Search results

Accordingly, this paper aims to perform a diagnosis on the inclusion of gender skills in all of its official degree programmes, for the purpose of drafting a best practices guide that may serve as motivation to include mainstreaming and specific skills in “teaching practice”.

This research analyses how European standards have been transferred to the teaching programmes of a Spanish university with more than 60,000 students, the University of Seville (US), the third largest in Spain. A content analysis of 4,643 undergraduate degree programmes has been carried out for all branches of knowledge.

The authors have established the scant presence of the gender perspective in the teaching projects of the US. Over 80% of them do not comply with the regulations in this regard. The second hypothesis, namely, that there are differences between fields of knowledge when complying with the mandatory transversal application of the gender perspective, has also been substantiated. This is especially the case in the natural sciences and engineering and architecture.

The results illustrate the little echo of the regulations in the teaching projects and the existence of important differences when it comes to the gender perspective according to the branches of knowledge. To the best of the authors’ knowledge, this is the first research to carry out a study of this nature in all the degrees taught at a university and provide evidence of the need to modify equality policies in the university environment.

The Spanish lycanthrope arrived successfully to Spanish screens with The Mark of the Wolfman (Eguiluz, 1968), introducing iconic actor and scriptwriter Paul Naschy as werewolf Waldemar Daninsky. This persona would be later developed in more depth in The Werewolf Versus the Vampire Woman (Klimovsky, 1970) and Curse of the Devil (Aured, 1972). Furthermore, Daninsky’s construction responded to the historical repressive context of Francoist Spain, and the strong ideal of masculinity imposed and promoted under the fascist regime (Pulido, 2012).

After a long hiatus in the horror genre, the more recent film Game of Werewolves (Martínez Moreno, 2011) revisits the figure of the Spanish lycanthrope by introducing two different sets of characters embodying two different types of masculinity and, more significantly, by linking the strong, traditional male identity to the myth of the werewolf, paying homage to Waldemar Daninsky.

Thus, through the film’s historically contextualized textual analysis, the chapter seeks to study the myth of the werewolf in twenty-first-century Spain, in relation to the changes in the masculine identity and the historical context to which it refers, exploring the struggle of men to move from the traditional male identity imposed during the dictatorship to a more progressive one.