scholarly journals Museos y género: una asignatura pendiente

2019 ◽  
pp. 184
Author(s):  
Marta Torregrosa
Keyword(s):  
Cognitive Maps ◽  
Cultural Institutions ◽  
Critical Position ◽  
The Core ◽  
Palabras Clave ◽  
History Of Art ◽  
Female Figures ◽  
History Of ◽  
Cultural Sphere ◽  
Las Mujeres

Resumen: El presente artículo trata de aproximarnos a la realidad representativa de las mujeres tanto en la historia del arte como en el escenario de las instituciones museísticas, desde una perspectiva de género. Emprenderemos un viaje a través de la historia, deambulando por las entrañas que estructuran la esfera cultural, observando las bases del discurso androcentrista que prevalece, aun hoy en día, en la realidad expositiva de los museos. Recorreremos la historia del arte, contemplando las múltiples y diversas representaciones que ha tenido la figura femenina a lo largo de la historia, además de la mirada del artista creador, quien ha perfilado la imagen de la mujer bajo su criterio, imponiendo unos estereotipos y roles que se han repetido a lo largo de los siglos. Transitaremos por las teorías desde un posicionamiento crítico en términos feministas, para descubrir la ausencia de las artistas en el arte y en el contexto de las instituciones culturales. Revisaremos las acciones y nuevas miradas que se han planteado a lo largo de los últimos años, para cuestionar la ausencia de figuras femeninas como sujetos activos y creadores, con el fin de alcanzar la inclusión de la mujer en ámbito artístico y cultural y así mismo, crear nuevos mapas cognitivos desde la igualdad de oportunidades y la recuperación de la memoria de las artistas, que han sido invisibilizadas en nuestra historia.  Palabras clave: Museos, género, mujeres, representación, feminismo.  Abstract: This article tries to approach the representative reality of women both in the history of art and in the setting of museum institutions, from a gender perspective. We will embark on a journey through history, wandering through the core that structures the cultural sphere, observing the foundations of the androcentric discourse that prevails, even today, in how museums show themselves. We will go through the history of art, contemplating the multiple and diverse representations that the female figure has had throughout history, as well as the creative artist, who has shaped the image of women according to his criteria, imposing stereotypes and roles that have been repeated over the centuries. We will go through the theories from a critical position in feminist terms, to discover the absence of artists in art and in the context of cultural institutions. We will review the actions and new perspectives that have been proposed over the last few years, to question the absence of female figures as active and creative subjects, in order to achieve the inclusion of women in the artistic and cultural sphere and also, to create new cognitive maps from the equality of opportunities and the recovery of the memory of the artists, that have been made invisible in our history.  Keywords: Museums, gender, women, representation, feminism.   DOI: http://dx.doi.org/10.7203/eari.10.14430

Lu Märten: An Introduction to Four Texts

October ◽  
2021 ◽  
pp. 3-14
Author(s):  
Jenny Nachtigall ◽  
Kerstin Stakemeier
Keyword(s):  
Labor Conditions ◽  
The Core ◽  
History Of Art ◽  
History Of ◽  
Material Turn ◽  
Full Life ◽  
Proletarian Art ◽  
Life Work

Abstract This article presents an introduction to four texts that the German feminist-materialist art historian Lu Märten (1879–1970) published between 1903 and 1928. It outlines some of the major concepts of and contexts for this unduly neglected thinker. Her writings covered a wide terrain that spanned studies on the labor conditions of female artists, polemics against “proletarian art,” and a monist, rather than dialectical, view on film, art, and what she called the “full life-work of a human.” At the core of her multiple endeavors was the demand for remaking the history of art as a history of form that is more capacious than art's institutionalized Western field. Situating Märten's work in historical debates (e.g., on Marxist aesthetics in the 1930s), the introduction also points to the new legibility that her nonaligned materialism gains with the material turn in the humanities.

scholarly journals AS DUAS FACES DO SEXISMO NA MÍDIA: como Marcela Temer e Dilma Rousseff (PT) são retratadas pela Veja e IstoÉ

2017 ◽  
Vol 3 (1) ◽  
pp. 58 ◽  
Author(s):  
Ana Maria Conceição Veloso ◽  
Fabíola Mendonça de Vasconcelos ◽  
Laís Ferreira
Keyword(s):  
Political Economy ◽  
The Political ◽  
Women In Politics ◽  
News Magazines ◽  
Palabras Clave ◽  
Female Figures ◽  
Lower Chamber ◽  
Las Mujeres ◽  
The Republic ◽  
Medios De Comunicacion

RESUMO A forma como a mídia brasileira retrata a mulher no campo político é um dos aportes deste artigo, que analisa as reportagens de duas revistas semanais, a Veja e a IstoÉ: enquanto a primeira tenta mostrar uma vice-primeira-dama, Marcela Temer, como “bela, recatada e do lar”, a segunda traz uma presidenta da República, Dilma Rousseff, histérica, destemperada, cuja manchete de capa é “As explosões nervosas da presidente”. As duas edições são veiculadas no contexto da votação do impeachment da presidenta Dilma Rousseff (PT), votado na Câmara Federal em  abril de 2016 e, no Senado, em maio e em agosto do mesmo ano. Utilizando como referenciais teóricos a Economia Política da Comunicação, o trabalho mostra o caráter patriarcal, misógino e preconceituoso das publicações, que reproduzem valores consoantes a formações ideológicas sexistas.   PALAVRAS-CHAVE: Mídia; Economia Política da Comunicação; Dilma Rousseff; Marcela Temer; Sexismo.   ABSTRACTThis paper aims to show how Brazilian media portrays women in politics. Articles about two public female figures published by Brazilian weekly news magazines, Veja and IstoÉ, were analyzed. While Veja tried to show the Second Lady Marcela Temer as a “beautiful, demure housewife”, IstoÉ portrayed the President of the Republic, Dilma Rousseff, as hysterical, intemperate, and published the headline “The nervous explosions of the President”. Both editions were published in the context of Dilma Rousseff (PT) impeachment trial. Between April and August 2016, the lower chamber voted for impeachment and the Senate voted to begin the trial, resulting in Rousseff’s suspension. Using the Political Economy of Communication as theoretical reference, this paper shows the patriarchal, misogynist and prejudiced character of the magazines, which reproduce sexist ideas.   KEYWORDS: Media; Political Economy of Communications; Dilma Rouseff; Marcela Temer; Sexism.     RESUMEN La forma que los medios de comunicación brasileños retratan las mujeres en la política es una de las aportaciones de este artículo, que analiza los temas de portada de dos revistas semanales, Veja y IstoÉ: mientras la primera publicación  intenta mostrar una vice-primera-dama como "hermosa, recatada y el hogar", el segundo periódico aporta una presidenta de la República, Dilma Rousseff,  histérica, destemplada, cuyo titular de la capa es "Las explosiones nerviosas de la presidente ". Ambas ediciones datan de antes de la votación de destitución de la presidenta Dilma Rousseff (PT), votada en el Congreso en el més de abril de 2016 y el Senado en mayo y agosto del mismo año. Utilizando referentes teóricos de la economía política de la comunicación, este trabajo muestra el carácter patriarcal, misógino y de prejuicios de las revistas, reproduciendo los valores de formaciones ideológicas sexistas.   PALABRAS CLAVE: Media; Economía Política de la Comunicación; Dilma Rousseff; Marcela Temer; Sexismo.

scholarly journals LEE MILLER, UMA FOTOJORNALISTA NA LINHA DE FRENTE: reflexões sobre a atuação da mulher na cobertura de guerra

2018 ◽  
Vol 4 (1) ◽  
pp. 492
Author(s):  
Kátia Hallak Lombardi
Keyword(s):  
Judith Butler ◽  
War Photography ◽  
Susan Sontag ◽  
Palabras Clave ◽  
History Of ◽  
Las Mujeres ◽  
Women's Role ◽  
Object Of Study

A guerra é comumente considerada um espaço masculino. Dificilmente encontramos mulheres nos campos de batalha. Mais rara ainda é a presença de fotojornalistas na cobertura de guerra. Neste artigo, recorremos às autoras Susan Sontag e Judith Butler para refletirmos sobre a atuação da mulher na história da fotografia de guerra. Tomamos como objeto de estudo as singularidades da vida e obra da fotógrafa Lee Miller.   PALAVRAS-CHAVE: Fotografia de guerra; fotógrafas de guerra; corpo; Lee Miller.     ABSTRACT War is commonly seen as a male space. We hardly encounter women on the battlefields. Even more rare is the presence of women photojournalists in the coverage of the war. In this article, we resorted to authors Susan Sontag and Judith Butler to reflect on women's role in the history of war photography. We take as object of study the singularities of the life and work of the photographer Lee Miller.   KEYWORDS: War photography; female photographers; body; Lee Miller.     RESUMEN Guerra es comúnmente considerado como un espacio masculino. Casi no encontramos mujeres en el campo de batalla. Aún más rara es la presencia de reporteras gráficas en la cobertura de la guerra. En este artículo, utilizamos las autoras Susan Sontag e Judith Butler, para reflexionar sobre el papel de las mujeres en la historia de la fotografía de guerra. Tomamos como objeto de estudio las singularidades de la vida y la obra de la fotógrafa Lee Miller.   PALABRAS CLAVE: Fotografía de guerra; fotógrafas de guerra; cuerpo; Lee Miller.

scholarly journals The history of the development of Russian cultural volunteering: historical and contemporary practices

2018 ◽  
Vol 7 (2.13) ◽  
pp. 178
Author(s):  
Gorlovа N I ◽  
Troska Z A ◽  
Karpenko Ye. Z ◽  
Krutitskaya Ye. V. ◽  
Min'kova N O ◽  
...  
Keyword(s):  
Personal Characteristics ◽  
Practical Experience ◽  
Practical Work ◽  
Practical Significance ◽  
Volunteer Management ◽  
Scientific Quality ◽  
Cultural Institutions ◽  
History Of ◽  
Cultural Sphere

The article presents a modern methodology for organizing the practical work of volunteers in the cultural sphere using the example of Russian cultural institutions. The used methodology allows to gain knowledge and practical experience of interaction with the target audience of cultural events, to explain the main features and principles of the volunteer movement in the sphere of culture; to use successful practices of organizing the volunteers' work in cultural institutions. Using surveys, interviews and personal conversations with active participants of the research and ongoing progress of developing cultural volunteering in Russia, it allowed to supplement the material received from various sources, which significantly increased the scientific quality of author's research. In addition, the article provides an analysis of research in personal characteristics of volunteers, a system of motivation and incentives and also identifies key areas of activity. Such approach in volunteer management is complex and universal, and therefore can be used with volunteers by various cultural institutions. The practical significance of the research is that its conclusions and recommendations can be successfully used in the recruiting, professional selection and support in training, retraining and analysis of volunteer activities in the field of culture.  

scholarly journals The Semi-Nude and Collapsing Female Figure: Sexuality in the Aesthetic Paintings of Albert Moore and Edward Burne-Jones

2021 ◽  
Author(s):  
Meaghan Collins
Keyword(s):  
Visual Analysis ◽  
Body Language ◽  
Female Figure ◽  
Female Nude ◽  
Victorian Period ◽  
History Of Art ◽  
Female Figures ◽  
History Of ◽  
Pre Raphaelites ◽  
The Aesthetic

The female nude has been researched extensively over the history of Art, and continues to fascinate researchers and art enthusiasts alike. However it is difficult to find information on female figures who are semi-nude: one who is not fully clothed nor entirely nude. The Victorian period in England was a very conservative time, especially for women. Influenced by the Pre-Raphaelites, Aesthetic painters Albert Moore and Edward Burne-Jones depicted women in a peculiarly sexual manner, one that encapsulates the struggle with sexual acceptance of the era. Women are often shown wearing loose, transparent fabric and often asleep or in languid, weary poses. These weary poses are what I refer to as “collapsing women.” In this visual analysis I take a close look at these female figures, and examine them using the terms “semi-nude” and “collapsing female,” in order to determine the meaning behind their dress and body language.

scholarly journals Sociología de la moda, un punto de vista privilegiadoThe Sociology of Fashion. A privileged point of view

2017 ◽  
pp. 171
Author(s):  
Pedro Mansilla Viedma
Keyword(s):  
Twentieth Century ◽  
A Priori ◽  
Point Of View ◽  
The Other ◽  
A Posteriori ◽  
Art Object ◽  
Palabras Clave ◽  
History Of Art ◽  
History Of ◽  
Siglo Xx

Como el título sugiere, el artículo pretende reflexionar sobre el punto de vista de la sociología sobre la moda, exagerando irónicamente lo específico de su punto de vista hasta elevarlo a “privilegiado”. Utilizo esa exageración para llamar la atención sobre la doble dimensión teórica de esa mirada. Una primera, fácil de entender, y quizás de aceptar, subraya la lectura sociológica de una moda ya pasada, como puede hacerlo la historia del arte, del traje o de la moda. Otra segunda, atreviéndose a reflexionar, o a invitarnos a reflexionar, sobre su otro punto de vista. Aquel que condicionaría el nacimiento mismo de la moda desde la sociología. La moda a posteriori es analizada, la moda a priori también, y aquí, donde la moda es efecto de una causa sociológica, y no al revés, es donde radicaría el verdadero interés de mi artículo. ¿Son antes los pantalones femeninos, el traje femenino, el smoking femenino –robados psicoanalíticamente al hombre durante el siglo XX– o la emancipación de la mujer? ¿Apareció siempre la minifalda después de la liberaciónsexual femenina o alguna vez, en algún país, fue al revés? ¿El movimiento hippie creó siempre una moda hippie o la imitación de la moda hippie invitó, en su onda expansiva mundial, a un estilo de vida consecuente con ese cambio de ropa? Estamos acostumbrados a que la moda sea un efecto, ¿puede ser una causa? Estamos acostumbrados a que la sociología explique un fenómeno, ¿aceptaríamos que a veces se pueda convertir en su causa?PALABRAS CLAVE: sociología, moda, causa, objeto de arte, contexto.ABSTRACTAs the title suggests, this article aims to reflect on the sociological viewpoint on fashion, ironically exaggerating the specifics of its point of view to elevate it to the point of “privilege”. I use this exaggeration to draw attention to the theoretical double dimension of that viewpoint. A first one, easy to understand and perhaps to accept, highlights the sociological reading of past fashion trends, as may History of Art, Costume or Fashion. A second one would dare to reflect, or to invite us to reflect, on this other point of view, one that would condition the very birth of Fashion from Sociology. Fashion is analyzed both a posteriori and a priori, and here, where Fashion is the effect of a sociological cause, and not the other way round, is where the true interest of my article would lie. Do women’s trousers, women’s tailored suits, women’s tuxedos –psychoanalytically robbed from men during the twentieth century– precede the emancipation of women or is it the other way around? Didthe miniskirt always appear after women’s sexual liberation, or was it the other way around in some countries? Did the hippie movement give rise to the hippie clothes style or did the hippie style, in its worldwide expansion, invite participation in a lifestyle consistent with that change in clothing? We are used to seeing Fashion as an effect. Could it be a cause? We are used to Sociology explaining a phenomenon, would we be willing to accept that it can at times be the cause of it?KEY WORDS: sociology, fashion, cause, art object, context.

scholarly journals APORTES CONCEITUAIS SOBRE O FENÔMENO DO FEMINICÍDIO

2020 ◽  
Vol 17 (29) ◽  
pp. 221-239
Author(s):  
SANDRA VIDAL NOGUEIRA ◽  
OSMAR VERONESE
Keyword(s):  
Latin America ◽  
Violence Against Women ◽  
Health Networks ◽  
Men And Women ◽  
Safety Issues ◽  
Palabras Clave ◽  
History Of ◽  
Las Mujeres ◽  
America Latina ◽  
Legal Frameworks

O fenômeno da violência extrema contra mulheres mostra-se tão antigo quanto à própria humanidade, ou seja, as mulheres sempre foram tratadas como objeto, ao qual o homem podia usar, gozar e dispor. O que há de recente na História da América Latina (e do Brasil!) é a preocupação com a violência sexista e mais novo ainda é a sua judicialização, na tipificação dos crimes, como sendo feminicídios. O entendimento das causas desse fenômeno torna-se, assim, central nas questões de segurança pública, na problemática das redes de saúde e dos processos de escolarização. Nesse sentido, o presente artigo focaliza os principais marcos legais existentes, reflete sobre manifestações ocultas nas brutais cenas de violência entre homens e mulheres, e pontua importantes interfaces de variação no mapa da violência contra mulheres, em especial, no Brasil. Palavras-chave: Feminicídio. Violência Sexista. Misoginia. CONCEPTUAL CONTRIBUTIONS ABOUT THE PHENOMENON OF FEMICIDE Abstract: The phenomenon of extreme violence against women is as old as humanity itself, that is, women have always been treated as objects which men could use, enjoy anddispose. What is recent in the history of Latin America (and Brazil!) is the concern with sexist violence and the even more recent is its judicialization, in the typification of crimes, as femicides. Understanding the causes of this phenomenon becomes this way central to public safety issues, the problem of health networks and schooling processes. In this sense, this article focuses on the main existing legal frameworks, reflects on hidden manifestations in the brutal scenes of violence between men and women, and points out important interfaces of variation on the map of violence against women, especially in Brazil. Keywords: Femicide. Sexist Violence. Misogyny. CONTRIBUCIONES CONCEPTUALES SOBRE EL FENÓMENO DEL FEMINICIDIO Resumen: El fenómeno de la violencia extrema contra las mujeres es tan antiguo como la humanidad misma, es decir, las mujeres siempre han sido tratadas como objetos que los hombres pueden usar, disfrutar y disponer. Lo más reciente en la historia de América Latina (¡y Brasil!) es la preocupación por la violencia sexista y la novedad sigue siendo sujudicialización, en la tipificación de los delitos, como feminicidios. Comprender las causas de este fenómeno se convierte así en un elemento central de los problemas de seguridad pública, el problema de las redes de salud y los procesos escolares. En este sentido, este artículo se centra en los principales marcos legales existentes, reflexiona sobre manifestaciones ocultas en las escenas brutales de violencia entre hombres y mujeres, y señala importantes interfaces de variación en el mapa de violencia contra las mujeres, especialmente en Brasil. Palabras clave: Femicidio. Violencia Sexista. Misoginia.

scholarly journals The Semi-Nude and Collapsing Female Figure: Sexuality in the Aesthetic Paintings of Albert Moore and Edward Burne-Jones

2021 ◽  
Author(s):  
Meaghan Collins
Keyword(s):  
Visual Analysis ◽  
Body Language ◽  
Female Figure ◽  
Female Nude ◽  
Victorian Period ◽  
History Of Art ◽  
Female Figures ◽  
History Of ◽  
Pre Raphaelites ◽  
The Aesthetic

The female nude has been researched extensively over the history of Art, and continues to fascinate researchers and art enthusiasts alike. However it is difficult to find information on female figures who are semi-nude: one who is not fully clothed nor entirely nude. The Victorian period in England was a very conservative time, especially for women. Influenced by the Pre-Raphaelites, Aesthetic painters Albert Moore and Edward Burne-Jones depicted women in a peculiarly sexual manner, one that encapsulates the struggle with sexual acceptance of the era. Women are often shown wearing loose, transparent fabric and often asleep or in languid, weary poses. These weary poses are what I refer to as “collapsing women.” In this visual analysis I take a close look at these female figures, and examine them using the terms “semi-nude” and “collapsing female,” in order to determine the meaning behind their dress and body language.

scholarly journals Recreando artefactos digitales: del archivo de ATA a la curaduría de metadATA

2019 ◽  
pp. 130-141
Author(s):  
José-Carlos Mariátegui ◽  
Nataly Montes Becerra
Keyword(s):  
Historical Context ◽  
Exhibition Design ◽  
City Council ◽  
Art And Technology ◽  
Palabras Clave ◽  
History Of Art ◽  
History Of ◽  
Work Done

Este artículo intenta describir críticamente la exhibición metadATA: 20 años de cultura, arte y tecnología, muestra antológica de la organización Alta Tecnología Andina (ATA), presentada del 3 al 30 de junio del 2016 en el Centro Cultural Ricardo Palma de la Municipalidad de Miraflores. Este proyecto buscaba decantar, a partir de seis hitos temáticos en su historia desde su fundación, en los años noventa, una parte importante de la historia del arte y la tecnología en el Perú. En primer lugar, presentamos una breve historia del contexto histórico y la necesidad de producir esta muestra. Luego analizamos el concepto curatorial, así como las seis cápsulas de información propuestas. Posteriormente, incidimos sobre la museografía y el diseño de la exhibición, y los dispositivos tecnológicos empleados. Concluimos con un análisis sobre la complejidad conceptual en relación con la práctica curatorial en archivos y su nivel de objetividad en el presente.  Palabras clave: curaduría, archivos, museografía, Perú, exhibición, arte, tecnología   AbstractThis article tries to critically review the exhibition “metadATA: 20 years of culture, art and technology”, an anthological exhibition of the work done by Alta Tecnología Andina (ATA). It was showed from the 3rd to 30th of June 2016 at the Centro Cultural Ricardo Palma of the Miraflores City Council. This exhibition sought to showcase, from six thematic milestones, a relevant part of the history of art and technology in Peru since the 1990s. First we give a brief history on the historical context and the need to present such exhibition. Then we analyze the curatorial concept as well as the organization of the six information capsules. Subsequently, we focus on the museography and the exhibition design as well as the importance of the technological devices. We conclude with an analysis the philosophical complexity of the producing curatorial work of previously curated work and the relevance in the present. Keywords: Curating, archives, museography, Peru, exhibition, art, technology

scholarly journals TURISMO COMUNITARIO DE CORTE URBANO: PERSPECTIVAS PARA EL DESARROLLO DEL TURISMO CULTURAL, SUSTENTADO EN EL PATRIMONIO Y LA IDENTIDAD, EN EL CANTÓN LA LIBERTAD. PROVINCIA DE SANTA ELENA. ECUADOR.

2018 ◽  
Vol 6 (1) ◽  
pp. 10-21 ◽  
Author(s):  
Erick López Reyes ◽  
Lourdes Colcha G.
Keyword(s):  
Rural Communities ◽  
Architectural History ◽  
Archaeological Heritage ◽  
Social Fabric ◽  
Semantic Richness ◽  
The Core ◽  
Palabras Clave ◽  
History Of ◽  
The City ◽  
Santa Elena

La noción de “comunitario” se asocia tradicionalmente al turismo para referirse a todo tipo de iniciativas de desarrollo, emprendimiento o innovación, que en este campo de la realidad y entramado social se suelen dar, como “alternativas productivas” en “comunidades rurales” poco favorecidas económicamente. Obviando así, reduccionistamente, toda la implicación y riqueza semántica del término. En la presente investigación se pretende recuperar dicha riqueza, la esencia medular de lo comunitario, aplicado y desarrollado desde los medios urbanos, vinculándolo a elementos que le son propios, tales como la identidad y la memoria, la historia, la cultura y el patrimonio arqueológico e histórico arquitectónico de dichos entornos. Como alternativas plenamente válidas, incluso altamente deseables, de articulación, equilibrio, innovación, diversificación y desarrollo turístico. Para ello se parte de las potencialidades que en estos campos presenta hoy por hoy la ciudad-cantón de La Libertad, provincia de Santa Elena. Ecuador. Palabras clave: Comunitario, Comunidad Urbana, Patrimonio Arqueológico, Turismo Cultural, Cantón La Libertad-Ecuador. ABSTRACT The notion of "community" is traditionally associated with tourism to refer to all kinds of development, entrepreneurship or innovation initiatives, which in this field of reality and social fabric are usually given as "productive alternatives" in less favored “rural communities”. Thereby obviating, all the implication and semantic richness of the term. This paper seeks to recover this wealth, the core essence of the community, applied and developed from the urban media, linking it to elements that are its own, such as identity and memory, history, culture and archaeological heritage and architectural history of such environments. As fully valid, even highly desirable, alternatives for articulation, balance, innovation, diversification and tourism development. To become part of the potentialities that in these fields presents today the city-canton of La Libertad, province of Santa Elena. Ecuador.

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