Post-colonial girl-children in Olive Senior's short stories

Three short stories by the Jamaican author Olive Senior deal with how difficult it is for a girl to grow up in post-colonial Jamaican society. From a post-colonial feminist stance, my analysis of the short stories considers how predetermined conceptions about race, colour, gender, or social class affect their protagonists as individuals. Their progress towards adulthood is deeply marked by the transference between two households, a rather common experience for Jamaican children. These changes of residence give Olive Senior the chance to explore the different and often opposing conceptions regarding issues such as race, language, social class, female sexuality, religion or marriage. The socialisation of girl-children is also influenced by the stereotype of the "angel of the house", a racialised construct characterised by silence, delicacy, and submissiveness. When it comes to physical appearance, paleness is one of the essential characteristics, referring to the superiority of white women. The construction of black women as Jezebels will be also analysed. The different conceptions about the aforementioned issues and the predetermined patterns of behaviour make it difficult for the protagonists to reconcile both worlds: one of the most common results shown by Senior is alienation and isolation. Girls usually end up not knowing where they belong

Méliès in Spain, from what Is preserved and studied

Estudiar la recepción (distribución y exhibición) de Méliès en España es el punto de partida para elaborar determinadas ideas a partir de dos tipos de fuentes: los materiales identificados como del cineasta francés y conservados en los archivos fílmicos españoles (dónde se encuentran y desde dónde llegan a ser depositados en esos archivos); y los estudios llevados a cabo en el ámbito de la historia local del cine en sus primeros años (lo que estos reflejan sobre dónde y cómo se vio a Méliès). Estos últimos nos permiten trabajar a partir de lo ya elaborado por otros investigadores (archiveros, historiadores, cronistas...) dejando al margen las fuentes primarias, que serían el recurso del cual han partido ellos. El uso de las fuentes secundarias nos lleva a trazar un contexto desde la conexión de datos y no desde el descubrimiento de estos, trabajo del todo necesario para ampliar el marco de estudio desde lo local a lo generalStudying the reception (distribution and exhibition) of Méliès in Spain is the star - ting point for developing some ideas from two types of different sources: the films identified and preserved at the Spanish film archives of this author, where they are and from where and from whom they get in those archives; and the previous research in the local history of cinema in its early years in different Spanish cities, that reflect where and how they screened Méliès. Those sources allow us to build on what other researchers (archivists, historians, chroniclers ...) made before us, leaving out the primary sources. The use of secondary sources leads us to draw a context from the data connection and not from the discovery of these. This work is essential to try to broad our analysis from the local to the genera

María Luz Morales Godoy

María Luz Morales—officially known as María Luz Morales Godoy, but, following Spanish tradition, only went by her first surname—is not an unknown name in the history of culture and journalism in Spain. However, her name is only known within the narrow limits reserved for the acknowledgment of a woman within the Spanish context of her time. Her recognition is due, mainly, to her career as a journalist. In 1936, she was the first female director of the Spanish newspaper La Vanguardia and also worked as an editor, translator, and adaptor of literature for children, adapting many classics for the series Las Obras Maestras al Alcance de los Niños for the publishing company Araluce in the early 20th century. Furthermore, her work as a promotor of women’s education—in relation to the Residencia Internacional de Señoritas Estudiantes/International Residency for Female Students, which was created in 1931 and which she directed—is just starting to be acknowledged. Thus, her cinematographic career is eclipsed as a result of all her other activities, together with the fact that most of her journalistic texts on cinema were written under a masculine pseudonym: Felipe Centeno

As denominacións da ‘chuvia miúda’: variedades diatópicas e lingua literaria

Este relatorio ten a pretensión de percorrer de forma sintética e xeral as diferentes, e abundantes, denominacións que recibe o orballo 'chuvia miúda' no territorio de fala galega. Trátase dun estudo histórico-etimolóxico e motivacional dos datos dialectais e da súa presenza nos dicionarios e na literatura galega