La música como reivindicación de género en "Margarita y el lobo", de Cecilia Bartolomé

El carácter innovador y feminista del mediometraje Margarita y el lobo (1969) supuso la censura total de la película y el ostracismo hacia su directora, la entonces estudiante de la EOC, Cecilia Bartolomé. En este artículo repasamos sus anteriores cortometrajes para desgranar los primeros matices de protesta así como la utilización de la expresión musical como vehículo del discurso feminista en Margarita y el lobo. A través de los planteamientos de la musicóloga Susan McClary que abordan sexualidad, género y feminismo concluimos con una visión del análisis de género en las obras musicales, al vincular sus es­tudios al film de Bartolomé. Del mismo modo, analizamos la función que cumple la música en el medio­metraje. Para ello, examinamos el repertorio de canciones presente en Margarita y el lobo para terminar reconociendo la función discursiva y referencial como piezas claves en la película de la directora.

La dimensión mítica de los personajes vanguardistas. Una reflexión en torno a la teoría de Ortega y Gasset

En el realismo de finales del XIX se consolida el desarrollo de los personajes novelescos, pero muy poco tiempo después se produce un giro en la narrativa hacia la abstracción que induce a Ortega y Gasset a reflexionar sobre cuáles son las características que definen un personaje literario. En Meditaciones del Quijote (1914), La deshumanización del arte e Ideas sobre la novela (ambos de 1925) hace un análisis histórico que concluye ofreciendo un diagnóstico de la literatura contemporánea. Muchos de los narradores vanguardistas, formados a su sombra, tienen en cuenta sus escritos y experimentan con sus propuestas. En este proceso el mito juega un papel principal, como sustancia de lo poético y como sustrato cultural de muchos de los protagonistas de la novela experimental de los años 20.

The (in)visible scar. Representation of the body in blogs by women with breast cancer

In this paper we analyze the representation of the body in blogs by women with breast cancer. Taking into account both texts and images, we study the representation of the body on the basis of the body problems proposed by Frank (1995): control, body-relatedness, other-relatedness and desire. In the blogs studied we find a desiring and dyadic body, which is understood as part of a network of affection and care. The diagnosis of cancer can generate both dissociation, when the body is experienced as a threat, and association, a wish to be connected to it. In relation to control, a clear will of predictability is observed but traces of assumption of contingency also appear.

The redemption of the gaze: the crisis of observation in the "fin de siècle" and the advent of cinema

The intention of this article is not to affirm, but rather to question wether it is possible to speak of a loss of the ability to gaze in the context of the nineteenth century and especially in the context of the fin de siècle, in the bosom of the epistemological crisis that beset the Turn of the Century. And very especially, this article tries to question about the impact this crisis had, perhaps, in the birth of cinema. Is in this context that arises the work of Marey and the advent of the cinematograph of the Lumière brothers in the fin de siècle Europe, both of them showing a deep faith in a mechanical apparatus that would allow the redemption of a battered gaze. And it seems to be a dream that continues over time through the tradition of shooting the everyday life.

Artistic proposals of visual arts of Ecuador since the second half of the twentieth century to the present

This article is the result of a research that analyzes the most important artistic proposals of Visual Arts in Ecuador, since the second half of the twentieth century to the present. Through literature review and data collection held in the city of Guayaquil, we could determine their influence and impact on the circuit of contemporary art. The instruments used for data collection were depth interviews that were done to experts in the field. Like surveys of attendees at different artistic events (exhibitions, permanent exhibitions, seminars), allowed to establish the social interests of those proposals. The methodology was mixed approach, quantitative and qualitative data were used.

Imágenes recalcitrantes: el caso de la proclamación de Juan Carlos I como rey de España (22 de noviembre de 1975)

En el flujo informativo, algunas imágenes, que calificamos aquí de “recalcitrantes” se resisten a perecer y sobreviven a su contexto de producción. El presente estudio analiza cómo una de ellas, la secuencia televisiva de la proclamación de Juan Carlos como sucesor de Francisco Franco a la jefatura del estado, el 22 de noviembre de 1975, ha sobrevivido, metamorfoseándose hasta hoy en día, de pantallas en pantallas, a través de una muestra representativa de algunas de sus reelaboraciones más significativas.

Investigative journalism in Mexico: between ideals and realities. The case of Morelia

The aim of this paper is to analyse the state of the investigative journalism in Mexico, especially the one that is practiced at the local level in the provinces. That is, this research is based upon a case study conducted in Morelia, the capital city of the state of Michoacán. The empirical evidence will show that there is an evident divergence regarding the practice of the investigative journalism: on the one hand, journalists are aware of what this concept involves and they consider that they practice it on a regular basis; but, on the other, the content analysis prove otherwise. In other words, the account of what is actually printed significantly differs from the news workers’ perceptions, because the former shows a poorly developed journalistic investigation practice.

The Narrative Value of Dance Communication: "habitus", musicality and emotion

The richness of dance comes from the need to work with an individual body. Still, the body of the dancer belongs to plural context, crossed by artistic and social traditions, which locate the artists in a given field. We claim that role conflict is an essential component of the structure of collective artistic creativity. We address the production of discourse in a British dance company, with data that spawns from the ethnography ‘Dance and Cognition’, directed by David Kirsh at the University of California, together with WayneMcGregor-Random Dance. Our Critical Discourse Analysis is based on multiple interviews to the dancers and choreographer. Our findings show how creativity in dance seems to be empirically observable, and thus embodied and distributed shaped by the dance habitus of the particular social context.

40 20th Century Spanish Sculptresses

This article presents a compilation of female artists who carried out their sculptural work during the twentieth century. With a brief presentation of each of them I want to implement visibility and the importance of incorporating their works to the collective imagery in order to be added to Spanish contemporary arts history. Some of them have public monuments of great popular recognition but their names have not been mentioned yet. Some others have “minor” works but they were relevant teachers to other artists. A few of them have extensive monographs about their life and their works. While others have almost gone unnoticed, but the proof of their professional career’s existence seems fundamental to us and they must be incorporated to history either through text books, university research works, ideally achieving a supported research project, to provide them the visibility their works and their vital trajectories deserve.

Terence in the Spanish xviiith century: La Andria by Manuel Dequeisne

After an approach to the translation in Spain during the xviiith century, the purpose of this text is to present the almost unknown version of Terence’s Andria (1786) by M. Dequeisne, written in order to substitute Simon Abril’s one. It consists on the theoretical exposition of the prologue, the issue of the retranslation and the own characteristics of the translation itself, along with a comparison with Simon Abril’s version.

"Amor de don Perlimplín con Belisa en su jardín": una obra teatral satírica

El componente satírico es una constante en el teatro de Federico García Lorca, en el que coexisten, en mayor o menor medida, dependiendo de la obra en cuestión, lo cómico y lo serio, ambas vertientes intrínsecas a la sátira. Dicha combinación, así como el innegable aspecto crítico, inherente a la obra lorquiana, identifican a este autor con la figura del satírico. García Lorca lleva a cabo su crítica sirviéndose del humor, que oscila entre lo puramente jocoso y el humor negro, y se manifiesta mediante el empleo de técnicas tradicionales de la sátira, con idéntico propósito al del satírico: degradar a su objeto de ataque suscitando sonrisa o repulsa. Este artículo analiza en clave de sátira Amor de don Perlimplín con Belisa en su jardín, identificando el objeto de ataque de la sátira lorquiana en esta obra y las técnicas satíricas empleadas por su autor.

La tercera persona: una propuesta antropológico-filosófica delimitada frente al planteamiento sociológico

Frente al paradigma diádico preponderante en la teoría social, recientes propuestas reivindican la función del tercero. En estas teorías, el tercero personaliza el orden social normativo –surgido en la relación diádica– y atribuye empíricamente el reconocimiento como persona. Frente a este planteamiento empírico, proponemos un enfoque trascendental antropológico-filosófico, según el cual la estructura tri-posicional de las relaciones sociales constituye la condición de posibilidad de la cultura normativa y del modo de ser propio del hombre en cuanto que persona.

Reseña: El reconocimiento de la humanidad. España, Portugal y América latina en la génesis de la modernidad

Reseña del libro: Álvarez-Uría, F. (2014). El reconocimiento de la humanidad. España, Portugal y América latina en la génesis de la modernidad, Madrid: Morata, ISBN: 9788471127808, 368 pgs.