¿La democracia está en los museos? Si la democracia está en los museos ¿dónde están las mujeres filósofas, creadoras, escritoras, médicas, arquitectas, estadistas, políticas, educadoras, ingenieras, campesinas, obreras, pescadoras, inventoras, cineastas, investigadoras? Si esas mujeres no están en los museos ¿quién está en los museos? […]" MAV (Asociación Mujeres en las Artes Visuales) Resumen: El presente artículo trata de aproximarnos a la realidad representativa de las mujeres tanto en la historia del arte como en el escenario de las instituciones museísticas, desde una perspectiva de género. Emprenderemos un viaje a través de la historia, deambulando por las entrañas que estructuran la esfera cultural, observando las bases del discurso androcentrista que prevalece, aun hoy en día, en la realidad expositiva de los museos. Recorreremos la historia del arte, contemplando las múltiples y diversas representaciones que ha tenido la figura femenina a lo largo de la historia, además de la mirada del artista creador, quien ha perfilado la imagen de la mujer bajo su criterio, imponiendo unos estereotipos y roles que se han repetido a lo largo de los siglos. Transitaremos por las teorías desde un posicionamiento crítico en términos feministas, para descubrir la ausencia de las artistas en el arte y en el contexto de las instituciones culturales. Revisaremos las acciones y nuevas miradas que se han planteado a lo largo de los últimos años, para cuestionar la ausencia de figuras femeninas como sujetos activos y creadores, con el fin de alcanzar la inclusión de la mujer en ámbito artístico y cultural y así mismo, crear nuevos mapas cognitivos desde la igualdad de oportunidades y la recuperación de la memoria de las artistas, que han sido invisibilizadas en nuestra historia. Palabras clave: Museos, género, mujeres, representación, feminismo. TORREGROSA / Museos y género: una asignatura pendiente 184 -197 http://dx. Abstract:This article tries to approach the representative reality of women both in the history of art and in the setting of museum institutions, from a gender perspective. We will embark on a journey through history, wandering through the core that structures the cultural sphere, observing the foundations of the androcentric discourse that prevails, even today, in how museums show themselves. We will go through the history of art, contemplating the multiple and diverse representations that the female figure has had throughout history, as well as the creative artist, who has shaped the image of women according to his criteria, imposing stereotypes and roles that have been repeated over the centuries. We will go through the theories from a critical position in feminist terms, to discover the absence of artists in art and in the context of cultural institutions. We will review the actions and new perspectives that have been proposed over the last few years, to question the absence of female figures as active and creative subjects, in order to achieve the inclusion of women in the artistic and cultural sphere and al...

The main purpose of this paper is to explore the connections between Eugenio d’Ors and Pragmatism. Specific attention is devoted to showing the reception of Pragmatism in the philosophy of d’Ors, and to explaining a constant theme in his works: the characterisation of his thought as a post–pragmatic intellectualism.

No abstract

This article intends to analyze the representation of personal memory in Alan Berliner's film First Cousin Once Removed. The film serves as an innovative proposal in the filmic representation of personal memory, going beyond the most obvious topic of the film -the biography of Berliner's second uncle, suffering from Alzheimer'sand presenting us with a study of personal memory through the use of cinematic language. After a brief overview of how personal memory is represented in cinema, we first examine the film's thematic lines and narrative structure, proceeding afterwards to a closer analysis of its representation of the most relevant features of personal memory: subjectivity, complex temporality and performativity. Berliner explores these features in the film with insight: he emphasizes the subjective/autobiographical nature of memory work; he frames his portrait of Edwin Honig within complex temporal coordinates, where the past and present become indiscernible; and builds a self-reflexive film that emphasizes the performative character of memory and of its filmic representation.

No abstract