Letteratura scientifica selezionata sul tema "Christian (1944-2021)"

RESUMENDesde hace siglos el cristianismo ha concebido que la vestimenta es un elemento casi definitorio de la calidad moral y de la religiosidad de las personas que la portan. Durante el primer tercio del siglo xx, el catolicismo español estuvo muy preocupado por la evolución de las modas femeninas modernas. Entendía que estas modas eran indecentes e inmorales, además de un símbolo del desorden social, del desmoronamiento general de las costumbres y de la descristianización de la sociedad. Los argumentos que los sectores católicos españoles utilizaron en contra de las modas modernas femeninas fueron muy variados. Entre ellos, destacaron la noción de que las mujeres que utilizaban este tipo de vestimentas iban desnudas, deslegitimaban la lucha por la ampliación de derechos de las mujeres, generaban una crisis en los matrimonios o se extranjerizaban. El trabajo está basado en fuentes primarias y secundarias. La mayor parte de los planteamientos se han extraído de las fuentes hemerográficas, y se ha dado especial protagonismo a las opiniones que sobre este asunto tuvieron algunas de las mujeres católicas más destacadas del periodo. Palabras clave: mujeres, género, vestimenta, religiónTopónimos: EspañaPeriodo: primer tercio del siglo xx ABSTRACTFor centuries the Christian Churches have conceived the clothing as an almost defining element of the moral quality and religiosity of its wearers. During the first third of the 20th century Spanish Catholicism was very concerned about the evolution of women’s clothes. They understood that modern clothes were indecent and immoral, a symbol of social disorder, of the general collapse of customs and the de-Christianization of society. Spanish Catholicism used several arguments to fight against modern feminine fashions. For example, they highlighted the notion that women who used this type of clothing were in fact naked; meanwhile they delegitimized the fight for the expansion of women’s rights, generated a crisis in the marriages and made Spanish women lose their national characteristics. The work is based on primary and secondary sources. Most of the opinions have been taken from newspapers. Special prominence has been given to the approaches defended by some of the most prominent Catholic women of the period. Keywords: women, gender, clothing, religionPlace names: SpainPeriod: first third of the 20th century REFERENCIASArce, R. (2016): La construcción social de la mujer por el catolicismo y las derechas españolas en la época contemporánea, Tesis doctoral, Universidad de Cantabria.Aresti, N. (2001): Médicos, donjuanes y mujeres modernas. Los ideales de feminidad y masculinidad en la España del primer tercio del siglo xx, Bilbao, Universidad del País Vasco.— (2002): “La nueva mujer sexual y el varón domesticado. El movimiento liberal para la reforma de la sexualidad (1920-1936)”, Arenal, 9, pp. 125-150. — (2018): “La peligrosa naturaleza de Don Juan. Sexualidad masculina y orden social en la España de entreguerras”, Cuadernos de historia contemporánea, 40, pp. 13-31.Arroyo Martín, C. (2017): La Moda Elegante Ilustrada en el periodo de entreguerras (1918-1927): análisis documental, Tesis doctoral, Universidad Complutense de Madrid.Blasco, I. (1997): “Moda e Imágenes Femeninas durante el Primer Franquismo: entre la Moralidad Católica y las Nuevas Identidades de Mujer”, Utopía y praxis latinoamericana, 2, pp. 83-93.— (2003): Paradojas de la ortodoxia. Política de masas y militancia católica femenina en España (1919-1939), Zaragoza, Prensas Universitarias de Zaragoza.— (2005): “Género y religión: de la feminización de la religión a la movilización católica femenina. Una revisión crítica”, Historia Social, 53, pp. 119-136.Courtine, J. J., Alain Corbin y Georges Vigarello (2005): Historia del cuerpo, Taurus.Díaz Freire, J. J. (1999): “La reforma de la vida cotidiana y el cuerpo femenino durante la dictadura de Primo de Rivera”, en Luis Castells (ed.): El rumor de lo cotidiano. Estudios sobre el País Vasco Contemporáneo, Bilbao, Universidad del País Vasco, pp. 225-257.Díaz Marcos, A. M. (2020): “Corazas estrafalarias: moda, corsés y feminismo en el cambio de siglo”, Indumenta: Revista del Museo del Traje, 3, pp. 23-39.Dwyer-Mcnulty, S. (2014): Common Threads: A Cultural History of Clothing in American Catholicism, Chapel Hill, The University of North Carolina Press.Echarri, M. (1915): Más poderoso que el amor, Barcelona, Imprenta Editorial Barcelonesa.— (1927): El que siembra con lágrimas…, Valencia, La novela hispano-americana.Gutiérrez García, M. A. (2005): “Literatura y moda: la indumentaria femenina a través de la novela española del siglo xix”, Tonos digital: Revista de estudios filológicos, 9, s/p. Lannon, F. (1999): “Los cuerpos de las mujeres y el cuerpo político católico: autoridades e identidades en conflicto en España durante las décadas de 1920 y 1930”, Historia social, 35, pp. 65-80.Llona, M. (2002): Entre señorita y garçonne: historia oral de las mujeres bilbaínas de clase media, (1919-1939), Málaga, Universidad de Málaga.— (2007): “Los otros cuerpos disciplinados: relaciones de género y estrategias de autocontrol del cuerpo femenino (primer tercio del siglo xx)”, Arenal, 14, pp. 79-108.— (2020): “Recordar el porvenir: las mujeres modernas y el desorden de género en los años veinte y treinta”, Arenal, 27, pp. 5-32.Louzao, J. (2010): Identidad, catolicismo y modernización en la Vizcaya de la restauración (1890-1923), Tesis doctoral, UPV/EHU.Martínez Sierra, G. (1917): Feminismo, feminidad, españolismo, Madrid, Renacimiento.Mauro, D. (2014): “La Mujer Católica y la sociedad de masas en la Argentina de entreguerras. Catolicismo social, consumo e industria cultural en la ciudad de Rosario (1915-1940)”, Hispania Sacra, 133, pp. 235-262.Mínguez, R. (2015): “¿Dios cambió de sexo? El debate internacional sobre la feminización de la religión y algunas reflexiones para la España decimonónica”, Historia contemporánea, 51, pp. 397-426. Monlleó, R. (2006): “Moda y ocio en los felices años veinte. La maternidad moral de las mujeres católicas en Castellón”. Asparkía, 17, pp. 197-228. Otero-González, U. (2021): “Catholic Dressing in the Spanish Franco Dictatorship (1939–1975): Normative Femininity and Its Sartorial Embodiment”, Journal of Religious History, 45, 4, pp. 582-602.Perales, M. y María Echarri (1944 [1915]): Redención, Madrid, Editorial Stylos, Pérez del Puerto, Á. (2021): Católicas de posguerra en acción. El discurso de género de Acción Católica en España y en Estados Unidos, Granada, Comares.—(2021): “Moda se escribe con m de moralidad. Identidad transnacional de la feminidad en los cuarenta a través del control del vestir por las mujeres de Acción Católica”, en José Ramón Rodríguez Lago y Natalia Núñez Bargueño (eds.), Madrid, Sílex, pp. 365-389.Sánchez Pinilla, F. (2016): La narración para niños: autoras, circuitos y textos en el cambio del siglo xix al xx, Tesis Doctoral, Universitat de València.Velasco Molpeceres, A. M. (2016): Moda y prensa femenina en la España del siglo xix, Madrid, Ediciones 19. — (2021): Historia de la moda en España: de la mantilla al bikini, Los Libros de la Catarata.Villanueva Cobo del Prado, M. (2016): La moda femenina en las publicaciones periódicas: Blanco y Negro 1891-1910, Tesis doctoral, Universitat de València.

Traditional arts that have high artistic value must always be preserved from extinction. In order to maintain the popularity of traditional art in Indonesia, it is necessary that artists, teachers, and society understand it deeply. Every fine arts artist, teacher, and community must have a sense of nationalism towards traditional art in order to be able to maintain and become a stronghold of traditional art itself. This study aims to rediscover the values of traditional culture that are spread in several regions in Indonesia with the hope that it can be absorbed into modern art so that the value of traditional art is not completely eroded. This research uses Spradley's qualitative research method or ethnographic qualitative research with the aim of systematically describing deeper cultural characteristics. This research produces a description of the characteristics of traditional culture contained in several traditional arts and crafts spread across Indonesia, each region has cultural characteristics that are different from other regions which are influenced by several diverse factors. The characteristics of each artistic value are maintained and absorbed into modern art for maintained and taught in the world of education so that art saviors are born who are able to transform traditional arts into modern artistic values. As art saviors, artists need awareness of a sense of "nationalism" in each of them which is obtained through an understanding of these traditional arts.Keywords: high art, education, culture, nationalism. AbstrakKesenian tradisional yang memiliki nilai seni tinggi harus selalu dilestarikan dari kepunahan. Untuk mempertahankan popularitas seni tradisional di Indonesia, diperlukan seniman, guru, dan masyarakat yang memahaminya secara mendalam. Setiap seniman seni rupa, guru dan masyarakat harus memiliki rasa nasionalisme terhadap seni tradisional agar mampu menjaga dan menjadi benteng kesenian tradisional itu sendiri. Penelitian ini bertujuan untuk menemukan kembali nilai nilai kebudayaan tradisional yang tersebar di dibeberapa daerah di Indonesia dengan harapan dapat dilakukan penyerapan kedalam seni modern agar nilai dari kesenian tradisional tidak terkikis sepenuhnya. Penelitian ini menggunakan metode penelitian kualitatif Spradley atau penelitian kualitatif etnografi dengan tujuan mendeskripsikan karakteristik kultural lebih mendalam secara sistematis. Penelitian ini menghasilkan deskripsi karakteristik kebudayaan tardisional yang terkandung dari beberapa kerajinan seni tradisional yang tersebar di wilayah Indonesia, setiap daerah memiliki karakterstik kebudayaan yang berbeda dari daerah lain yang dipengaruhi oleh beberapa factor yang beragam, Karakteristik dari setiap nilai kesenian dipertahankan dan diserap kedalam kesenian modern untuk dipertahankan dan diajarkan dalam dunia Pendidikan agar terlahir penyelamat kesenian yang mampu melakukan transformasi seni tradisional menjadi nilai seni modern. Sebagai penyelamat seni, seniman membutuhkan kesadaran akan rasa “Nasionalisme” pada diri masing-masing yang diperoleh melalu pemahaman akan kesenian tradisional tersebut.Kata Kunci: seni tinggi, pendidikan, budaya, nasionalisme. Authors:Budiwirman : Universitas Negeri PadangSyeilendra : Universitas Negeri PadangAry Ramadhan : Universitas Negeri PadangSyafei : Universitas Negeri Padang References:Yoeti, O. K. 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The Oedipus plot, which is based on the fate of an involuntary parricide and incestor, is one of the most famous in world literature and folklore. Various scientists from historians and ethnographers to psychoanalysts have tried to explain the story of Oedipus plot and incest as its plot-forming motif, but only interdisciplinary research can help to properly understand and adequately describe this “multi-layered” and time-varying phenomenon. Reflecting on V. Ya. Propp’s classic work “Oedipus in the Light of Folklore” (1944), the author of the article offers his own experience of the structural analysis of the famous plot, unfinished by his predecessor-folklorist due to the struggle against “formalism”. The typology of plot processing, proposed by Propp, also needs historical explicitation, due to the Propp’s timeless approach to the analyzed materials, which does not allow judging its evolution. Meanwhile, the Oedipus plot has passed through several stages in its development. Its archaic basis reflected the historical struggle of different forms of succession in a fabulous way. The story of Oedipus, which became one of the examples of the irresistible power of fate for ancient consciousness, found its ethical dimension in the tragedies of Sophocles. In the Middle Ages it was reinterpreted in the spirit of the Christian doctrine of repentance and absolution, becoming the basis of a number of legends about “sinful saints”, but later it lost relevance against the background of the Catholic trade in indulgences and the development of the idea of pre-destination among Protestants. A particular understudied stage in the evolution of the Oedipus plot is the period of its existence in Russia. It came to the Eastern Slavs through Polish media-tion only at the end of the Middle Ages in several versions at once and is represented in the Russian manuscript tradition by a group of “stories about an incestor”. These stories were actively rewritten for three centuries, went into East Slavic folklore and were reflected in the works of new Russian literature.

Dans l'art contemporain, l'image photographique floue se comprend par la représentation visuelle des souvenirs vagues qui disparaissent dans l'espace du temps, c'est-à-dire la réminiscence où l'image-souvenir floue qui se présente alors comme indice mnémonique de l'amnésie collective. L'illusion mnémonique sur laquelle se basent les oeuvres photographiques comme le cas du jeu de texte-image chez Boltanski, éveille notre croyance aveugle attachée toujours à la connexion logique, scientifique et mathématique qui absorbe confusement tous les souvenirs vrais ou faux. L'interférence mnémonique est une des causes principales de l'amnésie collective au sein de la société d'information. Notre mémoire historique est intrinsèquement destinée à la disparition comme si les souvenirs d'enfance disparaissaient en laissant un sentiment de nostalgie chez chacun de nous. Les effets de flou servent aussi à representer une mémoire historique à la fois refoulée dans l'inconscience collective et falsifiée ou censurée par un pouvoir. Pourtant leurs messages artistiques ne sont ni commémoratifs ni impératifs, mais plutôt une réflexion mnémonique. Le manque de souvenirs au sens positif peut être un atout qui nous permet de reconstruire ou restaurer une nouvelle image de notre société dans l'assomption du passé à laquelle s'attache l'image photographique floue utilisée dans la représentation mnémonique chez les artistes.

Depuis le début de l’humanité, l’homme a pris soin de ses morts, tandis que les relations de la Mort à la photographie commencent au milieu du XIXème siècle avec l’invention de la photographie. La Mort suppose un corps mort dont on se doit de prendre soin en lui donnant une sépulture. Telle que nous la concevons, la sépulture est un dépôt intentionnel qui montre, par cet acte, l’attention que l’on porte au mort, qui conserve ainsi sa part d’humanité dans la Mort, c’est-à-dire précisément, ce que la sépulture se devrait de protéger. En proposant d’interroger les relations de la Mort à l’image du mort, à partir de la photographie et à l’aune de la sépulture, le propos de ce travail de recherche ne serait pas tant de savoir ou d’affirmer que la photographie est ou non une sépulture, mais comment la photographie peut interroger la notion même de sépulture. En retour, nous nous demandons, à partir de la sépulture, comment celle-ci serait susceptible d’induire un questionnement vis-à-vis de la photographie. La photographie comme sépulture, suppose de rapprocher la photographie de la sépulture, et d’envisager comment la photographie pourrait répondre à ce que l’on pourrait attendre d’une sépulture. À une autre échelle, nous nous demandons s’il serait possible de voir ce qui relèverait de la sépulture dans la photographie analogique à partir de l’œuvre de Christian Boltanski qui apparaît comme le fil directeur de ce travail de thèse. Parmi tous les artistes photographes qui nourrissent et guident cette réflexion, Boltanski, sans être photographe, a un cheminement artistique qui l’a conduit à se tourner vers la photographie et à réaliser des sépultures, des Monuments funéraires. Il nous offre un éclairage particulier pour aborder à la fois la photographie et la sépulture. C’est en croisant les disciplines, les points de vue, ce qui se voit et ce qui ne se voit pas, ce qui se dit et ce qui se murmure que cette thèse se donne à lire dans un tissage entre implicite et explicite
Since the beginning of mankind, man has been taking care of his dead ones, while the relationship between death and photography began in the middle of the 19th century with the invention of photography. Death supposes a dead body that one takes care of by giving it a burial. As we conceive it, burial is an intentional deposition which shows, by this act, the attention that one draws to the dead one that keeps its humanity in Death. Preservation of humanity is precisely what should be protected through burial. By proposing to question the relationship between Death and the image of the dead one, starting from photography and in the light of burial, the purpose of this research work would not be so much to know or to affirm that photography is or is not a burial, but how photography can question the very notion of burial. In return, we ask ourselves, starting from burial, how burial would be likely to induce a questioning towards the photography. Photography as a burial, supposes to bring photography closer to burial, and to consider how photography could respond to what one could expect from a burial. On a different scale, we question whether it would be possible to see what would be related to the burial in analogue photography from the work of Christian Boltanski which appears as the guiding thread of this thesis. Among all the artist-photographers who feed and guide this reflection, Boltanski, without being a photographer, has an artistic path that led him to turn to photography and create burials, funerary monuments. He offers a particular insight to approach both photography and burial. By crossing disciplines, points of view, what is seen and what is not seen, what is said and what is whispered, this thesis should be read as a weaving between implicit and explicit

The main aim of this paper is to study the mysticism of the Swedish artist Hilma af Klint (1862–1944) in relation to her religious experience and her searching for existential answers through contact with divine entities. Although the identity of these figures is not clear, we are aware of their familiarity with Christian beliefs. Thus, in this paper we attempt to approach Af Klint’s Christian, metaphysical and anthroposophical message by analysing her notebooks. Particularly, we focus on the symbolic aspect of one of them made between 1919 and 1920, entitled Flowers, Mosses, and Lichens.