Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Sleeping Beauty is a story we can all tell. A cursed princess who pricks herself and falls into a deep sleep until her prince wakes her up. But, like all stories, she has evolved into this form. If we trace its origins, the first time it was put down on paper was in the 13th century. Later, in the 14th century, three more versions were added. In the 17th century Giambattista Basile popularized it, but in that same century Perrault adapted it to his own way and in the 19th century the Brothers Grimm simplified it.              Through all these forms there remains an essence, a common narrative, some characteristic elements that allow us to identify this story as the same one. And in them we can see the mythological nuances appearing, sometimes in something as subtle as the names, and sometimes in something as evident as the presence of a mythological god.              The stories have been analyzed from different disciplines: from linguistics, anthropology, philosophy and even religion, among others. In this article we will start from two key methodologies: firstly, we will apply comparative mythology (whose main representative is Max Müller) to compare the different versions of the stories, as well as the myths with which we relate them. Finally, we will use the iconographic method of Art History, paying attention to the primary sources to explain the presence of an icon or element in the artistic work analyzed.             This is the procedure of this article: to break down the primary sources in order to fully understand their presence in the Walt Disney audiovisual.

Traditionally, Protestant churches in Spain have little presence in the scope of artistic research because the low numerical and stylistic relevance of those buildings if they are compared to their Catholic counterparts. This paper is aimed to try to make a comparative study of architectural spaces and cultic elements between three protestant churches of historical tradition, and one catholic temple, the last one used as an architectural paradigm. To carry it out, two of Protestant temples in the city of Malaga and one from Madrid have been selected. The catholic model is the Holy Martyrs church, from Málaga too.             From an artistic perspective based on the formal analysis of these temples and the study of the social, political, and religious context of the Reformation movement, an attempt is made to seek a historical, theological, and doctrinal explanation of the possible differences or similarities of the architectural solutions used by the selected denominations. Is precisely for this reason the comparison of the liturgical guidelines is a meaningful key to determine presences, coincidences or absences related to the different rites we can found in the constructive space.             Likewise, collected data, according to preset parameters, are shown ordered in a comparative table, following an evaluation system based on total, partial or null compliance of the conditions defining liturgical elements and architectural spaces. In addition, they are translated into analytical charts in order to make easy the understanding of the information.

Nowadays, Pietro Vannini is considered one of the most skilled 15th- century Italian goldsmiths. He was able to harmonize stylistic features of the late Gothic tradition with the new elements typical of the Renaissance art. Indeed, he realised various monstrances, crosses and reliquaries that are still displayed in important museums and churches. Yet, this article focuses on one of his less famous creations, a processional cross displayed at the Diocesan Museum of Osimo. The artefact has not been adequately documented in the past, despite its relevance, and this has caused confusion on its origin and iconography. Various are the hypothesis on the date of its origin, among them the one from scholar Clerici assigns the cross to the late fifteenth century. Moreover, complex is the analysis and identification of the figures that decorate the cross from the iconographical point of view. Therefore, the aim of this paper is to clarify the story of the cross and to underline its relevance. The article starts from the origin of the cross along with a stylistic and iconographic in-depth analysis, where scholars such as Gori, Fanciulli and Montevecchi (one of the best scholars of Vannini) express their views. Then proceeds to a focus on the several restorations the piece has undergone, from those mandated by bishop Spada and bishop Compagnoni, to the campaignsthat have not been documented, yet can be inferred from the changes they brought to the artefact and its various descriptions throughout different periods in history.

The Spanish Civil War (1936-1939) posed a severe threat to this country’s heritage. In this respect, on a governmental level, several actions were undertaken in order to safeguard movable property and cultural and artistic immovable property. Over the last years, this issue has been widely addressed from various study perspectives, that allow us to grasp a better knowledge on these actions regarding heritage protection. This article puts the spotlight on the disappearing and partial recovery of the Monastery of Uclés pax, an unique silversmithing piece commissioned by the Order of Santiago. This piece holded a byzantine plaque from the 11th century. 

In the Victorian era there was a paroxysm of the cult of death. In that desire to dominate and contain the arbitrariness of it, art played an important role. In the Victorian aesthetic universe and more especially the pre-Raphaelite, one of the positions when it comes to representing death consisted in the poetization and idealization of the female corpse, specifically with a fetishistic nature. This was carried out through different narrative modes: aquatic death and sleeping death. 

For the last four decades, a great number of studies have been published about the construction of xixth century scientific-medical discourse about women’s bodies, health and sexuality, which presented women as weak and sick beings, dependent on their sexual organs and physiological functions, so proving their natural inferiority. The obsessive pursuit of the relationship between brain and female sexual organs and the sexual difference in mind functions reinforced the rejection to women’s access to higher education. The impossibility of women to access universities and other scientific institutions, facilitated that the voice of scientific-medical knowledge was mostly male. However, the xixth century women’s movement promoted women’s access to knowledge and professional practice. This paper shows some women scientists’ contribution to the deconstruction of the misogynistic hegemonic discourse, mainly Elizabeth Garrett and Mary Putnam, MD.

This paper presents part of the results of an international systematic literature review that analyzes 42 studies selected by pre-established criteria out of the 238 found in Medline/Pubmed between 1966 and 2020. First, we show the scientific conceptual framework and professional values in which a patient-centered medical practice can be developed, investigating the patriarchal tradition that guides and bases the current physician-patient relationship and defining the problems that have emerged from a feminist view: differential morbidity, gender bias, androcentrism, and professional disparity. Having indicated the methodology of the study and the main bibliometric results, in the second part the contributions of narrative studies found in the review are examined in detail, as well as the most prevalent problems identified among the observational and meta-analytical studies. We conclude by making ours the maxim that emerges from this study: it is essential to know and be aware of the effect of gender differences in the physician-patient relationship given the evidence that continuous education of professionals in clinical interpersonal communication is an effective tool to control and avoid sexist attitudes and androcentric bias in the regular clinical practice.

By claiming that women and men can both hear God’s call and can both serve God in the same capacities, some Pentecostal and Neo-Pentecostal churches seem to give women a new sense of self-worth and empowerment. An analysis of the IDMJI, a Neo-Pentecostal Church established in Colombia, and its political party, MIRA, allowed me not only to appreciate how this process of empowerment works but also to observe how these religious groups, more often than not, keep intact several gender stereotypes that can be detrimental to their own parishioners and to society at large. The IDMJI is led by a woman who claims that both men and women can preach. Its political party have acted in the past on behalf of women and other minorities, asking for parity in public office and protesting against gender and domestic violence. Nevertheless, the value they give to women is still highly related to their role as wives and mothers, and they exclude the possibility of sexual or affective relations that do not conform to the heterosexual norm. Thus, they continue reinforcing patriarchal values and jeopardizing the self-determination of women as well as the rights of the members of the LGBTQ+ communities.