La construcción social del género en la cultura musical pop: una oportunidad para abordar el sexismo en la educación superior.

Nuestro trabajo tiene como principal objetivo explicar los problemas detectados en el futuro profesorado en relación al desconocimiento y/o a la distorsión del movimiento feminista y los debates en torno al género, que tienen relación directa en ocasiones con la imagen proyectada de mujeres y hombres en los medios de comunicación. Para paliar estas deficiencias, así como para promover la alfabetización mediática entre el alumnado, hemos optado por incorporar a los contenidos de las distintas asignaturas del área de Didáctica de las Ciencias Sociales, tanto de grado como máster, la lectura y la interpretación de textos audiovisuales, concretamente aquellos producidos por la industria musical hegemónica estadounidense, los vídeos musicales de las cantantes pop más seguidas actualmente como Beyoncé, Katy Perry, Meghan Trainor, Jennifer López, Alicia Keys y el grupo Fifth Harmony. De este modo, incorporamos no sólo alta cultura sino también la cultura musical pop o cultura mediática, esencial en una sociedad en la que la ciudadanía está continuamente expuesta y contaminada visualmente por dichos medios audiovisuales

The Rhythm of our Lives. Aesthetic Perspectives East & West

The leading approach to everyday aesthetics for the past few decades has departed from analytic philosophical grounds, generating some tensions or dichotomies regarding its foundational cornerstones: the ordinary vs. extraordinary character of everyday aesthetic experience, contextual familiarity vs. strangeness, object vs. processual orientation, etc. Although John Dewey has been widely acclaimed as a sort of foundational figure for this burgueoning sub-discipline of aesthetics, maybe not enough emphasis has been laid on his very different pragmatist approach. In this regard, his reliance on Hegelian cum Darwinian premises might allow for a connection with other branches of continental as well as Asian philosophies, from which also some research on everyday aesthetics has been made. It is from this wider ontological framework that the notion of rhythm could be vindicated as a pivotal aspect of the aesthetic dimension of our everyday lives. Dewey deals extensively with it in Art as Experience, conceiving it as a sort of pattern of accomplished experiences, accounting also for his naturalistic approach and art and life continuity thesis. On the other hand, neo-pragmatist exponent Richard Shusterman, among others, has posited links of connection between Pragmatist aesthetics and East-Asian philosophies. Particularly, Dewey’s resonances with Asian philosophies have been studied, with a preeminence on the notions of harmony and rhythm. This paper will depart from the analysis of the notion of rhythm in Dewey’s philosophy, trying to hint at some possible developments of its implications. Particularly, it will expand on some East Asian paralelisms to his philosophy, trying to link them with the notion of rhythm as an epitomizing ground for the conjunction of the extraordinary (art) and the ordinary (life).