Search

Public bathrooms are key sites for understanding gender identities, gender expressions, and sexual orientations that are out of the norm. Research has shown that they are places of discrimination but they also provide opportunities for transgression. Domestic bathrooms, however, have not received much attention. Through the experiences of 27 LGBT+ youth from Bages, an interior region of Catalonia, this research shows how the bathroom at home is a significant place where gender and sexual norms are reproduced and transgressed. Using a qualitative methodology, I examine how LGBT+ youth experience the domestic bathroom, both in the family home and their own home, according to their age, gender, and sexual orientation. The domestic bathroom is shown to be relevant in terms of gender performativity and sexuality and a place of privacy where gender expression is tested and sexual pleasure is enjoyed. The study sheds light on the understanding of how social norms around gender and sexuality work, destabilizing the conception of cisheterosexuality as something innate. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper, I claim that the distinction between "philosophy" and "spirituality" can be a key for understanding Foucault's work, assuming that his philosophy and historical thought do possess a "spiritual dimension." For this purpose, I analyze the figures of transgression and pensée du dehors of the archaeological period, the figures of resistance and criticism as reflexive indocility of the genealogical period, and the fold of the ethical period. I determine whether they can be considered a spiritual dimension that promotes être autrement. [ABSTRACT FROM AUTHOR]

In Guanaceví, Durango, previous works describe a volcano-sedimentary succession referred to as the Lower Volcanic Complex. In this succession, Calpionella alpina, Calpionella elliptica and Tintinnopsella carpathica were reported in limestone strata considered to be from the Middle Berriasian. The locality of this find is imprecise, and no taxonomic evidence of the microfossils was provided to verify their presence in rocks of this age in western Mexico. The objective of this work is to offer taxonomic evidence of the fossiliferous assemblage composed of Chitinoidella sp., Crassicollaria sp., Crassicollaria massutinianna, Remaniella sp., and Tintinnopsella carpathica, from the late Tithonian to the early Berriasian, likewise, the precise location of the fossiliferous localities is given. The presence of the fossiliferous assemblage treated here, together with previous reports on the relatively close existence of Crassicollaria massutinianna, extends the distribution of calpionellids, from a Tethyan environment to the Boreal Pacific realm in western Mexico. The stratigraphic succession in which the fossils are found is formed, at the base, by polymictic and immature conglomerate, which gradually passes into sandstone, shale, and limestone, with tuff and andesite spills interspersed. The characteristics of these lithologies possibly represent a transgression, from continental facies to marginal coastal and deep marine facies, with volcanism. [ABSTRACT FROM AUTHOR]

Copyright of Asparkía. Investigació Feminista is the property of Instituto Universitario de Estudios Feministas y de Genero Purificacion Escribano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

En 2018, en el clima prelectoral de las elecciones generales, una obra realizada por la artista Charo Corrales sufrió un acto iconoclasta. Se trataba de la obra titulada Con flores a María, donde la artista presentaba su rostro en lugar del de la Inmaculada Concepción de Aranjuez de Murillo. Con el fotomontaje, Corrales se mostraba como una Inmaculada masturbándose ante el público. La obra formaba parte de una exposición colectiva bajo el título Maculadas sin remedio. En el presente texto se estudian las relaciones entre arte, transgresión e iconoclasia, entendiéndose la resignificación de imágenes religiosas como una estrategia del artivismo feminista. En la primera parte, se aportan los elementos teóricos clave para poder realizar este tipo de análisis, así como las pertinentes definiciones y precisiones en torno a los conceptos de transgresión y blasfemia. Posteriormente, se analiza la obra de Corrales en su contexto, para luego mostrar otras manifestaciones artísticas en las que la figura de María es reinterpretada. Por último, se reflexiona sobre la iconoclasia y la censura para dar paso a las conclusiones.

En los últimos años se ha producido un aumento de grupos masculinistas críticos y desafectos con la agenda de avances que ha propuesto el movimiento feminista. De este modo, el objetivo principal de esta investigación consiste en analizar las bases culturales reaccionarias que comparten los movimientos masculinistas contemporáneos. Para ello, se llevará a cabo tanto un acercamiento a las implicaciones que ha tenido el desmoronamiento del sistema fordista y la imposición del neoliberalismo como una exposición de las características de cada uno de los grupos masculinistas en la red. Entre otras conclusiones, se insiste en la importancia que tiene la lectura tergiversada del pensamiento de Nietzsche y el acontecimiento histórico de Mayo de 1968 para la recomposición ideológica de estos grupos antifeministas.

El fenómeno del «streaking» en el deporte es un tema difícil de ignorar. Quienes lo protagonizan irrumpen en estadios y escenarios desnudos, semidesnudos o disfrazados y provocan con sus transgresiones una interrupción brusca de las competiciones. La sociología ha aportado poco hasta el momento en respuesta a la pregunta de cómo y por qué se producen estas prácticas dejando su interpretación en manos de psiquiatras, periodistas, responsables de seguridad y juristas. En este ensayo, Karl-Heinrich Bette y Felix Kühnle examinan las transgresiones de los «streakers» desde el punto de vista fáctico, espacial, temporal y social exponiendo así la particular capacidad de influencia y los efectos de atracción que el deporte de competición ejerce sobre estos perturbadores. En las consideraciones finales, los autores analizan la cuestión de hasta qué punto los «streakers» del ámbito deportivo también pueden entenderse desde la perspectiva analítica como «embaucadores». Se sugieren analogías, ya que en la etnología y antropología cultural se considera a los embaucadores como figuras sociales que transgreden los límites, experimentan un cambio formal y revolucionan las costumbres rompiendo tabúes.

This article aims to investigate the relationship between interdiction and transgression in Umberto Eco’s novel The Name of the Rose, aiming to demonstrate that this link is formed through dependence. The paper also seeks to analyze curiosity as one of the channels through which transgression manifests itself in the face of the bans imposed on Eco’s fiction, not as a way of denying them, but of overcoming them by enhancing them. It is understood that curiosity as a transgression is the result of a first interdiction, that of laughter, and it is evaluated as both curiositas and studiositas. This expression is considered, also, as excess, an excess that leads to death and destruction, highlighting the danger to the homogeneous world. The theoretical basis of this article is mainly composed of the works of Georges Bataille, with the support of Alberto Manguel and Georges Minois. [ABSTRACT FROM AUTHOR]

Objetivos. Este artículo determina las causas de la aplicación de la violencia religiosa por el personal docente a escolares en el contexto de los setenta y noventa del siglo XX en el centro-sur andino peruano. Describe las formas adoptadas por esta violencia y explica sus efectos entre el estudiantado. Metodología. Se trata de un estudio analítico-sintético e interpretativo-explicativo, basado en una investigación etnográfica, con fuentes primarias y secundarias. Resultados. Se registraron los mecanismos de violencia religiosa, con códigos orales y visuales, cuyo análisis permitió postular que la escuela impone reglas que pautan idealmente las relaciones entre docentes y estudiantes. Conclusiones. Las pautas ideales entran en conflicto con la emergencia de transgresiones a las reglas impuestas. Por lo tanto, la institución aplica la violencia religiosa como coerción y control social para inducir el miedo de las personas transgresoras a pagar sus culpas mediante castigos místicos. En esta perspectiva, el miedo actúa como un dispositivo cultural de dominación que trae, como efecto inmediato, el sometimiento de los escolares y las escolares a la autoridad y, como efecto mediato, el rechazo a la iglesia católica.

Centrándose en el pecado en Pelagio como posibilidad como ejercicio de la libertad y de la responsabilidad individual, el artículo señala la defensa de la neutralidad que implica la creación del ser humano y su capacidad para el bien y el mal, subrayando la libertad de la voluntad y su absoluta indeterminación. , que vincula el pecado con la elección. Por tanto, al atribuir a la voluntad la condición de lugar de establecimiento de la experiencia ético-lógica existencial que implica el ejercicio de la libertad, Pelagio se opone a la tesis del pecado original como herencia psicobiológica, intelecto-afectiva y volitivo-conciencial transmitida por el arquetipo humano en Adán para vuestra descendencia. Así, señalando la voluntad como causa del pecado en un movimiento que converge para terminar su imputación al agente como poseedor de la voluntad en ejercicio, el texto muestra que Agustín afirma paradójicamente la tendencia humana a practicar el mal como consecuencia de la herencia adámica. , que impone a su posteridad la condición de depravación absoluta y de culpa ineludible, en la medida en que el ser humano se constituye como tal en estado de santa inocencia en un proceso que atribuye al pecado la condición de producto de la elección humana mediante el ejercicio de su derecho. libertad y plena conciencia. Finalmente, la investigación examina el pecado como símbolo racional entre Pelagio y Agustín según Paul Ricoeur, quien afirma la necesidad de un proceso que sea capaz de deconstruir el concepto debido al surgimiento de la intención ortodoxa como significado recto y eclesial.

La historia de la literatura serbia contemporánea no se desarrolla simplemente a partir de la historia nacional, sino que reconfigura esta y establece un diálogo con su pasado y con su presente. En este sentido, debe considerarse como una compleja semiosfera cuyo centro parte de un proceso de debates estéticos entre mímesis y virtuosas técnicas experimentales. A partir de las propuestas y polémicas en torno al escritor Danilo Kiš, ambas tendencias se funden con el compromiso ideológico de fondo, pero siempre transmitido desde valientes innovaciones formales. Los traumáticos sucesos bélicos de finales del siglo XX extreman esta fusión con un movimiento “irrealista” que deriva en una literatura cuya máxima institución estética es la transgresión. Palabras clave: Serbia, literatura contemporánea, historia, transgresión, compromiso

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Prometeo Conocimiento Científico is the property of Puerto Madero Editorial Academica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Derecho UNED is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La escritura se traduce en la obsesión del sujeto por el otro, por aquel ser invisible a quien se desea persuadir y conquistar mediante la inscripción de signos codificados. Ergo, es la escritura epistolar la demostración inexpugnable de la obsesión por transgredir la realidad real y ser únicamente en el mundo, realidad verbal, lingüística, imaginada. El objetivo de esta investigación es analizar e interpretar cómo se construye y representa la dimensión conflictiva de la ausencia y el deseo de la existencia a través de la obsesión de la escritura epistolar en las cartas del escritor argentino Julio Cortázar. Para demostrar ello, se recurrirá a la utilización de los conceptos de la narratología y la hermenéutica con el fin de poder analizar los elementos de la estructura epistolar y comprender el sentido del contenido.

The emergence of a new type of far right movements embodies some-thing quite different from the conventional right-wing politics of the 80s or 90s. The thesis of this article is that we are facing more than just new forms of conservative reaction; the new right-wingers chal-lenge the left on the disputed field of social nonconformism in a con-text in which the image of the "decadence of the West" resonates again. This political-cultural complex functions a lot like a rhizome, that is, as a structure without a center, without lines of pyramidal or arbores-cent subordination, without root or trunk, and without predefined artic-ulating joints. Both the new political forces and the circulation of meaning on the Internet are giving shape to a new kind of anti-progressive reaction, with a transgressive spirit as one of its most con-noted elements. While any idea of a thinkable future is in crisis, at least in the West, retro-utopias, conspirative paranoia and certain forms of re-sentment tend to multiply and draw from various sources of indigna-tion. Some key words (cultural marxism, wokeism, new inquisition, etc.) contribute to the construction of discourses in which the left is as-signed to the side of the elites while the reactionary right represents the working masses.

The present research work has been developed with the purpose of carrying out a study on the origin, evolution, importation and adoption in Latin American systems of the constitutional guarantee known as Amparo Action, its process of conversion and modification of the Nomen Juris (legal name) that has been developed in each of the countries that have implemented it in their legal system. An analysis of the mutation, transgression and denaturation by those involved in the daily practice in the application of this constitutional protection tool is carried out, in the face of threats or transgressions of violations of Rights enshrined in the Constitution. A summary of cases is mentioned in which a transgression and denaturation of this constitutional protection tool can be seen "by legal professionals as well as by justice administrators in its application, turning this mechanism into a denatured use and for others out of place to correct daily situations that are not pertinent to correct with the application of this constitutional guarantee in the Ecuadorian judicial system. [ABSTRACT FROM AUTHOR]

Copyright of Philologica Canariensia is the property of Philologica Canariensia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Filología Clásica: Estudios Griegos e Indoeuropeos is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Edad de Oro is the property of Departamento de Filologia Espanola de la Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Under what conditions might the acquisition of new skills challenge discriminatory social norms? We interrogate this question through reference to a study on the social impacts of an agricultural skill development scheme in rural India. We present detailed vignettes drawn from this study, which illustrate the social consequences of acquiring and utilizing skills that transgress local gender and caste norms. Engaging with themes from capabilities theory, we highlight how, although not all skills are transgressive, for some, acquiring "transgressive skills" not only enhanced life opportunities for themselves, but also did so for others within their communities. The form of their transgressions and their social consequences varied, however, based on their relative privilege and the operation of place-specific social norms and systems of oppression. We argue that transgressive skills might drive progressive social change, but distinguish between two types of transgression. Individual, brash, heroic transgressions against the status quo are more accessible to the relatively privileged, whereas marginalized people are more likely to engage in nested transgressions, which form part of long-term, collective struggles for empowerment. The latter, although often overlooked, might offer sustainable pathways to progressive change that reflect local aspirations. [ABSTRACT FROM AUTHOR]

La pornografía y el erotismo han tenido, a lo largo de la historia, umbrales confusos. No obstante, existen características comunes a estos fenómenos que problematizan el espacio de la corporalidad y que generan nuevas estéticas abyectas, cuyo objetivo es rasgar la pantalla de nuestras mediaciones. Dos propuestas son los objetos centrales de esta investigación: la novela Historia de O (1954) de la escritora francesa Pauline Réage, y la serie fotográfica Sex Pictures (1992) de la artista estadounidense Cindy Sherman.

Copyright of Orbis Tertius is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study is part of a larger investigation, namely a master's dissertation. Regarding teachers' dissatisfactions, one of the recurring complaints refers to the standardized teaching systems, which require the exercise of teaching autonomy for acts of transgression and creative insubordination, under a social justice viewpoint, as ethical and courageous ways of breaking paradigms in favor of better student learning. This research aims to highlight the creative insubordination actions of a mathematics teacher, revealed in her teaching practice with 8th-graders of a school in the city of Niterói, Rio de Janeiro, in face of a didactic intervention using statistical education. To achieve this goal, a case study was conducted with the teacher-researcher, about her behavior during the design and development of the didactic sequence she applied with the students. The analysis of the results was done through interviews with the teacher-researcher and through documentary analysis of the instruments provided, namely: the didactic material of the school and the teacher-researcher's dissertation. From the results, we highlight the relevance given to the uncertainty of mathematics and the way the teacher interpreted, disagreed, reflected, and reorganized the situation in a skillful way and in favor of the best learning of her students, which evidences actions of creative insubordination. [ABSTRACT FROM AUTHOR]

Copyright of Esferas is the property of Esferas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este artículo propone partir de una revisión de las conversaciones en torno a la obra de Cortázar suscitadas durante la Jornada Internacional de enero de 2022 en la Universidad de Wuppertal. El título, “Un espejo al fondo del salón”, supone una invitación a pensar la época desde la crítica literaria de dicha obra, con la hipótesis tentativa de que la operación crítica no se dirige tanto a la producción cortazariana en sí sino a un intento de posicionarse a sí misma de cara a nuestro presente.

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Itinerarios (1507-7241) is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Based on an ethnographic and artistic approach to research in an "addiction" treatment center on the periphery of Mexico City, this paper reflects on the following question: How is young women's subjectivity constructed as they move through different life spaces, such as addiction treatment centers, the street, detention centers, and homes? Through various mapping exercises with a gender lens, young women explored the articulation between their body, the street, and their memory. These revealed spatiotemporal conceptualizations that shed light on the disciplining of addicted bodies and their own spatial productions. As a result of this work, we present the idea of transgression path to understand howsubjectivities are constructed based on the experience of inhabiting different spaces that have been important for them throughout their lives: the street, homes and public institutions. On these paths, young women shape their subjectivities through circulation and intermittency, bodily experimentations and mental gaps, experience of the street, and bodily performance. [ABSTRACT FROM AUTHOR]

En vista de su reciente reedición, este artículo busca contribuir a la revalorización crítica de Débora (1884), la primera novela de Tomás Michelena. Escrita 20 años antes de que el divorcio fuese incorporado en el Código Civil venezolano, la novela aboga por su necesidad narrando las desaventuras de Débora, una esposa infiel cuyo adulterio la condena a convertirse en un objeto de exhibición. Poniendo énfasis en el carácter intrínsecamente legal de las preocupaciones que inspiran a Michelena, este artículo explora la sugerente relación entre ley y exhibición que Débora pone en juego mediante la exposición de cuerpos culpables. De esta manera, no solo pretende destacar la problemática intuición en torno a la correspondencia entre ley y castigo delineada por Michelena, sino también indagar cómo esta intuición da paso a un peculiar paradigma de resistencia que, encarnado en el cuerpo exhibido de Débora, toma lugar ante la ley. In view of its recent re-edition, the following article aims to contribute to the critical reappraisal of Débora (1884), by Tomás Michelena. Written 20 years before divorce was incorporated into Venezuela's civil code, Michelena's novel advocates for its establishment by narrating the misadventures of Débora, an unfaithful wife whose adultery is punished by being turned into an object of exhibition. Highlighting the inherently legal character of the question that stands at the center of Michelena's novel, this article explores the suggestive relation between the law, on the one hand, and the exhibition of guilty bodies, on the other, that Débora puts into play. In doing so, this article not only intends to foreground the problematic intuition concerning the relation of law to punishment that this novel delineates, but also, to show how this intuition makes room for a peculiar form of resistance that, embodied in Débora's exhibited body, takes place before the law. [ABSTRACT FROM AUTHOR]

The following article suggests a possible model for Calisto as a character in Rojas’s work. It puts forth a connection between the Celestina and the Ovidius moralizatus.

By denouncing the situation of women in the seventies of the 20th century, Novas cartas portuguesas explores the myth of love working and transfiguring the figure of Mariana Alcoforado. However, in addition to its different developments in Marias, Anas and other Marianas, the work also focuses on Mónica, who appears in eight of her texts. Also in her work Maria Teresa Horta presents two Mónicas, in the short stories "Calor" and "Mónica", which are also convened as in the Hortian universe. [ABSTRACT FROM AUTHOR]

This study take its inspiration from Humberto Giannini's treatment of the "deadly sins" in their negativity, as "evil spirits", in accordance with their meanings in the christian tradition. Here we will keep in mind Giannini's (1997) interpretation of those "evil spirits," focusing on the "sins" of lust and gluttony, and placing this interpretation in relation with other meanders of self-interest that are worth considering for a reflection on pleasure. It goes without saying that we will always fall short of a thorough development of such a reflection, given the unlimited relational possibilities of pleasure that surpass the restricted experience, imagination and speculative capacities of each individual person. [ABSTRACT FROM AUTHOR]

In a previous article, in order to contribute to the debate on the meaning of the Mexica festivals of the Veintenas and their position in the tropical year, I relied on the myth of the creation of the Sun and the Moon to propose that fire was the engine of the Sun's ascent, but also of its descent; that the difference between one movement and the other is explained by the opposition incinerate/scorch; and that the results of considering this opposition in the interpretation of those festivals seem to contradict the position Michel Graulich attributed to them in the tropical year. In this article, a continuation of that one, I will delve into the transgressions committed by the male gods who were worshiped in the period of the annual ritual cycle associated with Tamoanchan. I propose that all of them shared their 'cold' quality, and that it is the loss or decrease of heat that made the Sun, Venus and corn descend in the form of deer-Tlaloque. [ABSTRACT FROM AUTHOR]

Copyright of Odisea is the property of Revista Odisea and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Thélème is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Oceánide is the property of Spanish Society for the Study of Popular Culture (SELICUP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The New Information and Communication Technologies (NICT) have affected all sectors of our daily life, including the art world, transgressing its frontier, not only technical and material, but also thematic and conceptual. The objective of this research aims to reflect on this fact, as well as to carry out a study of the digital instruments that are today at the service of art, with a special focus on the Internet and social networks in art (drawing, printmaking, photography, video, digital illustration, painting, and virtual sculpture). For this, a detailed ethnographic and analytical methodology is used on the subject in question, by studying authors such as Alcalá and Jarque, Belting or Valente and Adler, among others. One of the most outstanding conclusions reverts to the ability of current art to become more social and collective thanks to the new revolutionary paradigms of digital technology. [ABSTRACT FROM AUTHOR]

Based on the genealogical and epistemological analyzes proposed by Foucault and Lanteri-Laura, we aim to discern which are the main discursive lines that constituted the knowledge around perversion, producing a so-called perverse subject. It emerges in a fundamental way from this reading how the idea of transgression of limits accompanies the history of the perverse: whether the moral limit imposed by divine authority, whether the legal limit determined by criminal law, or the normal limit defined by medicine, perversion always points towards the transgressive excess. Such readings constitute the epistemological ground on which Freud relies to develop the conception of a metapsychology whose central axis is sexuality. The Freudian discourse subverts the status of perversion by affirming it as an inescapable dimension of sexuality and of the constitution of human subjectivity. [ABSTRACT FROM AUTHOR]

Copyright of Prohistoria is the property of Prohistoria Ediciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Como parte importante de los estudios culturales y sin perder su riqueza literaria y especificidad estética, la literatura es un medio a través del cual podemos reflexionar y explicar temas que aluden a la condición humana y a las formas de ser en el mundo. Así, desde un suceso ficcional, es posible examinar a personajes literarios y reconocer en ellos aspectos de nuestra realidad como valores, emociones, sentimientos y roles sociales, todos ellos construidos de acuerdo a determinados preceptos culturales. En este trabajo realizamos una lectura analítica del cuento “Tina Reyes” de la escritora mexicana Amparo Dávila. Por medio del modelo semiótico propuesto por Julia Kristeva, y utilizando la categoría analítica de género, reflexionamos sobre cómo se configura la identidad y la subjetividad del personaje femenino Tina Reyes, inserto en una historia ficcional de mediados del siglo xx, bajo un sistema patriarcal. El propósito de este artículo es problematizar cómo opera la transformación del ser de Tina Reyes respecto a su relación con Rosa y Juan Arroyo y cómo ella trastoca el orden social simbólico a partir de la sujeción de los mecanismos de poder que la invaden dentro de su cotidianidad. En este mundo representado por Amparo Dávila ¿qué importancia adquiere la configuración de un sujeto femenino abyecto a mediados del siglo xx? ¿De qué recursos estéticos se apropia la escritora para configurar a un personaje femenino que trastoca el orden social patriarcal? Estos son algunos de los cuestionamientos sobre los cuales reflexionamos en este artículo.

Este artículo presenta algunas reflexiones sobre el libro La bruja. Un estudio de las supersticiones en la Edad Media publicado por Jules Michelet en 1862, el cual pone en tensión el vínculo entre cuerpo, brujería, transgresión y sacrificio en la figura de la hechicera, comadre o bruja de la Edad Media. Para ello, se recurre a diversos estudios que tienen a esta obra y la bruja como centro de sus intereses reflexivos. En este artículo, una poética del sacrificio que sublima el mal como intensidad de transgresión. La bruja es la mujer que estará parcialmente oculta con todos sus encantos, ostentando un saber-curar desde una botánica de la transgresión. Así, la bruja-víctima que muere en la hoguera muestra el pánico y horror que una cultura hegemónica experimenta ante la cultura popular que se hace cuerpo en el sacrificio en un proceso inquisitorial, ya que la bruja conoce las potencias mágicas del conocimiento que cura o puede matar en el vínculo entre botánica y medicina.

Los nuevos medios y espacios expositivos en red están provocando profundas transformaciones en el entramado artístico constituido a lo largo de la historia. Surge una nueva forma de afrontar la creación de obras de arte y los espacios donde mostrarlas al público: el espacio virtual se convierte en una realidad viva y activa que ensombrece a los espacios tradicionales como museos o galerías. La reproductibilidad técnica que apuntaba Walter Benjamin ha dado paso a la difusión ilimitada de la obra de arte a través de redes sociales donde la obra de arte es objeto de manipulación, transformación y transgresión, de importantes consecuencias. La gran obra de arte ha salido del santuario expositivo de museos y galerías de colecciones. La red casi infinita es el nuevo espacio de la obra transgredida. El público anónimo es el gran transgresor transformador. / The new media and networked exhibition spaces are causing deep transformations in the artistic fabric that has been constituted throughout history. A new way of tackling the creation of works of art and the spaces in which to show them to the public is emerging: the virtual space becomes a living and active reality that overshadows traditional spaces such as museums or galleries. The technical reproducibility pointed out by Walter Benjamin has given way to the unlimited diffusion of the work of art through social networks where the work of art is the object of manipulation, transformation and transgression, with relevant consequences. The great work of art has left the exhibition sanctuary of museums and collection galleries. The almost infinite network is the new space for the transgressed work. The anonymous public is the great transforming transgressor.

Analizamos una serie de episodios acontecidos entre 1855 y 1862 en diversos pueblos ubicados a lo largo de la extensa frontera de la provincia de Buenos Aires, en los que las autoridades alertan, acusan y juzgan a paisanos por el uso de la divisa punzó o por dar gritos de “¡Viva Rosas!” en lugares públicos. Nos preguntamos por el sentido de estas manifestaciones y de las acciones desplegadas para reprimirlas, con la intención de responder a la pregunta acerca de cómo operó en diversos espacios una prohibición que fue produciendo una economía moral del recuerdo y del olvido.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

César Aira's work acquired its distinctiveness from the 1980s on. Some of the stories written in his youth, which were only known much later or are still unpublished to this day, pose some questions about the beginnings of his work. This article proposes a reading of Moreira (written in 1972, edited in 1975 and more widely known after 1981) as a text that forms parts of the avantgarde of the 60s and 70s and, at the same time, exceeds its boundaries, coining some procedures that will define Aira's future work. Moreira's formal violence reflects the avant-garde excesses of both the period and the writer's youth, with a radicality that will never be manifested again in his later works and whose sublimation, we conjecture, implies the mastery of Borges's work. [ABSTRACT FROM AUTHOR]