Oživljavanje socijalizma: Bugarski socijalistički spomenici u 21. stoljeću

Bulgarian socialist architecture, and particularly its controversial monuments, have recently become the object of various informal actions, debates and interventions which provoke continuous social reactions and inspire spectacular newspaper front pages. It appears that such monuments have infinite potential for dividing people, not only on political, but also on aesthetical or emotional bases. Nowadays in particular, the monuments have even greater social importance as the keepers of dissonant public memory, while their public appreciation reflects different posttotalitarian processes in Bulgarian postsocialist society.Posljednjih nekoliko godina bugarska socijalistička arhitektura, te naročito njezini kontroverzni spomenici, postaju poprištem raznih neformalnih akcija, rasprava i intervencija koje redovito izazivaju društvene reakcije i nadahnjuju senzacionalne novinske naslovnice. Ovi spomenici kao da posjeduju neiscrpan potencijal za izazivanje podjela među ljudima na političkoj, estetskoj ili emocionalnoj osnovi. U današnjem društvu spomenici imaju još veću važnost kao čuvari disonantnog društvenog pamćenja, dok stav javnosti prema spomenicima odražava razne posttotalitarne procese koji se odvijaju u bugarskom postsocijalističkom društvu

Gitanas without a tambourine: Notes on the historical representation and personal self-representation of the Spanish Romani woman.

The performative representation of the Spanish Roma woman reveals a historical journey that brings her closer to many symbolic elaborations of the feminine, giving her a special affinity with the imaginary concerning the colonized woman, particularly with the Orientalist vision. Developed initially by the travelling intellectuals in Spain who sought a fusion of the topics of sexualized exoticism, the myth was reworked by local artists and thinkers without undermining their power to silence and make invisible the reality of the most vulnerable and most represented members of the ethnic group, their women. Today, a growing awareness of the importance of collective action directs Roma women to initiatives such as the revision of their historical memory, at the intersection between the external gaze and self-perception. These searches lead to the pioneering creation of community museum institutions, which have arisen around feminine Roma associations and are a symptom of an emerging desire to be heard. Based on the terminological tools shared by women and memory studies, this article seeks the personal dimension of this invitation to listen. The authors analyse a series of interviews with Roma women that investigate the social agents of representation, self-representation and their conceptual and experiential foundations

Las rosas de mañana : configuración del modelo femenino en la ilustración infantil e historieta españolas del siglo XX

El trabajo se propone dilucidar los mecanismos de codificación de la imagen femenina, dirigida a las niñas, durante una larga etapa del desarrollo de la ilustración y del cómic de mujeres. Se investigan primero los modos con los que el poder oficial predetermina el mensaje visual, a lo largo de un periodo que abarca desde las primeras décadas del siglo XX, hasta la plena consolidación de la modernidad en sus últimos decenios. También se analizan imágenes, creadas por tres ilustradoras representativas. Por fin, me centro en la manera en que las niñas de la época recibían, percibían e interpretaban estas imágenes.This work aims to elucidate the mechanisms of the female image coding, directed towards girls, during a long period of development of the illustration and female comic book. First, I investigate the ways in which official power predetermines the visual message, over a period stretching from the early twentieth century to the full consolidation of modernity in its last decades. I analyze too images, created by three emblematic women illustrators. Finally, I focus on how the coeval girls received, perceived and interpreted these images

Bajo la pluma de Damocles. El binomio conceptual ?formalismo y decadencia? en la estética y crítica soviéticas

The artists of the revolutionary avant-garde are among the first victims of Stalinist repressions. These persecutions are legitimized by an aesthetic theory, whose origins and development are as paradoxical as little investigated. Coming from a nineteenth-century vision of the role of art, for decades the Soviet criticism adapts to the changing situation of power, outlawing creators of all kinds of trends. The article reviews the key contributions of Marxist art theory and art criticism since the early twentieth century until the early eighties, inseparable from the paradigms of Soviet art history, focusing on the work of Anatoli Lunacharsky, Vladimir Kemenov, Grigory Sternin and Vladislav Zimenko. Their writings are analysed in relation to significant cultural events and contrasted with present ideas of Russian scholars, about the antagonism between the official aesthetic model and pursued alternatives. An element of particular interest is the role of the academic institution, as a producer of aesthetic and historiographical concepts, designed to justify or to mitigate the repressive discourse

Du côté de chez la nomade. La femme gitane : mythe, photographie et auto(re)présentation

L'article reflet une longue recherche sur la représentation sociale des gi tanas (o romi espagnoles). L'un de nos outils d'analyse est la photographie dans le cadre de ses relations avec le régime de la politique visuelle préétablie. Dans ce cas, nous enquêtons sur la manière de construire l'image de l'Altérité faite par des artistes français qui ont visité l'Espagne plus ou moins impliqués dans le paradigme exotique. Plus tard, quelques tendances plastiques plus expérimentales ont essayé d'autres types de regard, non sans des difficultés. Le deuxième paramètre que nous avons utilisé était la réponse auto-représentative des femmes gitanes contemporaines. Nous avons développé et mené une série d'entretiens avec des représentantes de diverses organisations romani en Espagne (Valence)

Conflictos y desarrollos del imaginario colectivo: el paisaje de la Albufera y el Saler

La Dehesa del Saler forma parte de la Albufera, el espacio más problemático y al mismo tiempo, el más emblemático del patrimonio paisajístico valenciano. Su análisis no podría estar separado de una construcción histórica polifónica, tejida por un lado por los múltiples discursos que forman la historia del espacio real, humano y paisajístico y, a la vez, por aquellas voces que configuran un imaginario cultural con fuertes valores identitarios.The Dehesa of the Saler forms a part of the Albufera lagoon, the most problematic, and in the same time, the most emblematic space of the Valencian landscape heritage. Its analysis might not be separated from a historical polyphonic construction, woven by the multiple speeches that form the history of the real, human and landscape space and, simultaneously, by those voices that configure the cultural imaginary with strong identity values

Eternizando la primavera. Codificación de la representación femenina en la ilustración del libro infantil español y ruso en el siglo XX

La tesis investiga los tipos femeninos, creados por ilustradoras de libros infantiles españoles y rusos a lo largo del siglo XX. La clasificación de las más repetidas figuras, modélicas para las niñas lectoras, exige un método propio: la tipificación espacial, resultado de las confluencias de los estudios del género, aplicados a la cultura visual y las teorías narrativas críticas. La agrupación resultante divide las ilustraciones en varios tipos: los externos (propios del contexto del cuento maravilloso), los internos, que habitan el entorno doméstico y, un tercer grupo, en continuo tránsito entre las categorías. Otras agrupaciones temáticas y formales se cruzan con las así definidas, cuestionando los conceptos de canon clásico, alegoría nacional o estereotipo de la diferencia. El análisis dedica especial atención a las biografías personales de las creadoras y a sus contextos políticos. En su conjunto, estos dos ejes enmarcan todo el estudio, en busca de las formas socio-espaciales de la creatividad femenina del siglo. Para perfilarlas, la parte clasificatoria está precedida por un detallado análisis de los fenómenos consustanciales a la ilustración del libro infantil. Así, en los primeros seis capítulos, cronológicamente ordenados, aparecen los catálogos de más de un centenar de ilustradoras. A la vez, quedan cotejados los factores clave para leer su obra, desde el marco histórico del género hasta los paradigmas sociales en torno a la educación. Dentro de esta revisión, encuentran su lugar fenómenos aparentemente formales, como el uso hipertrofiado de los elementos naturales en los esquemas compositivos del objeto libro. Y otros, erróneamente considerados ajenos al universo infantil por su carga política, como la manipulación de los materiales folclóricos por parte del discurso hegemónico de los imperios multiétnicos. La interdependencia soterrada queda visible, señalando otro de los numerosos ejemplos investigados: la violenta represión de las vanguardias artísticas, cuya herencia alimenta a las codificadas representaciones de las ilustraciones infantiles. En realidad, todas las figuras estudiadas interseccionan las vertientes personales, educacionales, estéticas y políticas; el método espacial permite, no solo ordenar todos los elementos, sino seguir la evolución de sus relaciones. Por fin, uno de los objetivos clave del trabajo, que produce resultados sorprendentes, es la continua comparación entre los dos ámbitos culturales, ricos en paralelismos.The study investigates the female types created by female illustrators of Spanish and Russian children's books during the 20th century. The classification of the most repeated figures, models for young readers, requires a method of its own: spatial typification, the result of the confluences of genre studies applied to visual culture and critical narrative theories. The resulting grouping divides the illustrations into several types: the external ones (typical of the context of the fairy tale), the internal ones, which inhabit the domestic environment, and a third group, in continuous transit between the categories. Other thematic and formal groupings intersect with thus defined, questioning the concepts of classical canon, national allegory or stereotype of difference. The analysis devotes special attention to the personal biographies of the creators and their political contexts. Taken together, these two axes frame the whole study, in search of the socio-spatial forms of female creativity of the century. In order to outline them, the classificatory part is preceded by a detailed analysis of the phenomena inherent to the illustration of children's books. Thus, in the first six chapters, chronologically ordered, the catalogues of more than a hundred female illustrators appear. At the same time, the key factors for reading their work are collated, from the historical framework of the genre to the social paradigms surrounding education. Within this review, apparently formal phenomena find their place, such as the hypertrophied use of natural elements in the compositional schemes of the book object. And others, erroneously considered alien to the children's universe because of their political charge, such as the manipulation of folkloric materials by the hegemonic discourse of multi-ethnic empires. The hidden interdependence is made visible by pointing to another of the numerous examples investigated: the violent repression of the artistic avant-garde, whose heritage feeds into the codified representations of children's illustrations. In reality, all the figures intersect personal, educational, aesthetic, and political strands; the spatial method makes it possible not only to order all the elements but also to follow the evolution of their relationships. Finally, one of the key objectives of the work, which produces surprising results, is the continuous comparison between the two cultural spheres, rich in parallels

Intersecciones críticas. Experiencias y estrategias desde la museología y el feminismo gitano, bajo el prisma del covid-19 = Critical Intersections. Experiences and Strategies from Museology and Roma Feminism, under the Prism of Covid-19

La pandemia de 2020 enfrentó las áreas que tratan la memoria desde los márgenes con la necesidad de transformar sus experiencias en estrategias con potencial de futuro. El artículo busca reflejar la intersección entre dos campos de acción cultural comprometida: el de algunos museos valencianos y el de las asociaciones de mujeres gitanas, vistas también desde el ámbito local. El objeto de nuestro análisis son dos vertientes de la actuación cultural emancipadora: las experiencias, fenómenos a menudo caóticos y coyunturales, y las estrategias razonadas, que unen prácticas del conocimiento crítico hasta ahora no contiguas. El estado de alarma definió estas ramas estratégicas como inclusión digital y justicia social, apoyadas sobre los derechos identitarios y culturales e inseparables de las luchas de género.AbstractThe 2020 pandemic confronted the areas related to memory from the margins, with the need to transform their experiences into strategies with future potential. The article seeks to reflect the intersection between two fields of engaged cultural action: that of some Valencian museums and that of romi women’s associations, also seen at the local level. Thus, the object of our analysis are two strands of emancipatory cultural action: experiences, often chaotic and conjunctural phenomena, and reasoned strategies, which unite hitherto non-contiguous practices of critical knowledge. The state of emergency defined these strategic branches as digital inclusion and social justice, supported by identity and cultural rights and inseparable from gender struggles