La mujer en la dictadura Franquista

                                    LA MUJ ER EN LA DICTADURA FRANQUISTA.

El feminismo, como movimiento en el que se expresan y canalizan aspiraciones a
una participación más activa por parte de las mujeres en las decisiones que atañen a la
organización social, surge durante los años sesenta del siglo XX de un modo similar en
diversos países. Por un lado, entronca con aquel primer feminismo que giró en torno a las
sufragistas y a al reivindicación de los derechos políticos y cuyo impulso quedó sepultado
en parte como una de tantas consecuencias de las dos guerras mundiales. Por otro lado,
forma parte de un movimiento más amplio de protestas protagonizadas por los más
jóvenes, que planteaban la necesidad de ampliar la democracia, volviéndola más inclusiva
y transformando los modos de entender las actividades políticas y las maneras en que se
tomaban las decisiones.


En contraste con la legislación crecientemente igualitarista de los tiempos
anteriores a la guerra civil, el r égimen encabezado por Franco desarrolló una
legislación que excluía a las mujeres de numerosas actividades, en el intento de
mantenerlas en roles muy tradicionales, que poco tenían que ver con las tendencias que se
estaban manifestando en Europa 1 . Si el conjunto de la población carecía de los derechos
individuales y políticos propios de las democracias, las mujeres estaban mucho más
relegadas aún. A partir de 1 de enero de 1939 se obligó a dar de alta a las mujeres y a los
hombres por separado.
La igualdad ante la ley es una de las primeras exigencias de una sociedad
democrática y sería, por lo tanto, una de las primeras cuestiones en torno a las cuales
comenzarían a movilizarse las mujeres: primero serían los derechos civiles, tales como la
derogación de la licencia marital, la supresión de todos los artículos en las leyes que
tuvieran un carácter de subordinación de las mujeres respecto a los hombres, la patria
potestad conjunta, la mayoría de edad a los veintiún años a todos los efectos, la libertad
religiosa en los centros públicos y privados. A ellos se sumarían los derechos políticos: a
crear asociaciones, a poder reunirse, expresarse libremente y ejercer la huelga, en el
contexto de los reclamos de democratización del conjunto de la oposición al régimen
autoritario. También se reclamarían los derechos en el ámbito laboral y educativo. Y,
progresivamente, se añadiría el derecho a una sexualidad libre, al control de la natalidad y
al aborto, la ley de matrimonio civil y la ley de divorcio.

ficha de arte :vanguardia

       

Description

The painting shows three dancers, the one on the right being barely visible. A macabre dance takes place, with the dancer on the left having her head bent at a near-impossible angle. The dancer on the right is usually interpreted as being Ramon Pichot, a friend of Picasso who died during the painting of Three Dancers. (Some critics believe it could well be Picasso's wife Olga Khokhlova.) The one on the left is claimed to be Pichot’s wife Germaine Gargallo with the one in the centre being Gargallo’s boyfriend Carlos Casagemas, also Picasso’s friend. Casagemas shot himself after failing to shoot Gargallo, twenty-five years before Pichot’s death, and the loss of two of his best friends spurred Picasso to paint this chilling depiction of the love triangle.

ficha de arte :comics

                                                        CATWOMAN

Aunque originalmente fue creada como rival de Batman, el título de héroe o villano para Catwoman es más ambiguo, ya que ella tiene su propio código moral, que le prohíbe cometer asesinatos.

En su primera aparición en Batman Nº1 (primavera de 1940) era conocida como La Gata y no usaba en su atuendo nada que se pareciera a un rasgo distintivo de los felinos, ya que su disfraz era el de una anciana que robaba joyas. Durante el mismo año, en el cómic de El secreto de vida de Catwoman (otoño de 1940) se aclara su origen, y su personaje se define más claramente. En este nuevo relato se especifica un nuevo rumbo en el origen de la felina: Selina Kyle, azafata de una línea de aviación, tiene un accidente en el que su avión se estrella en una lejana región. Debido al acciente, sufre de amnesia, y su único recuerdo es la tienda de animales y veterinaria de su padre y, en especial, los gatos de ese establecimiento. Obsesionada por saber su origen, se aferra a esos recuerdos, que se convierten en el centro de su existencia.

Esta versión de Selina Kyle de Tierra-2 (Edad de Oro) se reformó y, después de algunos pequeños problemas, abandonó su vida en las calles y se casó con Bruce Wayne. Después de algún tiempo, forman una familia y tienen una hija llamada Helena. Pasados algunos años, un antiguo miembro de la pandilla donde solía estar comienza a chantajearla con revelarle a su hija el secreto que sucumbe su vida, el de su otro yo. A pesar de tener lo que siempre soñó, ella no puede evitar recaer, y junto a ese ladrón reinicia su vida en las calles. Al enterarse Bruce de esto, decide intervenir para tratar de salvar a la madre de su hija pero, debido a un accidente, ambos mueren. Tiempo después le es revelada la verdad a Helena, y ella jura venganza ante la tumba de sus padres, apareciendo así la superheroína Cazadora.

A su vez, Selina Kyle de Tierra-1 (Edad de Plata y de Bronce) continuaba siendo la ladrona con eventual interés amoroso en Batman.

War between Palestin and Israel

History of the Israeli–Palestinian conflict

The conflict between Palestinian Arabs and Zionist (now Israeli) Jews is a modern phenomenon, dating to the end of the nineteenth century. Although the two groups have different religions (Palestinians include Muslims, Christians and Druze), religious differences are not the cause of the strife. The conflict began as a struggle over land. From the end of World War I until 1948, the area that both groups claimed was known internationally as Palestine. That same name was also used to designate a less well-defined “Holy Land” by the three monotheistic religions. Following the war of 1948–1949, this land was divided into three parts: the State of Israel, the West Bank (of the Jordan River) and the Gaza Strip.

It is a small area—approximately 10,000 square miles, or about the size of the state of Maryland. The competing claims to the territory are not reconcilable if one group exercises exclusive political control over all of it. Jewish claims to this land are based on the biblical promise to Abraham and his descendants, on the fact that the land was the historical site of the ancient Jewish kingdoms of Israel and Judea, and on Jews’ need for a haven from European anti-Semitism. Palestinian Arab claims to the land are based on their continuous residence in the country for hundreds of years and the fact that they represented the demographic majority until 1948. They reject the notion that a biblical-era kingdom constitutes the basis for a valid modern claim. If Arabs engage the biblical argument at all, they maintain that since Abraham’s son Ishmael is the forefather of the Arabs, then God’s promise of the land to the children of Abraham includes Arabs as well. They do not believe that they should forfeit their land to compensate Jews for Europe’s crimes against Jews.

In the nineteenth century, following a trend that emerged earlier in Europe, people around the world began to identify themselves as nations and to demand national rights, foremost the right to self-rule in a state of their own (self-determination and sovereignty). Jews and Palestinians both started to develop a national consciousness and mobilized to achieve national goals. Because Jews were spread across the world (in diaspora), the Jewish national movement, or Zionist trend, sought to identify a place where Jews could come together through the process of immigration and settlement. Palestine seemed the logical and optimal place because it was the site of Jewish origin. The Zionist movement began in 1882 with the first wave of European Jewish immigration to Palestine.

At that time, the land of Palestine was part of the Ottoman Empire. This area did not constitute a single political unit, however. The northern districts of Acre and Nablus were part of the province of Beirut. The district of Jerusalem was under the direct authority of the Ottoman capital of Istanbul because of the international significance of the cities of Jerusalem and Bethlehem as religious centers for Muslims, Christians and Jews. According to Ottoman records, in 1878 there were 462,465 subject inhabitants of the Jerusalem, Nablus and Acre districts: 403,795 Muslims (including Druze), 43,659 Christians and 15,011 Jews. In addition, there were perhaps 10,000 Jews with foreign citizenship (recent immigrants to the country) and several thousand Muslim Arab nomads (Bedouin) who were not counted as Ottoman subjects. The great majority of the Arabs (Muslims and Christians) lived in several hundred rural villages. Jaffa and Nablus were the largest and economically most important towns with majority-Arab populations.

Until the beginning of the twentieth century, most Jews living in Palestine were concentrated in four cities with religious significance: Jerusalem, Hebron, Safed and Tiberias. Most of them observed traditional, orthodox religious practices. Many spent their time studying religious texts and depended on the charity of world Jewry for survival. Their attachment to the land was religious rather than national, and they were not involved in—or supportive of—the Zionist movement that began in Europe and was brought to Palestine by immigrants. Most of the Jews who emigrated from Europe lived a more secular lifestyle and were committed to the goals of creating a modern Jewish nation and building an independent Jewish state. By the outbreak of World War I (1914), the population of Jews in Palestine had risen to about 60,000, about 36,000 of whom were recent settlers. The Arab population in 1914 was 683,000.

ficha de arte: abstracto

                                               In the black square

When Kandinsky returned to his native Moscow after the outbreak of World War I, his expressive abstract style underwent changes that reflected the utopian artistic experiments of the Russian avant-garde. The emphasis on geometric forms, promoted by artists such as Kazimir Malevich, Aleksandr Rodchenko, and Liubov Popova in an effort to establish a universal aesthetic language, inspired Kandinsky to expand his own pictorial vocabulary. Although he adopted some aspects of the geometrizing trends ofSuprematism and Constructivism—such as overlapping flat planes and clearly delineated shapes—his belief in the expressive content of abstract forms alienated him from the majority of his Russian colleagues, who championed more rational, systematizing principles. This conflict led him to return to Germany in 1921. In the Black Square, executed two years later, epitomizes Kandinsky’s synthesis of Russian avant-garde art and his own lyrical abstraction: the white trapezoid recalls Malevich’s Suprematist paintings, but the dynamic compositional elements, resembling clouds, mountains, sun, and a rainbow, still refer to the landscape.

In 1922 Kandinsky joined the faculty of the Weimar Bauhaus, where he discovered a more sympathetic environment in which to pursue his art. Originally premised on a Germanic, expressionistic approach to artmaking, the Bauhaus aesthetic came to reflect Constructivist concerns and styles, which by the mid-1920s had become international in scope. While there, Kandinsky furthered his investigations into the correspondence between colors and forms and their psychological and spiritual effects. In Composition 8, the colorful, interactive geometric forms create a pulsating surface that is alternately dynamic and calm, aggressive and quiet. The importance of circles in this painting prefigures the dominant role they would play in many subsequent works, culminating in his cosmic and harmonious image Several Circles. “The circle,” claimed Kandinsky, “is the synthesis of the greatest oppositions. It combines the concentric and the eccentric in a single form and in equilibrium. Of the three primary forms, it points most clearly to the fourth dimension.”

Carteles Guerra Mundiales

                   World War Posters

Poster is the political arm of the poster that focuses on political propaganda. The political poster is an effective transmission of ideologies graphic and visual instrument. It has been defined as "a cry in the wall" that grabs attention and compels to receive a message. Throughout the twentieth century has been used as a tool of political propaganda of any political, democratic or authoritarian regime.

Guerra Civil Española

                             Civil War Poster

The Spanish Civil War (Spanish: Guerra Civil Española)was fought from 17 July 1936 to 1 April 1939 between the Republicans, who were loyal to the democratically elected Spanish Republic, and the Nationalists, a rebel group led by General Francisco Franco. The Nationalists prevailed, and Franco ruled Spain for the next 36 years, from 1939 until his death in 1975.

The war began after a pronunciamiento (declaration of opposition) by a group of generals of the Spanish Republican Armed Forces, under the leadership of José Sanjurjo, against the elected government of the Second Spanish Republic, at the time under the leadership of President Manuel Azaña.