Sex-segregated university statistics. State of the matter. A comparative analysis of gender percentages in Spain´s Reales Academias, as a paradigmatic example of gender equality in culture.

Para poder analizar la igualdad real en la cultura es necesario conocer un punto de partida. Para poder aproximarnos a la cantidad de creadoras que existen, se ha considerado necesario analizar las estadísticas desagregadas por sexos de titulados/as en las especialidades humanísticas en el entorno de los años 82 – 86, considerando que es la generación que está en el momento de mayor capacidad creativa, en el entorno de los cincuenta años. De este modo se puede plantear si el Estado español está cumpliendo la legislación nacional e internacional a la que se ha comprometido. Así mismo presentamos un análisis de los porcentajes de mujeres y hombres en las Reales Academias, paradigma institucional de artes y ciencias.In order to analyze equality in culture, we need to have a starting point. Thus, to approach the number of existing female creators, it became necessary to analyze the gender-disaggregated statistics of liberal arts graduates from the years 1982-1986, considering that this is the generation that currently has the greatest creative capacity, being now around 50 years old. This way, it could be assessed if Spain is meeting the national and international legislations to which it is committed. At the same time, we’re presenting and analysis of female-male percentages in Spain’s Reales Academias, an institutional paradigm for the arts and sciences

La mujer como objeto de representación hasta principios del S.XX

Art history has been presented to us as an absolute truth that could not be modified nor questioned. In this article we focus on the use that mainstream Western art has made of the image of women. From the Venus steatopygian to the fetishism of the pre-Raphaelite painters or the art decó ladies, there is an use of the female body for the construction of the social imaginary on these images. The aim of this article is to outline how this use has been shifting throughout history in order to suit the interests of the dominant class thus facilitating the subjugation of women.La historia del arte se nos ha vendido como una verdad absoluta e imposible de modificar y cuestionar. En ese artículo se centra en la utilización de la imagen de la mujer que la historia del arte occidental dominante ha llevado a cabo a lo largo de veinte siglos, desde las venus esteatopigias al fetichismo de los prerrafaelitas o las mujeres art decó, hay una utilización de los cuerpos de las mujeres para construir el imaginario colectivo sobre estas imágenes. Este artículo aspira a plantear como esta utilización va moviéndose a lo largo de la historia para favorecer los intereses de la clase dominante y facilitar de esta manera el sometimiento de las mujeres

Carmen Perujo, a history of life Birth in the pre-war period and formation years of a plastic artista woman in the Spanish post-war period (1930 – 1951)

This article presents the contextualized biography of Carmen Perujo Guerrero, Spanish sculptor born in 1930, in Seville, from the moment of her birth until the end of artistic formation in the Santa Isabel de Hungría school in Sevilla. Left, for later articles, the years of personal maturity, in which she succeeds as a ceramic sculptor both economically and in the artist critics. It is analyzed from the gender studies perspective and from the life history methodology, including the sociopolitical circumstances that surrounded her from the moment of her birth, studies and first youth. Given the lack of female artists’ genealogy who created her work during the period of the dictatorship and the transition to democracy, this article enhances the work of this exceptional artist that received the echoes of the women of the first third of the century and knew how to overcome the role of household angel that was awarded to her, as for all women, by the regime and created a personal work that has served as a reference for the next generation

40 20th Century Spanish Sculptresses

This article presents a compilation of female artists who carried out their sculptural work during the twentieth century. With a brief presentation of each of them I want to implement visibility and the importance of incorporating their works to the collective imagery in order to be added to Spanish contemporary arts history. Some of them have public monuments of great popular recognition but their names have not been mentioned yet. Some others have “minor” works but they were relevant teachers to other artists. A few of them have extensive monographs about their life and their works. While others have almost gone unnoticed, but the proof of their professional career’s existence seems fundamental to us and they must be incorporated to history either through text books, university research works, ideally achieving a supported research project, to provide them the visibility their works and their vital trajectories deserve

Investigación joven con perspectiva de género III

Actas del III Congreso Internacional de Estudios de Género, Perspectivas y Retos de Futuro: Jóvenes Investigadores (Getafe, 13 - 15 de junio de 2018) organizado por el Instituto Universitario de Estudios de Género de la Universidad Carlos III de Madrid

Estadística universitaria desagredada por sexos. Estado de la cuestión. Análisis comparativo de los porcentajes de académicos/as en las Reales Academias Españolas como ejemplo paradigmático de la situación de la igualdad de género en la cultura.

Para poder analizar la igualdad real en la cultura es necesario conocer un punto de partida. Para poder aproximarnos a la cantidad de creadoras que existen, se ha considerado necesario analizar las estadísticas desagregadas por sexos de titulados/as en las especialidades humanísticas en el entorno de los años 82 – 86, considerando que es la generación que está en el momento de mayor capacidad creativa, en el entorno de los cincuenta años. De este modo se puede plantear si el Estado español está cumpliendo la legislación nacional e internacional a la que se ha comprometido. Así mismo presentamos un análisis de los porcentajes de mujeres y hombres en las Reales Academias, paradigma institucional de artes y ciencias

La invisibilidad de las mujeres en el arte. Una herstory es posible

Actas del III Congreso Internacional de Estudios de Género, Perspectivas y Retos de Futuro: Jóvenes Investigadores (Getafe, 13 - 15 de junio de 2018) organizado por el Instituto Universitario de Estudios de Género de la Universidad Carlos III de Madrid.La historia del arte se ha contado tradicionalmente en masculino exclusivo, generando un relato donde la historia creada por las mujeres no tenía cabida y una mirada sobre las cosas que excluye a la mitad de la población. Grandes creadoras, con un corpus de obra artística extraordinario, han sido invisibilizadas aún a pesar de cumplir los mismos parámetros de éxito que los artistas mundialmente conocidos. Desde los años 70 el feminismo y los estudios de género vienen construyendo una historiografía que completa la mitad ausente del relato global. A este relato es al que se le denomina Herstory. Cuenta la historia de ellas, her, de las mujeres que ha sido sistemáticamente ninguneadas. La necesidad de corregir este déficit democrático es la que lleva a la creación de este artículo

In-hospital care, complications, and 4-month mortality following a hip or proximal femur fracture : the Spanish registry of osteoporotic femur fractures prospective cohort study

Altres ajuts: DPA is funded by a National Institute for Health Research Clinician Scientist award (CS-2013-13-012). This article presents independent research funded by the National Institute for Health Research (NIHR). The views expressed are those of the authors and not necessarily those of the NHS, the NIHR, or the Department of Health. This work was supported by the NIHR Biomedical Research Centre, Oxford. Funded in part by CIBER on Frailty and Healthy Aging (CIBERFES), Instituto Carlos III, Spanish Ministry of Economy and Competitiveness, FEDER funds. Unrestricted research grant from Amgen S.A. Amgen did not have any role in study design, collection, analysis and interpretation of data, writing the report, and the decision to submit the report for publication.We have characterised 997 hip fracture patients from a representative 45 Spanish hospitals, and followed them up prospectively for up to 4 months. Despite suboptimal surgical delays (average 59.1 hours), in-hospital mortality was lower than in Northern European cohorts. The secondary fracture prevention gap is unacceptably high at 85%. To characterise inpatient care, complications, and 4-month mortality following a hip or proximal femur fracture in Spain. Design: prospective cohort study. Consecutive sample of patients ≥ 50 years old admitted in a representative 45 hospitals for a hip or proximal femur fragility fracture, from June 2014 to June 2016 and followed up for 4 months post-fracture. Patient characteristics, site of fracture, in-patient care (including secondary fracture prevention) and complications, and 4-month mortality are described. A total of 997 subjects (765 women) of mean (standard deviation) age 83.6 (8.4) years were included. Previous history of fracture/s (36.9%) and falls (43%) were common, and 10-year FRAX-estimated major and hip fracture risks were 15.2% (9.0%) and 8.5% (7.6%) respectively. Inter-trochanteric (44.6%) and displaced intra-capsular (28.0%) were the most common fracture sites, and fixation with short intramedullary nail (38.6%) with spinal anaesthesia (75.5%) the most common procedures. Surgery and rehabilitation were initiated within a mean 59.1 (56.7) and 61.9 (55.1) hours respectively, and average length of stay was 11.5 (9.3) days. Antithrombotic and antibiotic prophylaxis were given to 99.8% and 98.2% respectively, whilst only 12.4% received secondary fracture prevention at discharge. Common complications included delirium (36.1 %) and kidney failure (14.1%), with in-hospital and 4-month mortality of 2.1% and 11% respectively. Despite suboptimal surgical delay, post-hip fracture mortality is low in Spanish hospitals. The secondary fracture prevention gap is unacceptably high at > 85%, in spite of virtually universal anti-thrombotic and antibiotic prophylaxis. The online version of this article (10.1007/s11657-018-0515-8) contains supplementary material, which is available to authorized users