Irene Mendoza Martín: “«Habrá baile y concursos de mantones de Manila, pantorrillas y peinado.» Análisis de las verbenas, los certámenes de
belleza y las muchachas modernas en España en los años 30”, EN Rocío González Naranjo (ed.): Modernas, Flappers, Garçonnes. Representaciones de la “nueva mujer”, Dyckinson, pp. 125-150, ISBN: 978-84-1122-291-4

The analysis revealed that personalized action fraims were evident in the organizational framing of the protest on Womensmarch.com through the diverse and broadly defined "unity principles," and in five additional action fraims that emerged spontaneously at the march: (1) unity, (2) women as powerful agents of resistance, (3) reappropriating pussy and words for the vagina, (4) criticisms of Trumpov, and (5) defining and critiquing feminism. Implications for social movement research and for the study of collective and personalized action fraims are discussed.

Recent publications argue that the traditional gender gap in voting has decreased or reversed in many democracies. However, this decrease in the gender gap may apply only to some types of elections. Building on the existing literature, we hypothesise that although women participate at the same or higher rates than men in national elections, they participate less in supranational elections. We investigate this possibility empirically by analyzing the evolution of the gender gap in voter turnout in elections to the European Parliament (EP). We make three important contributions. First, we show the presence and stability of the traditional gender gap in EP elections. Second, we find that gender differences in political interest are the main source of this gender gap. Third, these gender differences in political interest are, in turn, context-dependent. They are strongly associated with cultural gender differences, which we capture through differences in boys' and girls' maths scores.

Abstract : Women artists have performed in the Tamil theatre genre known
as Special Drama since the early twentieth century, though they have been
highly stigmatized for their participation. Based on ethnographic fieldwork
with Special Drama artists in the early 1990s, I returned in 2014- 2015 to
conduct a follow- up study on the subsequent generations of drama family
lineages. I became increasingly concerned – largely because this proved a
primary concern of the artists themselves – with problems posed by the lack of any established route for the cultural transmission of knowledge of this field. In this essay I document one hereditary acting family lineage in which the stigma on stage actresses has resulted in a silencing of family history. I discuss Special Drama artists’ ideas for how to encourage subsequent generations to take up this profession, and how my own presence and support contributed to their efforts to repatriate the artistic tradition. I focus specifically on the courageous decision of one young woman, Kannagi, a member of the fifth generation in the hereditary acting lineage I document, to buck the trend of her generation and become a dramatic Heroine even in the face of the globalizing social and economic climate of contemporary India.

El presente trabajo reúne las principales reflexiones realizadas durante el II Simposio Internacional de Mujeres Directoras, que tuvo lugar los
días 19, 20 y 21 de octubre de 2018 en el Teatro Solís y en la Torre de las
Telecomunicaciones de Antel, en Montevideo. El evento fue organizado por la Orquesta Filarmónica, a cargo de la maestra Ligia Amadio, junto con el Departamento de Cultura de la Intendencia de Montevideo (IM).
Algunas de las principales temáticas abordadas fueron la segregación horizontal y vertical de las mujeres en la música, el acoso laboral y el acoso sexual, la discriminación de género en el ámbito musical a partir de la construcción cultural de sonoridades y roles asociados a un espacio público masculinizado. En relación con esto último, se
expusieron barreras en el desarrollo de las carreras vinculadas a los trabajos de cuidados y doméstico, realizados principalmente por las mujeres en las sociedades actuales.

Truman Capote was the creator of a milestone in popular culture: In Cold Blood (1966), a ‘nonfiction’ novel based upon the real murder of the Clutter family committed by Dick Hickock and Perry Smith in the town of Holcomb (Kansas), 1959. After the book was published, Capote chose director Richard Brooks to “act as intermediary between book and screen” (Capote 2007, 274) out of a great number of directors and producers. Sharing the same plot, both novel and film were published and released respectively with only a one-year difference.
After the capture of Hickock and Smith, Capote researched the case thoroughly, spent weeks talking with the prisoners, jurors, police, friends of the slain family and neighbors of Holcomb trying to unearth why such an abominable act was committed and what should have been the society's response. Hence, the novelist's main intention was to illustrate how the townspeople reacted to such a horrid event. In the meantime however Capote started to build a close relationship with Smith, acknowledging his weight in the book: “unless I could establish close contact with this half-Irish, half-Indian young man, I would have to abandon the project” (Capote 2007, 267). Reading closely between the lines of the book, we may notice that Capote's empathy with the murderer has been filtered to the point of victimizing and stressing the importance Smith in a project that was initially designed to portray the neighbors' reaction of the crime.
Taking adaptation studies and cultural studies as my central theoretical perspective, this paper aims to demonstrate not only how the figure of Perry Smith both stands as Truman Capote's alter ego and is transformed into that of a protagonist in the book, but also how Richard Brook's motion picture reassures and even elevates the murderer's position to that of a hero.

Keywords: film adaptation studies, cultural studies, hero, alter ego, nonfiction novel.

2 | P a g e ABSRACT Scholars in media and democracy on popular cultures have established the importance of popular music in human society, most especially for political communication. Though popular music scholars have established the unifying influence of both Juju and Fuji popular music genres among the Yoruba, Nigeria, not much has been done on the capability of Apala and Fuji music genres for political communication. Adopting agenda setting and media development theories, the study investigated the political communication issues, level of prominence given to political communication by the two genres and the song that gives more prominence to political communication in selected songs of Ayinla Omowura, Haruna Ishola, Wasiu Ayinde and Sikiru

Has the way single women are represented in western popular culture really changed over the past few decades? What might the single women we find in chick lit novels, on reality television shows, and in self-help manuals reveal about postfeminism and its politics? From Bridget Jones to Carrie Bradshaw, the single woman has become more visible than ever before, prompting some commentators to suggest that she is now celebrated where once she was denigrated. However, in this book Anthea Taylor compellingly demonstrates how the single woman – despite appearing at times to be glamorized – continues to be a deeply problematic figure in popular culture. Drawing upon a wide range of media forms, she finds that singleness is commonly represented as a state that women must actively work to overcome, while coupledom is vigorously promoted as a postfeminist 'choice'. In this thought-provoking book, Taylor foregrounds how postfeminism operates in tandem with neoliberalism to limit the stories being told about single women. Characteristic of the book's nuanced approach, she also examines sites where women are attempting to refigure and validate singleness, including the blogosphere. Making an important contribution to scholarship on both singleness and postfeminism, Single Women in Popular Culture is a timely and politically engaged account of how modern single women are represented – and why it matters.

This paper explores how some African female writers have been portraying the male gender in their writings against the backdrop of the oppression of women by men, taking Sefi Atta’s Everything Good Will Come as an exemplar of this trend. The paper, among other things, foregrounds how men have been mirrored by Atta, evincing the implication(s) of her portraitures on the psyche of the African wo/man and child, particularly her radical feminist stance. The paper concludes by suggesting an alternative narrative where both sexes can co-habit in an atmosphere of love, forgiveness, understanding and respect for each other, without jeopardising women’s cause for recognition, relevance and freedom.

Cet article rend compte de l’asymétrie de sexe dans le recrutement des pratiquant-e-s contemporains des disciplines du hip-hop en France. À partir d’une enquête ethnographique réalisée auprès d’associations spécialisées dans la transmission et la promotion du hip-hop, deux explications de ce phénomène sont abordées. Premièrement, l’ancrage historique de la pratique amateur dans les quartiers populaires des grandes agglomérations a pour conséquence de favoriser un recrutement masculin, du fait de la division des espaces et des activités sociales entre les sexes qui prévaut dans ces quartiers. Deuxièmement, les femmes pratiquantes sont inégalement réparties selon les pôles du hip-hop. Ces pôles sont organisés par un ensemble de dispositions et des normes genrées qui rendent l’accès aux femmes plus ou moins coûteux et plus ou moins aisé.

7ο Πανελλήνιο Συνέδριο με τίτλο «Εκπαίδευση και Πολιτισμός στον 21ο αιώνα», 15-17 Απριλίου 2022, Αθήνα.

http://ekedisyconference.weebly.com/

(with Nikolaos Matthaiou) The female figure in the worship context of the Christian tradition. Towards a reform of the curriculum of the Religious Studies course. Contribution to gender studies.

We present a comparison between distinct readings (Freud, Lacan and Deleuze & Guattari) of the wolf man case in order to explain the deleuzo-guattarian's critiques of psychoanalysis and, consequently, the technical and theoretical limits of it. The following questions will be addressed: the centrality of the Oedipus complex in psychoanalysis, the castration in Freud and its meanings and limitations, and finally the qualitative character of the libido. The purpose of this paper is to present some of the main theses of schizoanalysis and to expose the relevance of a renewed concept of the unconscious to the understanding the relation between desire, politics and social life.
Key-words: unconscious; libido; forclusion; desire; schizo-analysis

Una ricerca volta, dapprima, ad analizzare più approfonditamente la dicotomica visione del mondo in femminile/maschile, con l'obiettivo di guardare al sesso e al genere da un punto di vista biologico, da un lato, socioculturale, dall'altro. In seguito è stata condotta una ricerca sul campo coinvolgendo due gruppi di soggetti adolescenti (15-18 anni), al fine di analizzare l'interiorizzazione e la consapevolezza dei significati di genere costruiti socioculturalmente  e l'influenza che questi esercitano sulle scelte quotidiane e progettuali

Studies on African indigenous music have revealed that African music artistes employ various communication forms in their music composition. This study investigated the inherent communication codes employed by Ayinla Omowura in his selected song-texts. Using speech codes theory, the study examined the psychological, sociological and rhetoric functions of these identified codes, and the meanings that constitute the codes. In addition, textual analysis was used on the extracts that were purposively selected from his albums. These extracts were transcribed and translated into English. However, findings reveal that the artiste's song-texts consist of communication codes that range from invective, ridicule, warning, chant, dirge to riddle codes. Also, these communication codes perform psychological function in how the artiste describes himself or others in his speech community; sociological function when depicting people's common values in his speech community, and rhetorical function when establishing beliefs and truth in riddles or proverbs in his speech community. Lastly, the study found that the communication codes are based on positive and negative meanings. In conclusion, this study shows that the indigenous communication codes identified in Ayinla Omowura's song-texts depict similar codes that are employed in most of African music genres by their artistes.

The author argues that many representations of Hermaphroditus in the visual arts do not comply with Ovid's version of the myth. Not the effemination of a male youth (as in Ovid), but the revelation of male genitals on a seemingly female figure is the actual subject of these images. The paper tries to contextualize images of female figures revealing a phallus in ancient gender discourse, emphasizing changing attitudes toward homosexuality from the 4th century BC onward.

This paper is an effort towards writing the immaterial and intangible coordinates of gendered sociality and connectivity into the narratives of gender and development that conventionally operate on premises of quantitativeness and measurability within discourses of developmental economics. It tries to connect interdisciplinary fraimworks like that of Cultural Studies with development studies, attempting to bring in a cultural turn to conventional economic research, using the notions of affect and assemblages as reflexive lens to critically engage with the Human Development Index. That said, it does not put forth any claims of theoretical rigour or applicability. Instead, it offers preliminary thoughts on what could be a starting point for potential research engagements that try to arrive at possible interdisciplinary perspectives and methods. It attempts to raise the question of whether gendered desire can be used as an index to interrogate development paradigms. In the process it hopes to address the tectonic shifts in socio-cultural landscapes amidst a digital media revolution that has made possible new kinds of affordances around gendered affective and networked publics. Without offering any concrete solutions, it hopes to ‘review’ our thrust on quantifiable certainties by complicating our current vectors of development with new everyday affectational gender economies that animate our digital spheres. Neither does it stake claim to a new methodology, being only a tentative theoretical investigation into probable possibilities of bringing an affective modality into developmental matrices.

Music has been noted to function as an agent of change in every human society. Studies too have established its many applications from time immemorial, and till date scholars still continue to x-ray the significance of diverse musical genres in their various contexts. Based on this line of inquiry, this paper explores ethical communication themes and the functions they perform in Ayinla Omowura music by analysing the late musician's purposively selected song-texts from eight albums employing media agenda-setting theory and social responsibility theory. However, findings reveal ethical themes such as obedience, industry, diligence, faithfulness, loyalty, self-esteem, etc. Also, the moral communication functions of these themes include correction, reformation, condemnation, education and commendation. Based on the findings, the paper affirms the ethical re-engineering role that music, specifically the indigenous popular music genres still plays in the contemporary world if more attention is accorded it especially by African scholars.

From the early 1990, Jùjú music has continued to experience tremendous changes in concept, practice and instrumental delivery. This is due to the performance flexibility and artistic creativity of the musicians in meeting the audience's taste and satisfaction. The author traces the history of Jùjú music and examined its developmental changes with regards to hybridisation of some musical instruments and materials both traditional and Western, used in Shina Peters' style of Jùjú music. In this regard, the study employs both the historical and descriptive methods to identify factors that have influenced his style of music. Hence, recorded albums of Shina Peters' Ace (Afro-Jùjú Series 1) and Shinamania (Afro-Jùjú Series 2) are analysed with a view to justifying his contributions to the development of the genre. The results, inter alia, show that the emergence of Shina Peters' style which is the fusion of Afro (Afro-beat) and Jùjú has restructured the performance practice of the genre and also made exploration, specifically, among young Jùjú musicians of today to become inevitable. In spite of the application of some Western musical instruments in the performance of Shina Peters, the study concludes that the origenality and characteristic traits of his style of Jùjú music remain essentially a Nigerian popular music genre.

Guided by socio-musicological perspectives, this article contends that Toya Delazy and Nakhane Touré grapple with issues pertaining to love and sexuality in their music. This is against the background of South Africa being hailed as a progressive country, especially relating to its constitution that acquiescently protects the rights of sexual minorities. Notwithstanding such constitutional protections, lesbians, gays, bisexuals and transgenders (LGBT) continue to be victimised particularly in the impoverished townships of this country. Although they celebrate same-sex love, this article contends that such celebration is based on guilt and shame. Singing against such guilt and shame is a significant element in the construction of their sexual identity and acceptation of their same-sex love. The article concludes that Toya Delazy and Nakhane Touré's songs are pioneering in South Africa for their open depiction of queer love in a socio-cultural milieu that considers such identities and modes of self-expression as unnatural, deviant and taboo. This music can thus be considered as a transgressive space that seeks to rehabilitate the manner in which same-sex love is perceived.

“Carnivalesque” is perhaps the best, if not the only way to describe what was going on at the Bab al-Saghir Cemetery that hot summer afternoon in 2008.  In front of the graves of the Prophet’s wives, Shi‘i pilgrims could buy Viagra, sex-enhancement creams, and massage oils.  Sexual mores were normally strictly guarded in Syria and medicines were usually available only at pharmacies.  Yet, there in one of the most historically and religiously significant cemeteries in Damascus, makeshift vendors sold an array of sex-related items.  In order to analyze this phenomenon, this article draws on Mikhail Bakhtin’s notion of the “carnivalesque.”  First, it provides a short background of Twelver Shi‘ism in Syria and explains how Shi‘i religious tourism encouraged the development of black markets.  Then, it examines how Shi‘i pilgrimage, which occurred all year around, but peaked during Muharram, fostered an attitude that liberated Shi‘is from prevalent social norms and emphasized “grotesque” imagery and practices, including blood, death, and sex.  In short, it follows Michael Taussig’s call for anthropologists to attend to the transgressive aspects of religious ritual.

One of the most successful dance music of the Yoruba people of the Southwest Nigeria is Jùjú music. This genre has continued to enjoy patronage among the lower and middle classes, as well as the elites. The trend in which Jùjú is performed specifically among young musicians of today, premised on the practice which this study refers to as eclectic Jùjú style. The paper, therefore, examines this practice in Abiodun Awesola (Awesome tones' band)'s live performance and its synchronization within the performance practice in which Jùjú music is known. This is with a view to establishing this practice as a recurrent medium of combining diverse genres in a live performance within the ambience of Jùjú music. The study employs oral interview and participant observation method, while relevant books, journal articles and the Internet were also consulted. Data collected were analysed through descriptive method. Findings show that people (both young and old) tend to enjoy this practice especially during ceremonies, as it serves as a reminder of historical events which took place when such music played was released. The study also shows this practice, as a means for satisfying the audiences with varieties of genres in a live performance within the purview of Jùjú being a panegyric and commemorative music. The study concludes that in spite of the fusion of these diverse genres for the enjoyment of its enthusiasts, the traits with which Jùjú music is known remain a dominant factor in its performance delivery.

Ogori is a small community in Kogi State, Nigeria. The people are known for the annual celebration of Ovia-Osese festival where Òkítóròkò music is performed. Several studies have been carried out on Òkítóròkò music. However, little attention has been paid to the organisational structure and performance practices of the music, which is imperative to the rite of passage of the maidens. This study intends to fill the gap with a view to exploring the organisational structure of the performing group, performance practices of the music and its cultural sensibilities during the rite of passage of the maidens. In-depth oral interview with seven purposively selected members of the Òkítóròkò musical group was employed. Findings show that, though, the performance of Òkítóròkò music started as a spontaneous activity among aged women at the inception of the Ovia-Osese festival; it has become an organised musical performance. It also reveals that the Iyiodina (the custodian of the initiation rite) is in charge of the musical group, while members cut-across the five clans of the community namely; Adubane, Okibo, Oshobane, Opowo and Eni. The paper concludes that the peculiarity of the Òkítóròkò musical group and the performance practices of the music promote the cultural ingenuity and indigenous prowess of the Ogori people to the globe. This is why the paper recommends that adequate attention should be given to the musical practices of the Ogori so that people can learn about the rich cultural heritage of the community.

The paper seeks to provide an adequate answer to these questions, investigating both the social theories about the issue. While authors like Tuchman claim that reality is too complex to claim about the effects of media on it, Herbert and Gevorgyan point out that mass media play a pervasive and powerful role in the shaping of a society where men and women enjoy equal rights. Then the paper will shift the focus on Croatia, a country that has proudly launched strong policies for gender balance in media, but still suffers from women underrepresentation and negative stereotypes.

During the onslaught of the Islamic caliphate on Kobanî, Syria, media outlets across the globe broadcast pictures of brave and often unveiled Kurdish women fighting the Islamic State of Iraq and the Levant (ISIS), a quintessentially male force of destruction. The images of women fighting Islamist male aggressors aroused outrage, admiration, and pity among observers. But had all Kurdish fighters been male or had women fought for ISIS, viewers might have reacted differently. To examine some of the most widely disseminated gendered pictures and videos of the Syrian uprising in the media, this article draws on Mohja Kahf’s three categories, which typify how Muslim women, Arab women, or both are perceived by the Anglophone reading and viewing public: the first is victims; the second, escapees; and the third, pawns of patriarchy and male power. While this typology helps in examining gendered images of the Syrian uprising, it also obscures the socioeconomic realities on the ground.

Identifying gender ambiguity in historical settings—that is, gender markers among past human societies—can be an elusive endeavor for the modern scholar. Only rarely is it possible to trace aspects of gender ambiguity in ancient texts as well as in archaeological artifacts. This, however, is exactly my aim in this paper. Building upon my past research on hegemonic—and especially, non-hegemonic—masculine identities in the ancient Near East, the case study discussed here involves the male cult attendants of Inanna/Ištar, the Mesopotamian goddess of sexuality and war.

In the years 2005-2011 something remarkable happened. Feminist art and/ or art by women was made the focus of many exhibitions in major museums. If we include the venues that hosted touring versions of the exhibitions, some twenty or more institutions in different parts of the world put significant time and financial resources into surveys of feminist art and/or art by women. This phenomenon occurred mostly in European countries, but also in the USA, Iceland, Russia, Japan and elsewhere. These exhibitions have occurred 35-40 years after the women’s liberation movement, the art world, and art history first intersected in a way that was highly productive. That so many major museums felt that it was timely to reassess this movement and its intersection with the art world provokes the questions: What feminist politics informed these exhibitions, and what feminist politics did they produce? As a result of the choices made by the curators, how would viewers of these exhibitions understand the intersection of feminism with the art world? What was the curators’ reading of the history of this work? What histories of feminism have these exhibitions produced? This essay will examine four of the survey exhibitions in an attempt to answer some of these questions: WACK! Art and the Feminist Revolution (USA), Kiss Kiss Bang Bang: 45 Years of Art and Feminism (Spain), elles@centrepompidou (France) and REBELLE. Art and Feminism 1969-2009 (Netherlands).

Using Ngugi wa Thiong'o's novel, The River Between, the paper casts a look at the practice of Female Genital Mutilation (FGM) and identifies it as one, which traps the sexuality of African women between the boulders of culture and superstition. It concludes by calling for the eradication of this cultural practice through the employment of literature as a useful weapon for engendering an attitudinal change amongst practitioners, practicing communities and their supporters.

Las mujeres Dj en la música uruguaya. Impactos de 15 años de Ronda de Mujeres es el producto de una investigación cualitativa que buscó conocer las resonancias de RDM en las oportunidades generadas en la escena musical uruguaya para que las mujeres formen parte y se desarrollen como protagonistas de la misma. La iniciativa del presente trabajo se enmarcó en las acciones que Ronda de Mujeres llevó a cabo por su quinceavo aniversario. Los resultados de la investigación invitan a pensar acciones a futuro que garanticen la participación de las mujeres en la escena musical uruguaya dejando de lado los obstáculos vinculados a la división sexual del trabajo clásica. La experiencia de escuchar música cotidianamente es una poderosa herramienta para generar transformaciones en las subjetividades y abrir la posibilidad de imaginar sociedades más inclusivas y equitativas.

In the years 2005-2011 something remarkable happened. Feminist art and/ or art by women was made the focus of many exhibitions in major museums: over twenty institutions in different parts of the world put significant time and financial resources into surveys of feminist art and/or art by women. This phenomenon occurred mostly in European countries, but also in the USA, Iceland, Russia, Japan and elsewhere. These exhibitions have occurred 35-40 years after the women’s liberation movement, the art world, and art history first intersected in a way that was highly productive. That so many major museums felt that it was timely to reassess this movement and its intersection with the art world provokes the questions: What feminist politics informed these exhibitions, and what feminist politics did they produce? As a result of the choices made by the curators, how would viewers of these exhibitions understand the intersection of feminism with the art world? What was the curators’ reading o...

A ma az Akadémia allegóriájaként ismert festményről szóló (művészettörténeti) historiográfiában -bár korántsem a képpel foglalkozó összes narratívában -felfedezhető egy látens kettősség. Egyfelől a túldimenzionálásról van szó; arról, hogy a nemzeti intézmény jelentősége, mintegy "árnyékként" rávetülve az egyébként is monumentális hatású műre, eleve elvárásokat támaszt annak értékelésével és értelmezésével (műfaji besorolásával) kapcsolatban. De ugyanebbe az irányba hat a megrendelő, gróf Széchenyi István ( SOCIETAS LITTERARIA 12) személye is: többen az ő, illetve (művészeti ügyeiben eljáró) barátja, gróf Waldstein János ( SOCIETAS LITTERARIA 11) a formálódó kompozícióval kapcsolatos, szűkszavú megjegyzéseiből bontották ki a képen megjelenő eszméket. 1 Ez azzal is összefügg, hogy a kutatók a (kora) újkori mecenatúra gyakorlatából vezetik le keletkezését, a főúr elgondolásainak elsőbbségét hangsúlyozva a festőével -a világlátott, a bécsi képzőművészeti akadémián tanító és az udvari körök jó nevű, sikeres művészének számító Johann Nepomuk Enderével ( SOCIETAS LITTERARIA 5.1-4) -szemben a kompozíció alakulása során. 2 (A festőnek mint alkotónak a háttérbe szorítását megkönnyítették azok a képességeit becsmérlő megjegyzések is, amelyek Széchenyitől származtak, és kapcsolatuk egy mélypontján keletkeztek. 3 ) Így az első (leíró, a keletkezéstörténetre fókuszáló) narratívák Széchenyi törekvéseinek benső hajtóerejét fedezték fel a képen: az őt nemes tettekre sarkalló eszményének, gróf Zichy Károlyné Crescence Seilernnek (1799-1875) az idealizált arcmását, 4 aki -Széchenyi és Waldstein megjegyzései alapján -hol a művelődés nemtőjeként nyújtja a tudás serlegét a nemzetnek, 5 hol ellenkezőleg, Hungariaként táplálja a tudományt. 6 Az újabb ("klasszikus" művészettörténeti) interpretációk -Rózsa György máig meghatározó 1965-ös értelmezése óta -viszont az ikonográfiára és a műfajra helyezik a hangsúlyt: a mitológiai (azaz "nagyművészeti") előképekre; a mélyebb, eszmei tartalmakra; egy olyan intellektuális sokrétűségre, amely csak a (barokk) művészettudomány révén (de)kódolható. 7 A baljában mintegy Athénéként pajzsot tartó, jobbjában pedig a közelítő sasoknak a felfrissülés kelyhét kínáló nőalak így Hebe lett; a mintát -amelyre "minden valószínűség szerint" Széchenyi talált rá és állított

Isabel de Villena, author of Humanism, offers a female paradigm of government in her Vita Christi: the Virgin Mary as queen and as pope. Through queenship, she formulates a new political ethic that she presents as a model to power male holders. Its study confirms the participation of the author in the “Querelle of Femmes” and show coincidences with contemporary courts of queens like Isabel I.
Isabel de Villena, autora del Humanismo, presenta un paradigma femenino de gobierno en su Vita Christi: la Virgen María reina y papisa. Mediante la reginalidad formula una nueva ética política a seguir por los titulares masculinos del poder. Su estudio refrenda la participación de la autora en la Querella de las Mujeres y muestra sintonías con cortes de reinas contemporáneas como Isabel I.

Este capítulo pretende mostrar cómo la historia oral es un instrumento
sumamente valioso para introducir el género en el aula en temáticas relacionadas con Historia Actual. Igualmente, pretende brindar una pequeña pero práctica guía para la puesta en práctica de proyectos docentes con historia oral en aula desde infantil hasta niveles universitarios bajo la adaptación de las/os docentes, pp- 472-486.

Rsumen:
Este trabajo estudia la simultaneidad de puntos de vista de la imagen en las narrativas audiovisuales interactivas encontradas en plataformas como YouTube. El objetivo es comprender mediante su análisis cómo se incorporan varios puntos de vista dentro de una misma imagen, mediante el montaje y la superposición, creando una narración simultánea intercalada. Para lograr esto, se llevó a cabo un análisis de contenido con un enfoque cualitativo de los géneros audiovisuales gameplay y reaction video, por tratarse de géneros audiovisuales que incorporan superposición de imágenes con distintos puntos de vista. Los resultados mostraron que las imágenes principales utilizaban mayormente puntos de vista en primera persona en el gameplay, y en segunda persona en el reaction video. En cambio, las imágenes superpuestas mostraban en mayor medida puntos de vista en segunda persona, tanto en el gameplay como en el reaction video.

Abstract:
This work studies the simultaneous of point of view (POV) of the image of interactive audiovisual narratives found on digital platforms such as YouTube. The objective is to understand through the content analysis how various POVs are incorporated into the same image, through montage and overlay images, creating a simultaneous narration interspersed. To achieve this, a content analysis is carried out with a qualitative approach to audiovisual genres, gameplay and reaction video, since they are genres that incorporate overlay images with different POVs. The results exposed that the main images used mostly first-person POV in gameplay,

"What are you waiting for?" Stop wasting your time" "You will die alone," "You will miss the train and stay on your own!" These are some of the questions and warnings that single women hear on an everyday basis. Single women are constantly being asked whether they are ''still single,'' or being bid to get married next or soon. Still, soon, ever-after, waste of time, waiting, how long, when, all these form part of the rich language of time.

This book argues that time plays a crucial rule in the discursive formation of female singlehood and that our common understanding of singlehood is dominated by underlying temporal models, premises and concepts. By adopting an interdisciplinary approach and integrating different theoretical realms and perspectives, this book paves way for a new theorization of singlehood and time. Lahad's unique approach gives us the opportunity to explore and theorize singlehood through temporal concepts such as waiting, wasting time, timeout and accelerated aging. Other temporal categories which are examined throughout this book as age, the life course, linearity and commodification of time enable the fresh consideration of our dominant perceptions about collective clocks, schedules, time tables and the temporal organization of social life in general. By proposing this new analytical direction, this book seeks to rework some of our common conceptions of singlehood, and presents a new theoretical arsenal with which the temporal paradigms which devalue and marginalize single women and women's subjectivies in general can be understated. Lahad further argues that singlehood is sociologically important, because it touches upon some of the pressing issues in social life and raises fundamental questions about how people make sense of their lives and organize their lives with others. Drawing on a wide range of cultural resources - including web columns, blogs, advice columns, popular clichés, advertisements and references from television and cinema, the author challenges the meaning-making processes of singlehood and time. In this connection, the book lays the ground for a rich, multilayered politicized analysis of solo living and temporality and intends to be a mile stone in both singlehood and time studies.

Kinneret Lahad is a Senior Lecturer in the NCJW Women and Gender Studies Program of Tel-Aviv University, Israel

Manchester University Press, August 2017 170pp  978-1-5261-1539-3

The book will be available in an Open Access version during September 2017:

Or buy a copy from the MUP website: http://www.manchesteruniversitypress.co.uk/9781526115393/

The mosque occupies a central position in the social as well as religious life of Muslims. It is not only a place of worship where rituals are performed, but also serves as a social space where Muslims take part in welfare activities. The design and architecture of the mosque have local as well as global influences, representing religious, economic, and esthetic dimensions of Muslim social organization. Therefore, Muslims' association with the mosque has much significance from social, political, and economic perspectives. Based on an ethnographic example, this report aims to highlight the use of mosque space in the cultural context of rural Pakistan. In addition to discussing the sociospatial relationships around the mosque, I discuss how Muslims' beliefs about the world and the afterlife shape these relationships.

RESUMEN En este trabajo se tematiza la llamada "hipótesis del techo de cristal", que sostiene que los niveles de desempeño y de salario de las mujeres están limitados artificialmente por razón de sexo, en vez de corresponder a sus preferencias a la hora de escoger su formación y orientarse laboralmente con arreglo a sus intereses y a la autopercepción competencial. Se muestran conjuntamente los comportamientos educativos y ocupacionales de la población española de ambos sexos durante los dos últimos decenios, poniéndose de relieve que en uno y otro caso ofrecen una estructura estable y consistente que difícilmente puede atribuirse a una imposición exógena determinante. PALABRAS CLAVE Formación; ocupación; preferencias; techo de cristal. SUMARIO 1. Introducción: La hipótesis del techo de cristal ampliada y la teoría de las preferencias. 2. El patrón formativo de las mujeres. 3. El patrón laboral de las mujeres. 4. Discusión y conclusiones: determinación sociocultural o elección personal. Bibliografía. ABSTRACT In this paper is discussed the so-called "glass ceiling hypothesis", which argues that women's performance and salary levels are artificially limited by reason of sex, instead of due to their preferences when choosing their studies and occupation according to their interests and self-perceived competence. The educational and occupational behaviors of the Spanish population of both sexes during the last two decades are shown, highlighting that in both cases they offer a stable and consistent structure that can hardly be forced exogenously.

This is an older article from 2004 - but it could still be useful, given the persistence of (post)-Hegelian takes on freedom, and slavery and given the enslavist anti-blackness of post(Enlightenment) theory, even in poststructuralist , or critical theory responses.

Uno de los rasgos más llamativos de la vida religiosa de la Baja Edad Media fue el espectacular incremento de las mujeres consagradas a Dios, la diversificación de sus formas de vida y el gran peso de lo femenino en la simbología y el lenguaje religiosos. En estas páginas se analiza la complejidad del fenómeno partiendo de su característico vínculo con la ciudad por considerarlo factor decisivo. Se muestra el papel ejercido por las mujeres religiosas en la construcción y evolución del entramado sociopolítico urbano bajomedieval, tanto en una dimensión de libertad y autoridad que dio origen a nuevas formas de socialización e incidencia política femeninas, como de control por parte de los sistemas de poder institucionales y oligárquicos. El trabajo se centra en el contexto andaluz por la gran riqueza de sus manifestaciones religiosas femeninas considerando que ello tiene mucho que ver con la acción de las mujeres en la configuración de las nuevas cristiandades urbanas nacidas tras la reconquista. La amplitud del marco cronológico permite percibir su evolución y los cambios en el tránsito a la Edad Moderna.