAYOR HERNÁNDEZ, María Velia, María Consuelo GARCÍA TREVIÑO y Yolanda GARZA GORENA (2002): Guía para la investigación documental. México: Trillas.

ORNA, Elisabeth y Graham STEVENS (2001): Cómo usar la información en trabajos de investigación. Barcelona: Gedisa.

PÖCKL, Wofgang, Franz RAINER y Bernhard PÖLL (2004): Introducción a la lingüística románica. Madrid: Gredos.

REGUEIRO, Mª Luisa y Daniel M. SÁEZ RIVERA (2013), El español académico. Guía práctica para la elaboración de textos académicos. Madrid: Arco-Libros.

SIERRA BRAVO, Restituto (1999): Tesis doctorales y trabajos de investigación científica; metodología general de su elaboración y documentación. Madrid: Paraninfo.

TOLCHINSKI LANDSMAN, Liliana, Mª José RUBIO HURTADO y Anna ESCOFET ROIG (2002): Tesis, tesinas y otras tesituras. De la pregunta de investigación a la defensa de la tesis. Barcelona: Edicions de la Universitat de Barcelona.

TRIGO ARANDA, Vicente (2002): Escribir y presentar trabajos en clase. Madrid: Prentice-Hall.

LIST OF TFG TOPICS

2026-2027

This list of teachers and subjects will be extended in September. The list will be published in the Moodle of the course.

SPANISH LANGUAGE

Lourdes AGUILAR

1. Analysis of the relationship between speech acts and prosodic events in a corpus of dialogues.

2. Study of accentual typology (prominent and secondary accents) in dialogue situations.

3. Strengthening and weakening axes in consonants. Phonetic and phonological processes of Spanish in spontaneous speech.

4. Diction, intelligibility, naturalness. The evaluation of pathological speech.

5. Linguistic diversity in America: languages, identities and education.

6. Spanish in the United States: phonetic phenomena in heritage speakers.

7. Creation of educational resources for teaching Spanish language.

Cristina BUENAFUENTES

1. Morphology (lexical or inflectional) in the light of variation (temporal, geographical, social and/or situational).

2. Morphology and its lexicographic reflection (synchronic and/or diachronic perspective)3.

3. Historical morphosyntax of Spanish

4. The updating of grammar contents (especially morphology or word classes) in Secondary and Baccalaureate language subjects.

Teresa CANTILLO

1. Historical lexical study.

2. Hidden glossaries.

3. Compilation of a specialized glossary.

4. Analysis of a specialized lexicographical repertoire.

5. Grammar teaching in secondary education (ESO/Bachillerato).

6. Americanisms in historical texts.

7. Plain and accessible language.

Gloria CLAVERÍA

1. History of the Spanish language: the language in the 19th century.

2. Spanish neologisms (both from the historical point of view and from the synchronic and current point of view).

3. History of Spanish lexicography: from Nebrija to the dictionaries of the 21st century with special attention to the 19th century.

4. Lexicological studies of Spanish (examples: colors, sports lexicon, modern cultisms, etc.).

Javier FERNÁNDEZ SÁNCHEZ

1. Syntax.

2. Semantics and Pragmatics.

3. Comparative Grammar (Romance, Germanic, and Slavic Languages).

Margarita FREIXAS

1. Linguistic resources of literary language in the Spanish press.

2. Linguistic resources in visual poetry.

3. History of lexicography: analysis of the evolution of aspects of academic and non-academic dictionaries.

4. Reception of variation and settlement of norms in lexicographic works.

5. Variation and norm: case studies of variation from a diachronic point of view.

Emma GALLARDO RICHARDS

1. Castilian Spanish in Catalonia from a historical perspective

2. Contact between Spanish and Catalan in the present day

3. Language and the press in the 19th century

4. Linguistic historiography

5. Advertising language today (analysis by brands, products, linguistic or literary resources, etc.)

6. Linguistic errors in advertising

7. Advertising language in the 19th and 20th centuries

Joaquim LLISTERRI

1. Applied Phonetics.

2. Linguistics and Psycholinguistics Applied to Speech and Language Therapy.

María Jesús MACHUCA

1. Contrastive phonetic studies in Spanish learners.

2. Phonetic and phonological categories of the phonemes in syllable-final position.

3. Phonetic manifestations of sounds in contact.

4. Hesitation phenomena in spontaneous speech.

5. Acoustic and perceptualparameters of accent in spontaneous speech.

6. Perception of vowel or consonant lengthening in Spanish.

Marta PRAT

1. Lexicography or phraseography: Spanish language or Spanish-other language/s (synchronic and/or diachronic perspective).

2. Lexicology or phraseology (idiomaticity and/or variability): Spanish language or Spanish-other language/s (synchronic and/or diachronic perspective).

3. Variation of the Spanish language, norm and usage (synchronic perspective).

4. Didactic monolingual lexicography (analysis of dictionaries of different educational levels): selection of specific aspects.

Matthias RAAB

1. The morphological creativity of Spanish.

2. Historical dialectology: fifteenth-century chancery documentation.

3. Grammatical information in the 1884 edition of the DRAE.

4. Analysis of political discourse.

Irene RENAU

1. Corpus-based analysis of lexical meaning.

2. The use of generative artificial intelligence models to detect metaphor and metonymy in corpora.

3. Linguistic and spelling conventions in today’s press: Do journalists adhere to the conventions?

4. The creation of rules for the automated correction of punctuation and other stylistic conventions.

Yolanda RODRÍGUEZ

1. Contrastive analysis between languages. Comparative analysis of a grammatical phenomenon in Spanish and Catalan, Spanish and English?

2. Critical analysis of contrasted theoretical proposals. Critical analysis of the treatment of a grammatical phenomenon from the reading of two or more works that present divergent theoretical proposals to account for it.

3. Research based on corpus management. Analysis of a given grammatical phenomenon whose characteristics can be relatively easily delimited by means of database management.

4. Spanish L2. Study of some relevant aspect of the grammar of Spanish as an L2.

5. Study of grammatical and pragmatic aspects in discourse. Elaboration of a work in which the relevance of grammatical and non-grammatical phenomena in the preparation of a discourse is addressed.

Juan ROMERO

1. Case and/or agreement in subject licensing

2. Null subject phenomena

3. Case and/or agreement in direct object licensing

4. Non-argument indirect objects

MARIA ASSUMPCIÓ ROST

1. Phonic interference phenomena in Spanish in contact with other languages.

2. Dialectology and phonetics: processes of variation and phonic change in the varieties of Spanish.

3. Sociophonetics: phenomena of social and stylistic variation.

4. Phonetic information in linguistic atlases: exploitation of data and contrast with other sources.

5. Analyzing the past from the present: diachronic phonic changes from current phonetics.

Carlos SÁNCHEZ

1. Contrastive analysis of grammatical changes between Medieval and Classical Spanish.

2. Grammatical norm and linguistic change in the history of Spanish.

3. Processes of grammaticalization in current Spanish.

4. Linguistic change and periodization in the history of Spanish.

5. Metaphor and metonymy in the lexicalization of phraseological units in Spanish.

6. Grammatical change in the light of Spanish dictionaries.

Natalia TERRÓN

1. History of Spanish lexicography.

2. Dialectology. Analysis of the dialectal variation of Spanish through linguistic atlases.

3. Spanish as a foreign language (essential to have taken the course Spanish as a Foreign Language).

4. Variation and norm. Study of the relationship between the norm and usage.

5. Hispanic linguistic historiography. The history of Spanish through its texts.

SPANISH AND LATIN AMERICAN LITERATURE

Montserrat AMORES

1. Analysis of an aspect of one or more novels by Spanish romantic or realist and naturalist writers (Leopoldo Alas, Pedro Antonio de Alarcón, Benito Pérez Galdós, José María de Pereda, Benito Pérez Galdós, Jacinto Octavio Picón).

2. Analysisof an aspect of a selection of short stories, articles on customs, travel stories or journalistic articles by a writer of the 19th century.

3. Comparative analysisof one aspect of a Spanish and a European novel of the 19th century.

4. Analysis of illustrated magazines or journalistic articles from the Spanish or Mexican press of the XIX century.

Sònia BOADAS

1. Digital tools applied to the study of literary heritage.

2. Critical edition and digital critical edition.

3. Study of the process of literary creation from autograph manuscripts.

4. Women's writing through their manuscripts (Leonor de la Cueva, María de Zayas, María Jesús de Ágreda, Santa Teresa de Jesús, Sor Juana Inés de Jesús).

5. Edition and study of some aspects of Lope de Vega's works.

6. Circulation and transmission of the texts of the Golden Age.

7. Material bibliography (study of the printing process of the texts).

8. Analysis of some aspect of the political prose of the 17th century (Saavedra Fajardo, Gracián, Quevedo, Malvezzi, etc.).

9. The beginnings of journalism: the relations of events.

10. Propagandistic literature during the Thirty Years' War (1618-1648).

11. Aspects and traces of the scientific revolution of the seventeenth century in the golden literature.

12. Influence of image and iconography in golden literature.

Lucía COTARELO

1. Women's literature of the 20th and 21st centuries

2. Spanish poetry of the 20th and 21st centuries: works, authors, poetics.

3. Spanish narrative of the twentieth and twenty-first centuries.

4. The literature of the Republican exile of 1939: testimony, memory, otherness, identity...

5. Spanish poetry through historical and cultural phenomena: Civil War, Francoism, Transition, crisis...

6. Contemporary literature and digital humanities

7. Digital Historiography: rethinking the preservation and exploitation of literary heritage.

8. Digital native literature

Beatriz FERRÚS

1. Alterity and imaginary in the chronicles of the Indies.

2. Sor Juana Inés de la Cruz in 'the literate city'.

3. Conventual literature: women and knowledge in the viceroyalties.

4. Literature and imagined community in the Hispanic-American 19th century.

5. The emergence of the professional woman writer in the 19th century Spanish-American.

6. Postmodernist poets in Latin America.

7. The boom of Hispanic American literature: findings and criticisms.

8. Testimony, memory and post-memory in Latin America.

9. Literature and gender identities in Hispanic America.

10. Writings of the unusual in Latin America.

11. Necroescrituras in Latin America.

12. Dystopia and ecology in Hispano-American literature.

Esther LÁZARO

1.- Contemporary drama and staging.

2.- Spanish theater of the XX-XXI centuries.

3.- Women writers in the press of the Second Republic.

4.- Cultural press during Franco's regime.

5.- Epistolary, archives and memory.

Literature of the republican exile of 1939.

José Ramón LÓPEZ

1. The poetic avant-garde (1910-1939).

2. The theatrical avant-garde (1910-1939).

3. The poetry of the republican exile of 1939.

4. Scene and dramatic literature of the republican exile of 1939.

5. Spanish poetry during Francoism and the Transition.

6. Scene and dramaticliterature during the Franquismo and the Transition.

7. Current Spanish poetry.

Rebeca MARTÍN

1. Causes célèbres: crime, press and literature in the XVIII, XIX and XX centuries.

2. Causes célèbres: comparative framework with the French, English and Spanish-American cases.

3. Spanish short stories and novels of the 19th, 20th and 21st centuries.

4. Modern and contemporary fantastic literature.

Beatriz MARTÍNEZ LÓPEZ

1. Archive and memory.

2. Art and literature.

3. Francoist censorship.

4. Culture and propaganda.

5. Art criticism.

6. Anarchist editing and publishing.

7. Cultural strategies for the construction of identity(ies) in Spain.

8. Artistic manifestos and avant-garde magazines.

9. Cultural press and magazines of Francoism and the Spanish Republican exile from 1939.

10. Political and cultural networks between the exile and inland Spain.

Francisca MONTIEL RAYO

1. The literature of the Republican exile of 1939: narrative (analysis of a novel, a book of short stories or tales).

2. The literature of the Republican exile of 1939: writings of the self (analysis of a book of memoirs, an autobiography, a diary or an epistolary).

3. Postwar narrative: analysis of a novel or a volume of short stories.

4. Current narrative: Analysis of a novel or a volume of short stories.

Bienvenido MORROS

1. Edition and commentary of unpublished poetic texts from the Middle Ages and the Golden Age. Selection of short texts that may or may not be transmitted by more than one testimony.

2. The degrees of love in medieval literature.

3.The literary polemics around the genre of epic in the Golden Age.

4. Mythology in Alphonsine prose. Selection of a myth not yet studied in relation to the historiographical work of Alfonso X.

5. The medieval origins of the myth of Don Juan Tenorio.

6. The figure of medieval kings in the theater of Lope de Vega. Selection of plays and historical characters, such as Alfonso XI or Pedro I, and their role in different playwrights.

7. Anniversary sonnets in thepoetry of the Golden Age.

8. Flora and the theme of abduction in Spanish literature: origin and its different versions.

9. New sources on the legend of the lovers of Teruel in the Renaissance.

10. The influence of Dante's Vita Nuova in medieval Spanish literature.

11. Don Quixote in the cinema

12. The ambiguity of Melibea's beauty.

13. Garcilaso's women: prototype or reality.

14. The ecstasies of St. Teresa between religion and illness.

15. The symbolism of the nightingale in the Middle Ages and the Golden Age.

16. Poetry goliarda in Castilian in the Middle Ages.

Laura PACHE CARBALLO

1. Contemporary short fiction.

2. Short story anthologies in the 20th and 21st centuries.

3. 19th-century women’s magazines.

4. The representation of women in contemporary literature (short stories, micro-stories, novels, comics, etc.).

5. The literary work of Enrique Vila-Matas.

6. Hybrid forms in contemporary Spanish fiction.

7. Humour and feminism (short stories, novels, micro-stories, comics, etc.).

8. Comics, gender and cultural memory.

9. Women and the avant-garde in Spain.

Agustín SÁNCHEZ AGUILAR

1.El Cid, legend and history.

2. Don Quijote.

3. Theatre of the Golden Age.

4. Greco-Latin mythology in Spanish literature.

5. Didactic proposals for teaching literature in secondary education.

6. Publishing outlook.

Alba SAURA CLARES

1. Hispano-American theater, from its origins to the XXI century.

2. Hispano-American theater and its relations withSpanish and European theater.

3. The Hispano-American short story of the XX and XXI century.

4. Forms of violence in Hispano-American literature.

5. Testimony and memory in Hispanic American literature.

6. Forms and expressions of queer/cuir in Hispanic American literature since the twentieth century.

7. Feminism and literature in Latin America.

8. Subaltern discourses and the decolonial turn in Latin American literature.

Guillermo SERÉS

1. Poetry of traditional type in San Juan de la Cruz and Santa Teresa de Jesús.

2. The moral Epistle to Fabius: sources, meaning and structure.

3. The mythological poetry of the Count of Villamediana.

Narrative genres in Don Quixote. Function and distribution.

5. Evolution of the seventeenth-century court novel.

6. Colonial literature: epics and chronicles.

7. Medieval storytelling.

Ramón VALDÉS

1. Literature and Digital Humanities.

2. Digital critical edition (edition of a work or fragment).

3. Textual and computer criticism.

4. Dissemination of the Spanish classical theatrical heritage.

5. Spanish theater of the Golden Age.

6. Pervivencias, representations, recasts and versions of the theater of the Golden Age to the present day.

7. Comparative studies in Spanish literature of the Golden Age and English / French / Italian and Latin literatures.

8. Satire.

9. Quevedo and satire.

10. The diffusion and representation of the Golden Age theater in Germany, England, Italy, Latin America or any other country in the world.

THEORY OF LITERATURE AND COMPARATIVE LITERATURE

Pere BALLART

1. Stylistic and rhetorical analysis of modern and contemporary poetic and narrative texts.

2. Studies on contemporary Catalan and Spanish poetry.

3. Irony, satire and parody.

4. Opera and literature.

Carles BATLLE

1. Contemporary drama and theatre (from around the world): theory of dramaturgy, authors, structures, procedures, themes and comparisons.

2. Adaptations to theatre from other genres (and vice versa).

3. Analysis of performance: study of stagings and stage proposals.

4. Aspects of the history of our performing arts.

Alicia FERNÁNDEZ-GALLEGO CASILDA

1. Approaches to the literature of the Spanish Civil War from a comparative perspective (translatological, thematic or other types of studies).

2. Committed literature in the interwar period: narrative, theatre and poetry.

3. Literary responses to the Spanish Civil War in Latin America/Great Britain/Ireland/United States/Canada/France.

4. Cultural policy in Europe during the 1930s: literary magazines, the proliferation of paperbacks and other socio-historical phenomena.

5. Women's writing at the front and in the rearguard during the Spanish Civil War.

Jordi JULIÀ

1. Contemporary poetry: themes, forms or comparisons .

2. Contemporary theater: themes, forms or comparisons .

3. Cinematographic adaptations of plays.

4. Literary identity: imposture, pseudonymy and heteronomy.

5. Poetry and contemporary exile.

6. Literature and arts.

7. Bilingual writing, translation and self-translation.

Antonio PENEDO

1. Cultural Studies in general: artistic and/or social phenomena studied from the perspective of Comparative Literature and transdisciplinarity.

2. Analysis of artistic phenomena from cyberculture in the digital era.

3. Analysis of science fiction, the fantastic or the marvelous in literature, cinema, television series and new audiovisual media.

4. Philosophical reflections (hermeneutic and post-structural) of different artistic phenomena.

Andrea PEREIRA

1. Analysis of a graphic novel.

2. Neo-rurality in contemporary literature and film: a case study.

3. Analysis of a work belonging to postcolonial literatures.

4. Analysis of the work of a literary critic.

5. The relationship between cinema and literature: a case study.

Gonzalo PONTÓN

1. Study of the work of a critic or literary theorist of the twentieth century.

2. Epistolary writing

Comparative European theater of the XVI-XVII centuries.

4. Edition of Hispanic texts from the 15th to the 17th centuries: theory and practice.

5. Authorial figurations in Western literature

6. Literature of the Shoah

7. War and literature

8. Other topics to be discussed

David ROAS

To be determined by the teacher.

Alberto ROCA

1. Literary thought in the 18th and 19th centuries

2. Literary historiography: studies on the construction of historical-literary discourse

3. Sources of literary history: documents and interpretative traditions

4. Periodisation: Spanish literature and a comparative perspective

5. Processes of constructing literary canons

6. Theory and structure of literary genres

7. Travel literature: theory and criticism

8. Ecocriticism: theory and textual analysis

Míriam RUIZ-RUANO

1. Literary tradition and the (de)construction of the canon.

2. Rewritings and appropriations of the literary tradition.

3. Medieval poetry and narrative.

4. Comparative Catalan and Spanish poetry.

5. Literary criticism.

6. Audiovisual adaptations of literary works.

7. Bilingualism and translation.

8. Memorialism and Self-Writing.

Constanza TERNICIER

1. The conflict between civilisation and barbarism in modernity and post-modernity from a comparative perspective.

2. The conflict between handwriting and writing from a comparative perspective.

3. Current projects to make Hispanic American women writers more visible: what doesn't make a boom.

4. Displaced writing and exercises in distancing: migrant aesthetics in Latin American literature.

5. Testimonial literature and the documentary turn.

6. Hybrid literature in Latin America from Modernism to the present day.

7. The question of the cultural field in literary disputes: relations between centre/periphery, inside/outside. Intersectionalities of class, gender, sexuality, race and origin.

8. Representations of suicide in literature from a comparative perspective.

Maria José VEGA