Imágenes de lo femenino en el arte: atisbos y atavismos

Este artículo trata sobre cómo la imagen de la mujer en la pintura tradicional presenta un código de conducta y una realidad histórica. La mujer desnuda, en cuyo retrato tiene más importancia el cuerpo que la cabeza, la mujer pintada ofrecida como un paisaje, una comida o una presa, dificultará una relación de comunicación entre los sexos y encerrará a la mujer en un arquetipo denigrante. Por eso la primera respuesta de las mujeres pintoras ha sido siempre la búsqueda de su propia imagen en el autorretrato. Actualmente las mujeres artistas buscan nuevos símbolos con qué definir su identidad en oposición a los símbolos clásicos de la tradición pictórica.Cet article traite de l’image de la femme dans la peinture traditionnelle et du code de conduite et de la réalité historique à laquelle elle se trouve rattachée. La femme dénudée, dont le corps s’avère plus important que le visage, la femme peinte offerte comme paysage, un repas ou une proie, rendrait complexe une relation de communication entre les sexes et renfermerait la femme dans un archétype dénigrant. C’est pourquoi la première réaction des femmes peintres a toujours été de rechercher leur propre image dans l’autoportrait. Actuellement, les femmes artistes recherchent de nouveaux symboles avec lesquels définir leur identité en opposition aux symboles classiques de la tradition picturale.This paper elaborates on how female image in traditional art represents a behavioural pattern and an historical reality. The nude female, in whose representation the body is given more important than the face, the women’s portrait offered as scenery, a meal or as a prey, will make the relationship and communication between sexes more difficult and will trap women in a derogatory archetype. That is why the first response of women painters has always been the search for their own image through their self-portrait. Currently women artists have been searching for new symbols through which define their identity, rejecting the image that classical art tradition has built

Los guiones cinematográficos de Margarita Nelken

Este artículo describe el contexto y el origen de una serie de guiones escritos en México, en los años cincuenta, por la intelectual y política de la Segunda Republica española, Margarita Nelken. Cuatro guiones largos y seis pequeños que no llegaron nunca a ser filmados, nos llevan a analizar la aptitud, el conocimiento del tema y las razones que llevaron a Margarita Nelken a escribirlos. La estructura de sus escritos refleja un conocimiento de la teoría de Einsestein sobre el guión cinematográfico. This paper describes the context and origin of a series of film scripts written in Mexico in the 50s by Margarita Nelken who was an intellectual and politician of Spain’s second republic. Four long scripts and six miniscripts that never became motion pictures, are analyzed as to determine the aptitude, the knowledge on the subject, and the reasons that lead Margarita Nelken to write them. The structure of her writings conforms to the theory of Einsestein about film scripts

Women in the Escuela de Bellas Artes de San Fernando (1873-1967)

Este trabajo forma parte de un proyecto del grupo de investigación de la UNED "Pintoras españolas mujeres del siglo XX" (PEMS20), dirigido por la profesora Amparo Serrano de Haro. G/107.Las mujeres estudiaron en la Escuela de Bellas Artes de San Fernando de Madrid desde 1873 hasta 1967, cuando se produjo su traslado a la Ciudad Universitaria. Además de incorporarse a sus aulas tardíamente y en un número muy escaso, durante décadas, recibieron una enseñanza diferenciada de la de sus compañeros, ya que fueron excluidas de las asignaturas que implicaban la copia del desnudo del modelo vivo. Hasta el curso 1920-1921, no pudieron entrar en todas las clases y, en principio, formarse en igualdad de condiciones con los hombres. A partir de entonces, el porcentaje de mujeres en la Escuela creció de forma progresiva hasta alcanzar, prácticamente, el cincuenta por ciento del alumnado en sus años finalesWomen studied in the Escuela de Bellas Artes de San Fernando de Madrid from 1873 to 1967, when the teaching was transferred to the University Campus. Apart from their late inclusion they were also very few in number for a good few decades; furthermore, their syllabus was different from the men’s, excluded as they were from any life drawing with nude models. It was not until the academic year of 1920-1921 that they were able to join in all the classes and, ostensibly at least, receive an education on an equal footing with the men. From then on the number of women in the school grew steadily until building up to practically fifty percent of the pupils by the final years.Fac. de Bellas ArtesTRUEpu

Metodologías innovadoras e inclusivas en educación secundaria: los grupos interactivos y la asamblea de aula

In a context where diversity is the defining word, it has been proved possible taking advantage of that diversity as a powerful educational tool instead of considering it an obstacle. Two met hodologies, interactive groups and group assemblies, make students work toget her and change certain mistaken points of view. Interactive groups enable our students to work together the same activities and contents; each one may contribute with his or her capacities to the joint process of solving a task. Group assemblies foster dialogue and commitment. Both of them build a broader and stronger school.En un contexto en el que la diversidades la palabra clave, en lugar de considerarla un obstáculo, ha sido posible aprovechar dicha diversidad como una herramienta educativa poderosa. Dos met odologías, los grupos interactivos y las asambleas de aula, logran que los estudiantes trabajen juntos y cambien puntos de vista erróneos. Los grupos interactivos permiten a nuestros alumnos trabajar juntos las mismas actividades y contenidos; cada uno contribuye con sus propias capacidades al proceso conjunto de resolución dela tarea. Las asambleas de aula fomentan el diálogo y el compromiso. Ambas metodologías construyen una escuela de éxito y de calidad

Role of age and comorbidities in mortality of patients with infective endocarditis

[Purpose]: The aim of this study was to analyse the characteristics of patients with IE in three groups of age and to assess the ability of age and the Charlson Comorbidity Index (CCI) to predict mortality. [Methods]: Prospective cohort study of all patients with IE included in the GAMES Spanish database between 2008 and 2015.Patients were stratified into three age groups:<65 years,65 to 80 years,and ≥ 80 years.The area under the receiver-operating characteristic (AUROC) curve was calculated to quantify the diagnostic accuracy of the CCI to predict mortality risk. [Results]: A total of 3120 patients with IE (1327 < 65 years;1291 65-80 years;502 ≥ 80 years) were enrolled.Fever and heart failure were the most common presentations of IE, with no differences among age groups.Patients ≥80 years who underwent surgery were significantly lower compared with other age groups (14.3%,65 years; 20.5%,65-79 years; 31.3%,≥80 years). In-hospital mortality was lower in the <65-year group (20.3%,<65 years;30.1%,65-79 years;34.7%,≥80 years;p < 0.001) as well as 1-year mortality (3.2%, <65 years; 5.5%, 65-80 years;7.6%,≥80 years; p = 0.003).Independent predictors of mortality were age ≥ 80 years (hazard ratio [HR]:2.78;95% confidence interval [CI]:2.32–3.34), CCI ≥ 3 (HR:1.62; 95% CI:1.39–1.88),and non-performed surgery (HR:1.64;95% CI:11.16–1.58).When the three age groups were compared,the AUROC curve for CCI was significantly larger for patients aged <65 years(p < 0.001) for both in-hospital and 1-year mortality. [Conclusion]: There were no differences in the clinical presentation of IE between the groups. Age ≥ 80 years, high comorbidity (measured by CCI),and non-performance of surgery were independent predictors of mortality in patients with IE.CCI could help to identify those patients with IE and surgical indication who present a lower risk of in-hospital and 1-year mortality after surgery, especially in the <65-year group

Frida Kahlo : bodegón con cuerpo de mujer

La lectura que se ha hecho de la artista Frida Kahlo ha estado excesivamente vinculada a la interpretación literal y estática de todos sus símbolos. De esta manera su figura es utilizada por la hagiografía feminista y el exotismo mexicano. En este artículo se reivindica su capacidad de invención o recreación de sí misma con fines artísticos, inclusive en sus autorretratos, y el análisis evolutivo de su universo simbólico.The interpretations of the artist Frida Kahlo have been literal and static. In that way her figure has been used as that of a feminist martyr and/or exotic mexican. In this article her capacity for self invention or re-creation for artistic purposes is stressed, even in the case of her self-portraits, and there is also an analysis of her simbolic universe and it's evolution.</p