KulTIC 08. Paradoxes del contacte entre cultures: l'ús pedagògic de la webquest

A Catalunya, la presència de persones immigrades d'arribada recent ha significat un canvi substancial en les percepcions individuals i les representacions socials sobre la diversitat cultural. Aquest canvi ha resultat més destacat entre la població jove, en fase de construcció de la seva identitat, que ha hagut d'abordar les paradoxes del contacte entre cultures a partir d'estratègies de relació poc estructurades i planificades amb aquesta finalitat. La recerca KulTic¿08 ha explorat l'impacte de determinades paradoxes que es produeixen en el contacte amb altres realitats diferents a la pròpia i ha aplicat experimentalment un material en webquest, amb un enfocament socioafectiu i cognitiu i seguint els plantejaments pedagògics de l'aprenentatge cooperatiu.

Patient expectations at a multicultural out-patient clinic in Switzerland.

BACKGROUND: Recognizing patient expectation is considered as an important objective for primary care physicians. A number of studies suggest that failure to identify patient expectations can lead to patient dissatisfaction with care, lack of compliance and inappropriate use of medical resources. It has been suggested that identifying patient expectations in multicultural contexts can be especially challenging. OBJECTIVES: The aim of the study was to compare health care expectations of Swiss and immigrant patients attending the out-patient clinic of a Swiss university hospital and to assess physicians' ability to identify their patients' expectations. METHODS: Over a 3-month period, all patients attending the out-patient clinic at a Swiss university hospital were requested to complete pre-consultation surveys. Their physicians were requested to complete post-consultation surveys. Outcome measures were patients' self-rated health, resort to prior home treatment, patients' expectations of the consultation, physicians' perception of their patients' expectations and agreement between patients and physicians. RESULTS: We analysed 343 questionnaires completed by patients prior to their consultation (> 50% immigrants) and 333 questionnaires completed by their physicians after the consultation. Most expectations were shared by all patients. Physicians had inaccurate perceptions of their patients' expectations, regardless of patients' origin. CONCLUSIONS: Our study found no evidence that immigrant patients' expectations differed from those of Swiss patients, nor that physicians had more difficulty identifying expectations of immigrant patients. However, physicians in our study were generally poor at identifying patients' expectations, and therefore inter-group differences may be difficult to detect. Our results point to the need to strengthen physicians' general communication skills which should then serve as a foundation for more specific, cross-cultural communication training.

Taller sobre espacio público. Asociación de mujeres Adrianas

Report of one of the workshops developed in 2005 under the process of public participation: Mapping La Mina (2002-2006). http://www.ub.edu/escult/mina

Ingreso de Assia Djebar en la Académie Française

La novelista y cineasta Assia Djebar (seudónimo de Fatima-Zohra Imalayène, nacida en Cherchell, Argelia, en 1936) fue elegida por los miembros de la Académie Française el 16 de junio de 2005 para formar parte de esta prestigiosa institución. Djebar, en tanto que mujer, engrosa la magra cuota de féminas en la Académie, que alcanza con ella un raquítico 10% (Djebar es la cuarta mujer, frente a 36 hombres). Sin embargo, lo más novedoso de su incorporación a la Académie Française no es su sexo sino su origen argelino. Francia ha mantenido y todavía mantiene una relación de amor y odio con su ex-colonia más afrancesada y más rebelde (la guerra de la independencia argelina duró casi diez años y costó miles de vidas). Los argelinos, por su parte, comparten esa fascinación y ese rechazo ¿comprensible: la guerra terminó hace tan sólo cuatro décadas y muchos de sus supervivientes todavía siguen vivos¿ hacia su ex-metrópolis, que en el plano cultural continúa ejerciendo una influencia innegable. La prueba de este sentimiento ambiguo es la reacción de la intelectualidad argelina al reconocimiento de la obra de Djebar que significa su elección para ingresar en la Académie: después de ignorarla e incluso despreciarla, el país se enorgullece de su hija predilecta y se apropia de su triunfo y, al mismo tiempo, lo desproporcionado de su reacción la asimila a la del alumno aplicado felicitado por su maestro.

[Feminismos del siglo XXI] Mary Nash

Mary Nash, entrevistada por Núria Benach, recorre su trayectoria de investigación desde sus inicios hasta la incorporación a sus estudios de una perspectiva multicultural y de género. Empezó a trabajar sobre la "Historia de las mujeres" en el ámbito de la Guerra Civil y la Segunda República, con el objetivo de visualizar la acción de las mujeres y reconstruir la memoria histórica olvidad. En los años 70 esta perspectiva no tenía aún un reconocimiento académico y menos aún, social. Más adelante, entre los 80 y 90, Nash empezó a trabajar sobre el impacto de los flujos migratorios en Occidente. Así, expone la necesidad de unos derechos de las mujeres dependiendo del contexto social de cada cultura, pero acepta la existencia de unos límites que no se pueden transgredir bajo ningún concepto multicultural.

El culto a la belleza

En este texto se presenta el cuerpo de la mujer como forma e identidad de la belleza. La belleza del cuerpo no proviene de los adornos, sino que reside en la "apariencia" y la "presencia" de las mujeres. La "apariencia" del cuerpo femenino se vincula con la omnipotencia, porque permite el "aparecer" de otra vida, la cadena de la vida, la continuidad del ser. Y la "presencia" de la belleza, generadora de admiración, es constructora de la alteridad que relaciona la mujer con el que mira, el admirador o admiradora. Por lo tanto, la autora otorga una dimensión casi mística a la belleza del cuerpo de la mujer, la cual es constructora de un orden simbólico y de una competencia simbólica que sólo puede ser femenina.

"Poner riquezas en mi entendimiento": Sor Juana Inés de la Cruz y Sor Teresa de Cartagena

This article aims to show the resemblances that we can find between Admiraçión operum Dey written by Teresa de Cartagena in the mid-XVth century and Respuesta de sor Filotea de la Cruz written by Sor Juana Inés de la Cruz two hundred years later. Both works are two epistles where the female's intellectual capacity to know and to write is defended by a nun who was received critized for a former work. The religious Teresa de Cartagena ¿converse bishop Pablo Cartagena's granddaughter¿ wrote a moral essay that surprised male readers who considered that the text was a plagiarism. On the other hand, the hieronymite sister sor Juana Inés was reproached by a clergyman for having written the polemic treatise on theology Carta Atenagórica.

La fraternidad de los cuerpos posthumanos. La ciencia ficción como territorio de reproducción y de resistencia del imaginario masculino tradicional

This paper analyses the representations of the body present in contemporary science-fiction literature and film. Using theoretical concepts by Althusser, Foucault and Haraway, the text establishes first a typology of cybernetic organisms in contemporary culture and reviews its presence and ideological implications in films like Robocop (1987), Johny Mnemonic (1995) or Matrix (1999). The paper argues for a self-conscience as political and historical subjects in order to avoid falling into a fallacious cyberandroginy that reinforces phallogocentric power structures.

De llibertat, autoritat i in/dependències (a la vida i l'obra de Maria-Mercè Marçal)

This article pays attention to two moments in the life and work (inseparably united) of Maria-Mercè Marçal. The first refers to a search of small objects presided by the moon. Taking this search as a motif, the freedom which the poet confers to the nocturnal light ¿mythical and magical symbol of femaleness- and, therefore, to that which symbolises the heavenly body, is revealed. The second moment revolves around the reflection of Marçal on the ¿female authority¿, a concept which this author, inspired by the philosophical community of Diotima, distinguishes from power. Throughout history, Maria-Mercè Marçal remarked, many women have gained strength from the free atribution of authority to other women, to their texts, to their experiences.

Cuando Frankenstein encontró a Dorian Gray: dandysmo, post-identidad y sujetos virtuales

The appearance and popularization of the internet has created new forms of writing, which compel us to think anew about identity and subjectivity. Webjournals or blogs are specially interesting because they are a massive phenomenon that use autobiographical writing in a peculiar way. These forms of writing stress a particular paradox of the genre: the coexistence between a purpose of private, confessional and spontaneous writing and a public image, carefully built, as a result of its writing. The technology is new, but, in fact, the paradox is old. This paper tries to explore this old paradox, our eternal condition of cyborgs, our use of technologies in order to construct a public, unique and recognizably identity. In oder to do so, I will try to show the virtual condition of any written individual ¿this issue has already been dealt with by autobiographical studies¿, focusing on blogs, and especially on concrete example (Lord Whimsy¿s Journal). I will pay attention to gender as a technology that constructs identity and, at the same time, is deconstructed by the autobiographical narratives analyzed. In short, I attempt to show that virtual and autobiographical discourse do not bring forth a new kind of subject but the permanence of an old phenomenon "clearly developed by dandyism, for instance¿: the use of tehnologies to re-invent, re-formulate and re-construct us as multiple, hybrid and mixed subjects."

La passió segons Renée Vivien i el miratge-miracle del mirall

In this article, Rosa Cabré discusses Marçal¿s novel and illustrates how, according to the author, the desire of love, which is a source of pleasure often accompanied by guilt and distress, can lead to the creation or the illusion of an absolute beauty, like poetry. She explains in what way the mirror and the mask, recurring motifs in Marçal¿s work, symbolise identity and ¿otherness¿ and how these unite the real and the symbolic level. The novel contains an infinite number of mirrors, both external and internal ones, which enable the characters to see themselves reflected. This reflection is linked to feminity and to the possibilities of discovering one¿s own identity.

Notes sobre subjectivitat i experiència

The aim of this paper is to underline the fact that, in most contemporary philosophical debates (and somehow, issues in feminist theory are not an exception), a well-known term is playing an important role: experience. We need a cartography of the uses of experience, if we want to know what we are talking about and also if we intend to analyze and to rethink the last 25 years of ¿women studies¿, ¿gender studies¿ or ¿subaltern studies¿.

Moderata Fonte y María Zambrano: por cuenta propia

In this paper, Rosa Rius thinks about feminine identity and its history, based on the expressions of freedom of two authors living four centuries apart: the Venetian humanist Moderata Fonte (1555-1592) and the Malagan philosopher María Zambrano (1904-1991). The fact that these women¿s freedom is taken as one of their main identifying elements, and straining the historical action of this freedom, unforeseen by the establishment, does not at all imply that the undeniable discrimination inflicted upon women throughout centuries is forgotten or goes on without protest.

La crítica feminista y el problema de la forma

Dice Beatriz Sarlo (2001, p. 28) que un intelectual es aquel que pone en escena los términos de un problema y obliga a una definición colectiva que los tome en cuenta. Para que esto suceda el intelectual debe ser también quien se interroga por las categorías con las que opera. Si la literatura existe como problema, según mi perspectiva, para la crítica feminista, esto se debe a que la operación que vincula el concepto de literatura y el de crítica feminista debe necesariamente definirse en relación con un horizonte hoy en retirada, pero cuya crepuscular energía obliga constantemente a apelar a sus herramientas: la estética.