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.

What is the Point of Copyright History?:Reflections on Copyright at Common law in 1774 by H. Tomás Gómez-Arostegui

Copyright history has long been a subject of intense and contested enquiry. Historical narratives about the early development of copyright were first prominently mobilised in eighteenth century British legal discourse, during the so-called Battle of the Booksellers between Scottish and London publishers. The two landmark copyright decisions of that time – Millar v. Taylor (1769) and Donaldson v. Becket (1774) – continue to provoke debate today. The orthodox reading of Millar and Donaldson presents copyright as a natural proprietary right at common law inherent in authors. Revisionist accounts dispute that traditional analysis. These conflicting perspectives have, once again, become the subject of critical scrutiny with the publication of Copyright at Common Law in 1774 by Prof Tomas Gomez-Arostegui in 2014, in the Connecticut Law Review ((2014) 47 Conn. L. Rev. 1) and as a CREATe Working Paper (No. 2014/16, 3 November 2014).

Taking Prof Gomez-Arostegui’s extraordinary work in this area as a point of departure, Dr Elena Cooper and Professor Ronan Deazley (then both academics at CREATe) organised an event, held at the University of Glasgow on 26th and 27th March 2015, to consider the interplay between copyright history and contemporary copyright policy. Is Donaldson still relevant, and, if so, why? What justificatory goals are served by historical investigation, and what might be learned from the history of the history of copyright? Does the study of copyright history still have any currency within an evidence-based policy context that is increasingly preoccupied with economic impact analysis?

This paper provides a lasting record of these discussions, including an editorial introduction, written comments by each of the panelists and Prof. Gomez-Arostegui and an edited transcript of the Symposium debate.

‘Poor prison flowers’: convict mothers and their children in Ireland, 1853-1900

Pregnant women and mothers were among the thousands of individuals who were sentenced to at least three years’ penal servitude and admitted to the nineteenth-century Irish female convict prison. While some babies were born behind bars, others were permitted to accompany their convicted mothers into the prison after the penal practice of transportation had ceased. Other dependent children were separated from their convicted mothers for years, cared for by family members or friends, or accommodated in Ireland’s growing web of institutions. Using individual case studies, this article focuses on convict mothers and their young offspring. It draws attention to the increasing restrictions on the admission of infants that were imposed as the nineteenth century progressed, the problems that children of various ages in the penal system seemed to pose for officials, and the difficulties faced by incarcerated mothers who wished to maintain communication with their offspring. This article argues that while there were benefits to parenting within the confines of the prison, sentences of penal servitude had a significant impact on the lives of dependent offspring by dislocating families, separating siblings, or initiating institutional or other care that broke familial bonds permanently. In so doing, the article reveals attitudes towards motherhood as well as female criminality and institutionalization generally during this period and sheds light on an aspect of convict life unique to the women’s prison.

Susan Arndt / Nadja Ofuatey-Alazard (Hrsg.): Wie Rassismus aus Wörtern spricht, (K)Erben des Kolonialismus im Wissensarchiv deutsche Sprache. Ein kritisches Nachschlagewerk. Münster: Unrast 2011 [Rezension]

Rezension von: Susan Arndt / Nadja Ofuatey-Alazard (Hrsg.): Wie Rassismus aus Wörtern spricht, (K)Erben des Kolonialismus im Wissensarchiv deutsche Sprache. Ein kritisches Nachschlagewerk, Münster: Unrast 2011 (780 S.; ISBN 978-3897715011)

La transformation de l'espace rural, l'industrialisation et les relations ville-campagne entre Coaticook et les cantons de Barnston et de Barford, 1853-1921

Cette étude des relations ville-campagne prolonge la réflexion amorcée à la suite d'un cours d'histoire régionale que donna Peter Southam. Ayant choisi d'analyser le développement économique de Coaticook dans une perspective strictement urbaine, je fis la découverte d'une carte qui se présenta comme une véritable révélation puisqu'elle traduisait toute la problématique sous-jacente à un espace polarisé. En effet, on pouvait découvrir, face à l'unité distincte de Coaticook, deux structures identiques, les municipalités de cantons de Barnston et de Barford, représentant, grâce à la présence des réseaux hydrographiques, routiers et ferroviaires, un terrain d'application idéale pour l'analyse des relations ville-campagne. De là est né notre intérêt d'analyser, dans un contexte ville-campagne, les fonctions de relations des deux entités spatiales en présence, l'une urbaine, l'autre rurale, évoluant en interaction toutes deux dans le cadre des Cantons de l'Est, région qui est elle-même étroitement intégrée à l'économie continentale nord-américaine. Au-delà de cette insertion à un espace économique plus vaste, notre étude se doit d'abord de rendre compte de la spécificité des deux entités spatiales. Le choix spatial de notre thèse est arbitraire et ne repose pas, par exemple, sur la zone d'influence de Coaticook bien que, et c'est là une des hypothèses que nous démontrerons plus tard, il est certain que le rayonnement de Coaticook dans un espace polarisé ne s'est pas limité aux cantons de Barnston et de Barford. Par ailleurs, si nous privilégions comme cadre spatial d'analyse l'échelle du territoire urbain et celle du canton selon leurs limites administratives respectives, nous envisagerons également l'échelle de la communauté villageoise comme l'un des axes principaux du rapport ville-campagne. Les divisions administratives ne s'étendant qu'à deux localités rurales (Dixville et Saint-Herménégilde), nous ne tenterons pas de délimiter l'aire villageoise des autres localités. Puisque nous nous intéressons davantage au phénomène villageois selon un critère fonctionnel, nous considérons alors le village "comme un lieu et une forme d'habitat dotés d'attributs et de fonctions distinctives". En fait, le choix spatial sera d'ordre documentaire puisqu'il est imposé par l'utilisation des recensements fédéraux (manuscrits et imprimés) et par l'utilisation des Mercantile Agency, sources principales sur lesquelles il sera plus facile de présenter une démonstration cohérente dans le temps comme dans l'espace. […]

Antonio Salieri's La calamita de' cuori (1774): Sources, Form, Context

Antonio Salieri’s La calamita de’ cuori (1774) warrants musicological attention for what it can tell us about Salieri’s compositional craft and what it reveals about the development of form in Viennese Italian-language comic opera of the mid- and late-eighteenth century. In Part I of this dissertation, I explore the performance history of La calamita, present the first plot synopsis and English translation of the libretto, and describe the variants between Carlo Goldoni’s 1752 libretto and the revised version created for Salieri’s opera. I have collated Salieri’s holograph score, Österreichische Nationalbibliothek, Vienna, Mus. Hs. 16.508, with four copies having different relationships to it, and I propose a stemma that represents the relationships between these five sources. The analyses in Part II contribute to our understanding of formal practices in eighteenth-century drammi giocosi. My study of Salieri’s La calamita reveals his reliance on a clearly defined binary structure, referred to in this dissertation as “operatic binary form,” in almost half of the arias, ensembles, and instrumental movements of this opera. Salieri’s consistent use of operatic binary form led me to explore its use in drammi giocosi by other prominent composers of this time, including Baldassare Galuppi’s La calamita de’ cuori (1752), Wolfgang Amadeus Mozart’s Il dissoluto punito, ossia Il Don Giovanni (1787), and selected arias by Pasquale Anfossi, Florian Leopold Gassmann, Giuseppe Gazzaniga, Franz Joseph Haydn, Giovanni Paisiello, and Niccolò Piccinni dating from 1760 to 1774. This study showed that Salieri and his peers adhered to a recognizable tonal plan and set of design elements in their operatic binary forms, and that their arias fall into three distinct categories defined by the tonality at the beginning of the second half of the binary structure. The analysis presented here adds to our present understanding of operatic form in mid- and late-century drammi giocosi and shows that in La calamita de’ cuori, Salieri was following the normative formal procedures of his time.

Constitucion politica de la Nueva Granada, sancionada el año de 1853

49 p.

Formación y profesión arquitectónica en el País Vasco (1774-1977). Origen y evolución de la profesión de arquitecto desde el siglo XVI hasta la creación de la Escuela Técnica Superior de Arquitectura

385 p.