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

Constanza de Acuña is remembered as the second wife of the first Count of Gondomar.Nevertheless, she was a rich heiress as well as the last descendant of an important family fromValladolid (Spain). In this paper, we will try to meet not only a wife and mother, but also anintelligent aristocrat: a hidden woman behind her powerful husband, Diego Sarmiento deAcuña (1567-1626). This is, in brief, an innovate work, because doña Constanza has neverbeen the main character of a research about her House. Finally, for all of this, we will drawon the famous letters from Count of Gondomar’s Archive.

This article analyzes from a gender perspective what the zarzuela chica La isla de San Balandránmeant in the 19th century Spanish society. Taking into account the upside-down-worldscenario (in this island women have the power and men don’t have either voice nor vote),it is interesting to initiate an investigation with regard to what this change of perspectivemeant to the critics and the audience, whether there was a change in society, or a seed wassown so that men could understand the limits to which women of the time were subjected.Through journal and magazine documents as well as the subsequent sequels that the pieceleft in some literary works, the evolution of collective thought will be traced as well as howlittle by little feminism was introduced in 19th century Spain.

On the basis of the hypothesis that the academic texts of the sages from classical Judaism(1st-8th centuries CE) form part of a restricted sphere, as opposed to other texts of latercompilation, such as the so-called Minor Treatises of the Talmud –oriented more towardsa public sphere with a didactic intention–, we will read one of these treatises in order toreview the visibility (or invisibility) of women in its contents and arguments. One of theseethical texts, Kallah Rabbati, has been selected for being a treatise that orders daily issuesthat affect men and women, such as sexual relations in marriage, as well as other ethicalconsiderations on human behaviour. Through the text we will analyse the role that womenmay have played in the academic sphere, in order to analyze how they are presented in thediscourse; their possible role as transmitters or receivers of these didactic texts of classicalJudaism.

Glorvina Fort, the daughter of the American consul in Tangier, John Mullowny (d. 1830),spent seven years in this city around 1824-31. She published a book on her experiencesthere in 1859. Although this is the only travel account on Morocco written by a womanin the first decades of the 19th century, both the author and the book are scarcely known.In this paper the scant information preserved on Glorvina Fort is presented, as well as ananalysis on her travel account. The narrative of Fort experiences in Tangier is strongly conditionedby her position as a foreign woman, and by her nearly ethnographic descriptionsof domestic spaces in the city.

This article aims at showing why the political project that Paul-B. Preciado calls «counter-sexual»clashes on principle with the political project of feminism. By counter-sexuality Preciado meansthe production of fictions and enjoyments that invert, subvert or recombine the fictions of thehegemonic heteronormative system, while by sexuality feminism –together with the WorldHealth Organization– understands the vital and creative energy irreducible to socio-political orbiological determinations. The current analysis will be strictly philosophical and will attemptto expose the radical incompatibility between the socio-linguistic antirealism of queer theories,constructivist in terms of gender and relativist on ethical-political matters, and the materialneo-realism of feminism, articulated by complex, interactive, and integrated paradigms.

The term «feminization of poverty» was coined by Diane Pearce in 1978 when she foundthat it was women with children who led poor households. The central objective of thisarticle is to show the trajectories, management, and experiences of women in poverty inCastelló de la Plana (Spain) from their own voice, applying the gender perspective. Themethodology used is qualitative, the technique of interviews with a semi-structured scripthas been used for women of different profiles who are in a situation of poverty or at riskof being so. The results advance that, together with variables or structural factors, such associal origin or employment situation, a set of conjunctural factors or critical life events areadded that, on the one hand, converge and intersect, and on the other, they lead to endingup in this situation.

The actress, like the prostitute, was one of the female figures who in the nineteenth century borea certain social stigma for being professionally active in public and non-domestic roles that wereconsidered vulgar and immoral. This prejudiced view is indebted to the ideology of separate spheres,which has proven to be both class-bound and unstable. While critics as Davis (1991) and Kift(1996) have questioned the overgeneralised association between actresses and prostitutes, feministscholars have challenged the strict separation of gendered spheres, and argued for the instabilityand fluidity of this spatial divide. Taking this as a starting point, this essay addresses the Victorianpopular actress from a feminist perspective to explore the transcendental role she had in music-hallculture. I will explore how this popular entertainment developed from a working-class cultureand question the applicability of bourgeoise values and the ideology of separate spheres to themusic hall. In doing so, I hope to shed new light over the music-hall actress as a working womandemonstrating that she was better esteemed than previously admitted, and argue that she turnedthe music hall into a space of self-fulfillment though subversion and transcendence of female roles.

Arte, literatura yfeminismos: lenguajes plásticos y escritura en EuskalHerria

Incómodas. Escritoras españolas en el franquismo.

"BELOVED MORRISON"