Gotowa bibliografia na temat „Pueblo women artists”

Women are ‘perceived’. We speak often not just of ‘women’, but of ‘images’, ‘representations’, ‘reflections’ of women. Woman perceived is woman as art-object; and paradigmatic of this phenomenon is the myth of Pygmalion.This article will consider Ovid's version of the myth, the story of the artist who loved his own creation. I shall suggest that the story reflects on the eroto-artistic relationship between the poet and his puella explored in Latin love elegy. The Metamorphoses myth of the art-object which becomes a love-object mirrors the elegiac myth of love-object as art-object. The elegists represent the puella as both art and flesh. Pygmalion deconstructs the erotic realism of elegy and by its frankness about the power of the male artist discloses elegy's operations. It tells us how to read the puella — as a work of art; and the lover — as an artist obsessed with his own creation. Pygmalion reflects and exposes the self-absorption of elegy, the heroization of the lover, and the painted nature of the woman presented in eroto-elegiac texts, that is, the way in which she is to be seen as an art-object.

Abstract: Scholars' increasing interest in studying the musical genre reggaetón reflects el género' s rising global popularity. These studies have revolved around issues such as its origin and its connection to blackness, as well as migration, political repression, and the representation of women. The political upheaval in Puerto Rico during the summer of 2019 encapsulates reggaetón's undeniable role in Puerto Rican society. However, it has typically been thought of only as a space for denouncing oppression. In this analysis I propose that reggaetón serves as a decolonial tool not only to denounce systemic violence, but also as an alternative instrument to create knowledge, and as an archive to record and portray socio-political realities of marginalized communities in Puerto Rico. Using qualitative methods and a decolonial feminist framework, I analyze the music and performance of two urban Puerto Rican artists, Villano Antillano and Cita. After providing background on how music has served as a tool of resistance in Puerto Rico, as well as a brief history of reggaetón in Puerto Rico, I analyze how social realities are presented in the lyrics of both singers. This study invites us to see emergent urban artists as subjects with agency who push back against the conventions of the genre, and their music as alternative archives upon which marginalized communities interpret, build, understand, and negotiate their social and political realities. Resúmen: El creciente interés de los académicos por estudiar el reggaetón refleja la creciente popularidad mundial del género urbano. Dichos estudios han girado en torno a aspectos como su origen y conexión con la negritud así como la migración, la represión política y la representación de las mujeres. Las protestas políticas en Puerto Rico durante el verano de 2019 resaltan el innegable rol del reggaetón en la sociedad puertorriqueña. Sin embargo, comúnmente el género se ha pensado solo como un espacio de denuncia ante la opresión. En este análisis propongo que el reggaetón sirve como una herramienta decolonial no solo para denunciar la violencia sistémica, sino también como instrumento alterno para crear conocimiento y como archivo para registrar y retratar realidades sociopolíticas de las comunidades marginalizadas en Puerto Rico. Utilizando métodos cualitativos y un marco feminista descolonial , analizo la música y el performance de dos artistas urbanas puertorriqueñas, Villano Antillano y Cita. Después de proporcionar antecedentes sobre cómo la música ha servido como herramienta de resistencia en Puerto Rico y una breve historia del reggaetón, analizo cómo se presentan las realidades sociales en las letras de ambas exponentes. Finalmente, punutalizo que este estudio nos invita a ver a las artistas urbanas emergentes como sujetes con agencia que se oponen a las convenciones del género, y su música como archivos alternativos sobre los que las comunidades marginadas interpretan, construyen, entienden y negocian sus realidades sociales y políticas. Résumé: L'intérêt croissant des chercheurs pour l'étude du reggaeton reflète la popularité mondiale grandissante de ce genre de musique urbain. Ces études se sont concentrées sur des aspects tels que ses origines et son lien avec la négritude, ainsi que sur la migration, la répression politique et la représentation des femmes. Les manifestations politiques qui ont eu lieu à Porto Rico au cours de l'été 2019 soulignent le rôle indéniable du reggaeton dans la société portoricaine. Cependant, le genre a été considéré uniquement comme un espace de dénonciation face à l'oppression. Dans cette analyse, je suggère de considérer que le reggaeton serve d'outil décolonial non seulement pour dénoncer la violence systémique, mais aussi comme instrument alternatif pour créer des connaissances et comme archive pour enregistrer et dépeindre les réalités sociopolitiques des communautés marginalisées à Porto Rico. En utilisant des méthodes qualitatives et un cadre féministe décolonial, j'analyse la musique et la performance de deux artistes urbains portoricains, Villano Antillano et Cita. Après avoir expliqué comment la musique a servi d'outil de résistance à Porto Rico et présenté un bref historique du reggaeton, j'analyse la manière dont les réalités sociales sont présentées dans les paroles des deux artistes. Enfin, je souligne que cette étude nous invite à considérer les artistes urbains émergents comme des sujets dotés d'un pouvoir d'action qui s'opposent aux conventions du genre, et leur musique comme des archives alternatives sur lesquelles les communautés marginalisées interprètent, construisent, comprennent et négocient leurs réalités sociales et politiques.

Abstract: In Rican feminist thought, decolonizing is not merely an approach, method, or exercise, but an ongoing way of life. From Puerto Rican nationalist Lolita Lebron's cry that she "came to die for Puerto Rico" to the signal from Boricua author Elizabet Velasquez that "staying alive, well, that too is Puerto Rican history," Rican women have long struggled, resisted, and endured against colonial time. This "ongoing performance of bodily endurance" (Sandra Ruiz, 2019) under US colonialism, most recently marked by Maria, economic violence, the coronavirus pandemic, and femicide is a decolonial yearning, documented in the cultural work of Boricua women writers, artists, and activists. Boricua feminist thought, however, is largely absent in the academic feminist canon. In this paper, I argue Boricua feminism is not often interpolated as feminism since it does not resemble the expected, and particularly, Western, view of feminism as "women's struggles against men and patriarchy," though multiple patriarchies hinder the lives of Puerto Rican women and gender minorities. Rather, anticolonialism is at the forefront of Boricua feminist and queer struggles and subjectivities, yet is dislocated by these same lenses, and interpellated as not properly endemic to gender and sexual identity formations. Yet Boricua feminism is vital to decolonial feminist imaginings.

Cuba constitutes a site of immense importance for the history of jazz (and Latin jazz) in the United States, and attention to the contributions of Cuban women artists contributes to a broader understanding of the gendered histories of global jazz. This article explores women jazz artists in Cuba and its diaspora, excavating how women instrumentalists and vocalists have transformed the landscape of Cuban, Latin, and global jazz through groundbreaking and experimental performances. I attend to how the fusion-centered approaches of Cuban women unearth an emic orientation towards collaborative experimentalism that builds upon specific, local histories of jazz performance on the island. These performances draw upon histories of revolutionary-era musical experimentalism and fusion (fusión) that have emerged since the late 1960s and 1970s in Cuba and which repeatedly tie jazz experimentalism closely—though not categorically—to dance forms (both popular and ritual). Amid Cuba’s intensifying economic crises, I additionally engage how women regularly pursue careers—and, in an overwhelming number of cases, emigration—to Spain, Canada, the continental United States, Puerto Rico, and other international locales, in turn impacting local and translocal jazz scenes.

Eradicating the mistreatment of Puerto Rican women and people that local and U.S. governments enact has been a major transformative goal for Puerto Rican feminist movement communities. The celebration of International Working Women’s Day presents optimum opportunities for organizations to celebrate and make visible the monumental achievements of Puerto Rican women and people. Similarly, they foster the opportunity to strategically protest the large-scale and harmful attacks of the United States and Puerto Rico’s (abbreviated throughout as U.S. and P.R.) governing double-bind onto minority Puerto Rican populations. Feminist activists, protesters, artists, and attendees collaborate in performances, speeches, and overall programming, resulting in dually celebratory and protest-based marches. Further, the multifaceted approach to protesting observed at the celebration of International Working Women’s Day shines light on decolonial and feminist efforts that bring about social justice and transformation. This article analyses ethnographic data collected through participant observation in one march held in Puerto Rico, as well as a small archive of news articles relating to said march. Results reflect strategic forms of organizing and protesting that exercise activists’ agency in communication with the government and state. Further, they show the demand for accountability and action in favor of minority Puerto Rican populations. Simultaneously, the results also shine a light on the synergistic character of state and government approaches to minimize the impact of activist protesting.

Este artículo analiza la recuperación de las mujeres artistas e intelectuales de la diáspora desde el marco museístico, la construcción de sus identidades y su incorporación a los discursos expositivos. El estudio se centra en un tipo de institución concreta, los museos monográficos del exilio creados en España. Se plantea desde una perspectiva comparativa a nivel nacional para determinar cuántos espacios están consagrados a la memoria y al patrimonio de las exiliadas, quienes además de estar condicionadas políticamente se convirtieron en las grandes olvidadas. Asimismo, se hace referencia a un proyecto feminista puesto en marcha para museos con el fin de comprobar qué lugar han ocupado en este tipo de iniciativas.AbstractThis article analyzes the recovery of women artists and intellectuals of the diaspora from the museum framework, the construction of their identities and their incorporation in the exhibition discourses. The study focuses on a specific type of institution, the monographic museums of exile created in Spain. A comparative perspective is proposed at the national level to determine how many spaces are devoted to the memory and heritage of the exiles, who in addition to being politically conditioned became the great forgotten ones. Likewise, reference is made to a feminist project launched for museums in order to verify their place in this type of initiative.

Margarita “Doña Margot” Rivera García (1909–2000) was a black working-class Puerto Rican woman whose labor as a composer, healer, midwife, and spiritual medium made her an esteemed community leader among her neighbors from Santurce, a predominantly black enclave in San Juan. Through her bomba and plena compositions, she helped forge modern black Puerto Rican music amid the rapid industrialization of Puerto Rico after the 1950s. However, her story has been overshadowed by the aura of her son, the legendary Afro–Puerto Rican singer Ismael “Maelo” Rivera (1931–87). Although Doña Margot is praised as a maternal figure who gave Maelo the gift of rhythm, her story as a woman and artist has remained widely unheard. This essay examines her parallel presence and erasure in salsa historiography, taking her testimonios about her musical gift as offering a counternarrative that defies masculinist music histories and serves as a site of memory that endures erasure.

Volume 12 of the Journal of Jungian Scholarly Studies (JJSS) introduces a grounding initiative: the inclusion of poems and visual art as forms of knowing that exist in conversation with the article form of scholarship. The proposal for this innovation emerged from reflection by members of the editorial board upon the presentations at the Jungian Society of Scholarly Studies’ (JSSS) conference on the theme of Earth/Psyche held in Santa Fe, New Mexico, in 2016. The conference began with JSSS President Susan Rowland hosting an evening of poetry featuring the cosmology poems of Joel Weishaus and including poems written and read by a few attendees. During the body of the conference, a remarkable number of the speakers included either poems or visual art or both in their talks. To communicate their research concerning Earth’s relations to psyche, presenters repeatedly turned to art to share their knowledge. This volume harvests developed versions of eight of those presentations as articles and publishes them juxtaposed with poems and visual art selected by our journal’s new poetry and art editors. The juxtaposition is intended to spark connections—conceptual, emotional, kinesthetic, and aesthetic—between the complex analyses offered in the articles and the levels of consciousness stirred by the art. Perceiving such connections will affirm the overarching theme that the authors of the articles independently of one another claim as premise: the interconnectedness of being. In that spirit, I offer in this introduction a ample of points of connection between the articles. The topics of the articles address a range of subject matter: the impact of imagination, particularly the practice of active imagination, in transforming human consciousness and behavior, thus advancing planetary individuation; the synchronous relationships between body and earth in the healing modality of Biodynamic Craniosacral Therapy; the existence of a salt daemon working to increase harmonious relations between material, alchemical, and psychic levels of being; Christianity’s evolving relations to Earth and reclaimed approaches to scripture that enable Christians to participate in divinized creation; the psyche of a specific place, Cornwall, England, and the psychic image of a place, Santa Fe, New Mexico, including the shadow aspects caused by colonization; and the possibility of utilizing the common characteristics of large-group identities to integrate difference so as to develop conscience enabling constructive political action. Themes that resonate with one another in the various articles include imagination, the psychoid, the feminine, the body, and transformation. Not only is the present volume distinguished by the inclusion of poems and visual art; it also contains more narratives of personal experience than in the past. It has been the policy of JJSS only to publish personal experience if it supports a new idea, not merely illustrates an established one. That policy partially continues, but it turns out that examining the relations of Earth/Psyche has elicited the experiential in research in ways more numerous than illustration or support. Personal experience as numinous encounter initiates Susan Courtney’s discovery of the salt daemon and her subsequent research into parallels between physical salts, alchemical salts, and the psychoid nature of earth and psyche, research leading to her contributing to Jungian theory the idea of a salt daemon as an inherent movement of multi-faceted being toward bringing coherence to the ever unfolding series of incoherent states. Personal experience as numinous dreams leading to an understanding of his calling to speak for the psyche of a place motivates Guy Dargert’s exploration of the folklore and colonized history of the inhabitants of Cornwall and of the psychological dangers in the allurement of Cornwall’s beguiling beauty. Personal experience as numinous dreams, but also as embodied practices of active imagination, animates Ciuin Doherty’s call for collective understanding that all that exists, including each human being, is the current realization of over 13 billion years of the evolution of the universe. The ramifications of that understanding include reconceiving the import of individuation, recognizing that humans individuate not only for themselves, but also as expressions of planet Earth’s individuating through them. Understanding the permeability of personal experience, its unconscious connections with other beings and the environment through synchronicities capable of being made conscious enough for healing to occur, is given life in Jane Shaw’s article on the therapeutic power of Biodynamic Craniosacral Therapy. Other authors refer to personal experience in more traditional ways. David Barton, in his article on the psychic image of Santa Fe, reports on experiencing the profound alterity of the Laguna Pueblo culture as he listened to Leslie Marmon Silko speak of rescuing a rattlesnake. Like Dargert, Barton acknowledges the shadow of centuries of colonization. He reports being told by young natives of their despairing sense of entrapment in New Mexico. Johnathan Erickson, concerned about negative attitudes toward Christianity’s teachings about the Earth, shares that his efforts to underscore the vein in Christian teachings that counters the scripture about human dominance over nature are motivated by his being the son of a Christian minister and of a mother with pagan leanings. Peter Dunlap offers his experience as an illustration of the psychocultural work he is hoping Jungian clinicians will engage in to bring the healing power of psychological understanding to cultural dilemmas. And while Nanette Walsh does not share personal experience of her own, she calls on the scholarship concerning the personal experience of women in Jesus’s time to argue for interpreting scripture in a way that divinizes the experience of female persons, a step toward knowing the divine in all creation. Writing about the psychological relations of Earth/Psyche apparently elicits the grounding of thought in personal experience, a grounding typically invisible in abstract scholarly communications. Personal experience obviously is the ground for art. Our journal’s call for visual art related to Earth/Psyche invited artists to submit commentary along with their work. Judging from the responses that we received, the artists whose work is published here experience artistic creation as transformation of matter with abstract implications: turning clay into a holding vessel like that of analysis (Kristine Anthis), turning chance happenings into a creation (Marilyn DeMario), turning disparate materials into an integrated piece (Diane Miller), turning reversals into continuity (S. Sowbel), turning visual metaphor into ensouling symbol (Heather Taylor-Zimmerman), and turning the relation of abstract numbers/concrete matter into paintings echoing the composition of our world (Lucia Grossberger-Morales). The poems on the theme of Earth/Psyche selected for this volume reflect the distinguishing power of individuation in their range of subject and style. Margaret Blanchard’s poems address the changing nature of the poet’s relation to the Earth over time; Judith Capurso’s not only challenge human assertion of dominance over the Earth, but also liberate people from the inflation of that dominance; Ursula Shields-Huemer’s haiku grace imaginings of the natural word through presence; Brown Dove’s poem juxtaposes shifting evaluations of idols and continuity of Earth’s rhythms; and S. Sowbel’s focuses attention on what does not get reborn in her rendering of generativity. Certain concepts are explored in more than one of the articles which suggests their inherent significance in considering the relations of Earth/Psyche. In particular, Jung’s relatively neglected concept of the psychoid receives thoughtful elaboration, especially in the articles by Courtney and Shaw. Shaw applies the concept in her explanation of the healing power of the Biodynamic Craniosacral Therapy treatment (BCST). Courtney provides scientific data connecting rhythms of the body to the environment. Shaw’s account of the intelligence of the body during the giving and receiving of a BCST treatment resonates with Courtney’s account of electrolytic solution and of rhythmic entrainment. Doherty also contributes to reevaluating the body in terms of its knowingness through his exploration of the perspective of right-brain knowing. The theme of the body’s intelligence flows directly from the premise of interconnectedness attributing psyche to Earth. Another thread through the articles concerns the way the interconnectedness of being is conceived. Courtney references Jung’s concept or Eros as well as British anthropologist Timothy Ingold’s conception of humans as a “‘relational constitution of being’ enmeshed in a planetary ‘domain of entanglement’ of ‘interlaced lines of relationship.’” Doherty connects Eckhart’s description of the divine as emptiness with the quantum physics description of the emergence and disappearance of elementary particles from and into nothingness to assert that creative intelligence is inherent in all being. Dargert proposes that places are infused with their own form of psyche through the existence of an enveloping continuum. Dunlap points to Jung’s idea of a superconsciousness in the unconscious. The authors writing about religion, Erickson and Walsh, see God as the source of being’s interconnectedness. Erickson traces the evolution in Western Christianity of an understanding that the Earth as God’s creation deserves care, an understanding receiving recent expression in Pope Francis’s Laudato Si’: On Care for our Common Home. Walsh through the concept of practical divinization attempts to rectify the omission of ecology, women, and psychology in traditional Christian practice of divinization. She links aspects of the historical lineage of the idea of person and Jung’s articulation of individuation to argue for knowing divine wisdom in all that exists. Most of the authors assert that integration of the feminine is key to addressing ecological crises, often specifying that by the feminine they are referring to Eros. Walsh, however, argues for redefining what the feminine is in terms of women’s experience and for using women’s imaginative works to understand the feminine. For example, she cites Annis Pratt who, after surveying over 300 novels written by women, concludes that transformation for women occurs through the “green epiphany,” that is, through their relationship with nature. Walsh’s article provides a significant counterpoint to traditional Jungian understanding of the feminine and of what it would mean to integrate it for the purpose of addressing our ecological crises. Finally, Peter Dunlap’s article grapples with how to bring Jung’s understanding of the collective unconscious to a psychocultural practice of confronting the capacity of large groups to degenerate into mass-mindedness. He argues for confronting that tendency by consciously applying techniques to help large groups develop a sense of shared identity capable of integrating difference, thus making possible development of conscience about relations to the rest of the world. His article shares recent social science research about how to attempt that process, including an illustration of his own experience of applying some of those techniques. His essay gestures toward the goal of bringing psychological knowledge into civic life to enable constructive political action, a goal implicit in the conference on the relations of Earth/Psyche and in this volume of JJSS issuing from it. Inez MartinezEditor

Unlike other heroines of the Greek romantic novels, who are consistently chaste, the heroine of Achilles Tatius’ novel Leucippe and Clitophon displays a (temporary) lack of sexual reticence; she also possesses musical talent. These features are central to her characterization in the novel’s first two books, which, incidentally, bear the distinct influence of Roman love elegy. It is argued here that Leucippe is purposedly fashioned in the early part of the novel as a puella docta, the type of idealised artistic lady with libertine traits that arouses erotic passion in the Augustan love poets. In the novel’s later books, on the other hand, her characterization conforms to a more conventional image.

This chapter continues to explore the comics depiction of life on the modern city streets. Discussion concentrates on the twentieth and twenty-first centuries, and is carried out through the lens of the human passions. First, the wordless novels by Belgian artist Frans Masereel serve as yet another paradigmatic example of the urban legacy of early comics. Will Eisner’s trilogy uses tenement life as a stage for the Jewish American urban experience of New York. My New York Diary (1993-98) by Julie Doucet blends the artist’s feminist commitment with themes of urban alienation and entrapment. In twenty-first-century Madrid, Spain, Raquel Córcoles Moncusí a.k.a. ‘Moderna de pueblo’ and Rafael Martínez Castellanos explore romantic and sexual passions as they line up with the social identities of women and gay urbanites. Finally, contemporary artist Daishu Ma’s Leaf returns to hallmark aspects of Frans Masereel’s style nearly one-hundred years later.

Chapter 1 asks how gozando (loosely, enjoying oneself) was used to create non-normative models of gender during the early days of salsa music production. The chapter traces the discourse of gozando in the music, lyrics, and marketing produced by and for salsa artists Ray Barretto and La Lupe between 1965 and 1974. Specifically, the chapter explores how Ray Barretto tied gozando not to the objectification of women but rather to Puerto Rican nationalist politics, while La Lupe would subversively gozar in interstitial yelps and moans as a way to negotiate the stereotype of the mulata woman. These analyses paint a picture of the gendered critique gozando offered in a period of Latinx music production that is otherwise noted for its patriarchal power structures.