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The duty to be Mother

In different societies there is a series of implicit rules about the action that each individual must role to play in society, rules derived mainly based on the anatomy of each individual. This is where the gender divide emerges based on archetypes that are pinned to both the individual and the collective unconscious.
This essay takes up the hypothesis that both femininity and masculinity are cultural products and, like all cultural products, genera that are classified respond to arbitrary and conventional notions that can be changed if so decided by the society. Given how vast the subject is addressed only some of the most entrenched stereotypical models in the case of females and can therefore serve as an example a witness from the magazine Women and Society, quoted in The worm and the fruit of the writer and anthropologist Milagros Palma:
In Piura for the woman to give birth to empty wooden box where she has her jewels and property valued. If this does not accelerate delivery, she hands out flowers, candy or bread among children in the community. If the process remains slow.
As pointed out by the author cited in this brief testimony we can see how very subtly alludes to a renunciation of wealth by women, symbolized in the act of getting rid of its most precious jewels and property, symbolized resignation turn as needed to achieve a good that is symbolized in turn as more and more desirable than material goods, the motherhood. And the resignation is passed to the offerings, although the waiver is a form of offering, and these two elements, renunciation and sacrifice, suggest the need for expiation of guilt, guilt that lies at the woman's sexual enjoyment , enjoyment he must have had at the time of giving birth to child who is about to give birth, his suffering in childbirth and the disclaimers and taxes that have to do are part of the price to pay for that enjoyment abuse admissible only to the male.
And in women is frowned upon reproductive function in terms of perpetuation of the species but not in terms of sexual pleasure can lock it, and so, while praising motherhood censorship sexual enjoyment relegating the role of women in the incubator to reach their full realization only when they can fulfill this role that society has been charged and that many come to be the only or at least, the strongest reason for their existence .
Motherhood thus becomes the inescapable destiny of every woman if it really wants to be recognized as such in society. Because after childhood has passed, a woman who is not Mom's a unfinished, incomplete, because it has not complied with the primary function of his existence that is motherhood. Motherhood itself implies one of the greatest attributes "? granted to women in virtually all societies, their capacity for self-sacrifice, renunciation, suffering. Who
for example in our country has not heard of "the mother suffered Peruana" which is very nearly a national emblem which all (and all) should feel very proud. Or who in our country has not seen excessive that pays tribute to motherhood, women who redeems virtually any guilt, not only for original guilt, but otherwise, it can be a prostitute, robber or murderer, no matter, because if the mother is above any other that is not, no matter if the other is a doctor, literate or Nobel Peace Prize. Mothers have a special place in our society, no matter what kind of mothers are, what matters is that they are. Motherhood is
addition to all that is perhaps the only effective way to tame women and ensure the prevalence of male power. If women were not somehow "forced" by society and its unwritten rules to comply with a biological function, in addition to pay the social implications that this holds, it should be rather optional, surely many of them devote great part of their lives to cultivate a personal and professional development that will undoubtedly put them in a more equal footing in terms of fields of power with men.
Unfortunately for now seems distant day when society, led mostly by men, dare to see the real benefits would stop exploiting the subject women and based on their biological characteristics and decides to conduct a demystification of motherhood. For now, women who have decided to dedicate their lives to things other than motherhood and women continue to remain incomplete. No matter how many awards and international recognition in their home may have a woman in the house if there is also a son, will hardly be seen by the rest with a tinge of pity because does not know "the largest that a woman" that is, being a mother. Gabriela Fernández Ingaroca

Nicolas White Celtic Potato

The importance of touch

Strokes are considered a powerful and indispensable motor drives and encourages us in our daily tasks. Cobra is so important to human beings during our cycle vi da. That is so necessary since we are born until the last moments of life.
not only talk about the physical touch but also that we may receive through the verbal praise, recognition or a word that makes us feel good. Also consider the auto touch we can give to yourself.
Animals and plants share with humans that need tender loving care. We know that attention and affection offered to pets and plants and encourages the neglect and indifference that ended up weakening or withering.
From birth we need to touch. If these are given positive childhood through adulthood means that positive attitudes are expressed and triumphant at others.
is very valuable to express positive strokes to children because in this way their need for affection will be filled. Those children are cherished rebuked and criticized negatively and feel dissatisfied or marginalized.
We note that positive strokes help us enhance our self-esteem and negative devalue or cause us shame. In all types of work that continually socialize with other expressions of affection should exist through cards, thanks to serve not only to encourage but also an incentive to excel and grow the workforce.
It is true that touching and caressing is the best way of expressing affection, understanding, love, solidarity, compassion and all that means communication and closeness between people.

Ursula Angela Garcia

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Reading guides

Jean Vezina, "The manufacture of the manuscript" in Histoire de l'édition française, tome 1, Paris, Fayard / Promodis, 1989. Translation and adaptation: Sandra Szir

1) What was the format change that occurred in Antiquity to the Middle Ages ? What are the differences in the use of each of the media?
2) What were the materials used for writing?
3) Characterize the medieval manuscript production: how prepared the material for writing, what the format, who produced the manuscripts.
4) Describe the start page of a medieval manuscript. What elements make it up (comments, references, etc..)?
5) What is the system of the wrecks?
6) Where are the manuscripts?

Michael Baxandall, "Eye of the time" in Painting and daily life in the Renaissance , Barcelona, \u200b\u200bGustavo Gili, 1978

1) What referred M. Baxandall with the concepts of representative convention, interpretive ability, visual habits, cognitive style? What links them together?
2) How is according to the text, the cognitive style with the ability to interpret an image?
3) The cognitive style "is the same for the different social groups and cultures of the same age? Does it vary from one era to another? What factors does it depend?
4) The painter and his audience do they share the cognitive style?
5) What are the examples given by Baxandall on the types of visual competition that was equipped with a person of the Quattrocento? Develop.
6) What were, in the Catholic Church, the religious functions of images of sacred subjects? How these functions are translated into instructions for the production or reception of a work?
7) What instances of information that interacted with Images received a spectator of the fifteenth century? Exemplify the works dedicated to the Annunciation .
8) "Through what elements were expressed in the human spiritual states? Were there coding for these expressions?
9) What was the relationship between the education they received a young bourgeois of the fifteenth century in Italy and the decoding of the paintings?
10) What could explain the overall idea that Baxandall text reflects on the relationship between art and society of a particular time?

Henri-Jean Martin , "Printing" in Williams, Raymond (ed.), History of communication . Of Printing to today , Barcelona, \u200b\u200bBosch, 1992

1. a) What were the economic and technological conditions that made possible the invention of movable type?
b) How do you condense technical developments leading up to mid-fifteenth century in southwest Germany? What is the invention of Johannes Gutenberg?
2. a) What were the cultural conditions that favored the way the press?
b) What the author refers when he speaks of a "renaissance of writing?
3. What do you mean Martin with the following sentence: "The printing press was created, not as a result of independent invention, but when he recognized the need for it?

Philip Gaskell, "The manual printing of the books" in New introduction to bibliography material, Asturias, Ediciones Trea , 1999

1) How was the work of composition of a page in a printing press of the period of the manual?
2) What is the imposition ?
3) How was the process of printing in the early years of the printed manual?
4) What characteristics had the role of the sixteenth century?
5) How is the binding?

Lucien Febvre and Henri-Jean Martin , "The appearance of the book," The appearance of the book , Mexico, Fondo de Cultura Economica, 2005

1. What do they look and what features incunabula define?
2. What assumptions were made to explain their resemblance to the manuscripts? Why the author says that not resist the analysis and what is their explanation of the phenomenon?

a. characters
1. calligraphic What models were available typographers around 1450? What is used each of these scriptures?
2. What were the reasons for the unification of the fonts?
3. "What were the most used fonts? What was the influence of the humanists in this regard?

b. Marital status of the book. Incipit , colophon, brand
1. What the author refers to "marital status of the book?"
2. What part of the book was, until the sixteenth century, the greatest amount of information on its production? What kind of information is included?
3. What is the brand typeface and the characteristics?
4. When he made his appearance on the cover? What was your purpose at the time? What changes suffered by the end of the fifteenth and early sixteenth century?
5. What changes arising from the use of copper etching in the seventeenth century?
6. What is a pediment?

c. The presentation of the texts and the size of the books
1. What were the changes introduced by humans in relation to the presentation of the text?
2. What is the foliation? So that was used? What other systems are used for the same purpose in manuscripts and incunabula? When first used the page?
3. What were the reasons for the success of the portable formats? What types of books were produced in this format before?
4. What group had a new use of this format? What were the characteristics that made it original?
5. Who still preferred in-folio format? When and why there was a resurgence of this format?
6. What formats coexisted in the eighteenth century? What is each used?

d. The illustration
1. What kind of artwork were the manuscripts? What kind of books were illustrated?
2. Who had access to these books?
3. What image reproduction technique was used after the birth of the printing press? Why?
4. What place was very popular this technique? What is the frequently used?
5. When and why you started the engraving used in books? What were the origins of this technique and its first use? What are its advantages and disadvantages?
6. When and why was no longer used the engraving? Where continued to be used?
7. What happened to the pictures during the eighteenth century?

e. The dress of the book binding
1. What were the general characteristics of the binding of books during the period studied by the author?
2. What were the characteristics of the binder until 1480? Why?
3. What changes brought about by the press after 1480? What techniques are used for decoration and what new materials were first used?
4. What features does the hot stamping technique?
5. What was the binding specificities between the seventeenth and eighteenth centuries? Who were the main responsible for the appearance of the book in this period?

Sandra Szir, "Graphic Innovations and cultural changes. Aldus Manutius and editing humanist

1) What was the relationship they established Aldus Manutius and the Aldine Academy the culture of classical antiquity ? What is the historical context in which he lived and worked Manuzio?
2) What were the innovations implemented by Aldus Manutius editorial regarding formats, bindings, typography, alphabets?
3) What do you mean when he says that Szir through the publication of classics in paperback Manuzio won "new readers for new texts?
4) How do the illustrations in the edition of Manuzio Hypnerotomachia Poliphili ? What new contributors?
5) What do you mean Szir stating that "In its final form the printed book was the result of complex negotiations between various parties?

Svetlana Alpers, "Introduction", in describing art. Dutch art in the seventeenth century , Madrid, Hermann Blume, 1987

1) What two models of representation referred to in the text?
2) Why Alpers said that the Italian art as a model imposed from both the aesthetic and theoretical in Western art?
3) What gives Alpers art features Italian and northern European art?
4) The visual differences between them are they related to differences in features? What sets the text regarding the interests of Italian culture and the Nordic?
5) What is the relationship between the Dutch visual culture and its meanings?
6) How do you explain the link between Dutch images and science, knowledge and technology in this culture?
7) What role does the human figure in Italian art and what the Dutch art?
8) What do the metaphors of the "window", "mirror" and "map" applied to the painted surface?
9) Is there a relationship between the religious life of Italian Renaissance painting? How given the relationship in the Nordic culture?

Roger Chartier, "Representations and practices. reading Revolution and the eighteenth-century France "in writing Society and the Modern Age , Mexico, Instituto Mora, 1995

1) What is the Chartier hypothesis that critical?
2) What are the 3 book markets in the eighteenth century?
3) What characterizes the "old regime typo?
4) What were the philosophical books? Where is produced, how they were distributed covering what content?
5) What is the relationship between reading Chartier set of philosophical books and membership or not Revolution?
6) What were the traditional ways of reading?
7) What are the new ways of reading?

Robert Darnton, The Business of Enlightenment. The publishing history of the Encyclopédie , 1775-1800, Cambridge, Massachusetts & London, Belknap Press, Harvard University Press, 1979

1) What was Encyclopedia ?
2) What were its epistemological basis?
3) What was the mode of production of the publication referred to the text?

Frédéric Barbier and Catherine Bertho-Lavenir, "The form, revolution and political participation (1790-1820)" in history of media: Internet Diderot, Buenos Aires, Colihue, 1999

1) What are the reading practices and acculturation that mark the decade from 1789 to 1799? Which social groups participate in them?
2) What are the formal characteristics of the books printed between 1799 and 1815? What policy framework is produced and how does it in style?
3) Explain the final assertion of Barbier when he says: "In France, the progress of the Enlightenment and the relative delay of the sociopolitical system may become a revolution that makes the question of means and form a central issue, and introduces contemporary political problems."

Frédéric Barbier, "The industrialization of the techniques," in Roger Chartier and Henri-Jean Martin, Histoire de l'édition française, tome 3, Paris, Fayard / Promodis , 1990 (translation of the chair)

1) What Barbier referred to "technical system"? How does it differ from the sum of the techniques and invention?
2) What were the technical innovations that emerged in the nineteenth century in the areas of the paper, the press and composition?

Michel Melot, "The text and image", in Roger Chartier and Henri-Jean Martin, Histoire de l'édition française, tome 3, Paris, Fayard / Promodis , 1990 (translation of the chair)

1) What new role became the image in the nineteenth century?
2) How diversified forms of the book?
3) What were the new techniques of illustration for print? What was advantageous and disadvantageous features each and what type of paper used?

Martin Lyons, "The new readers of the nineteenth century: women, children, workers," in Guglielmo Cavallo and Roger Chartier, History of Reading in the Western world , Madrid , Taurus, 1998

1) What were the new readerships in the nineteenth century?
2) What new social practices appeared these new audiences?
3) What were the modes of appropriation of reading and what the contents of the same?

Honour, Hugh , "Introduction", in Romanticism , Madrid, Alianza, 1981

Nochlin, Linda , "The nature of realism" in realism, Madrid, Alianza, 1991

1) How listed in the text of Linda Nochlin's concepts of "realismo'-'realidad'-'convención'-'observación empírica'-'esquemas'?

2) How does realism extended his eyes to the story? How does the contemporaneity and immediacy to the realistic and impressionist?

3) What was the new range of subjects incorporating the realism and what implications did this integration? Exemplify the cartoon.

4) How does science gravitated nineteenth century positivist realism?

5) How are social issues expressed in the level of discourse and realism in his works? What role do the works of Courbet's monumental style and theme as the manifestation of social issues?

6) What can we find differences and similarities between the characteristics of realism and romanticism?

Wedding Quotes Not Lame

Unit I
XIV-XVI Centuries

Transformations in the social, commercial and urban development. Bourgeoisie and the bourgeois spirit. Renaissance: culture, intellectual and humanism. Relationship ancient classic. Artistic innovations. Visual experience and society in the Quattrocento.

Rationalization of pictorial space: artificial perspective. Representation models: model description and narrative Northern Italian. The emblems. Religious images and its communicative function.

Invention of Printing. Conditions of possibility technological, social, economic and cultural. Johann Gutenberg. New conditions of book production: composition, imposition, printing. Incunabula: rupture and continuity with its predecessor, the medieval manuscript. Change the appearance and structure of printed objects: reference systems and registration, writings and illustrations. The woodcut: Invention and features. New formulas and publishers. Aldus Manutius and human editing.


Unit II Seventeenth and eighteenth centuries

Crisis and tensions of the seventeenth century. Baroque culture. Catholic Counter: art, power and persuasion. painting as propaganda Church and monarchical absolutism. Popular culture and mass culture. France: Baroque and Classical

Eighteenth Century: Rococo and decay of the courtly world. Transition to the modern world: intellectual revolutions, political and economic. Reason and Enlightenment thought: philosophers and Encyclopedia. A new look at antiquity. The Neoclassicism. French Revolution: the fall of the Old Regime monarchy and the triumph of the bourgeoisie. Industrial Revolution and apotheosis of capitalist industrial order. New modes of production: economic and social effects. Alliance art-science-industry. Depending on the image in the new industrial technical nature: high art and scientific illustration and topography. Geographical maps. Images of the King: official representation unorthodox and critical prints.

Print Culture and power: the book Baroque. Font Features of the Old Regime. Censorship, smuggling, and philosophical books banned books. New forms and type styles. The spaces of the book: text and image. Copper engraving. The case of the "Library Blue." The forms and the political situation: pamphlets, "occasional" and "canards."

Unit III
nineteenth century Romanticism

history. Medievalism, Nationalism and expression of subjectivity. English Romanticism: the Pre-Raphaelites and criticism of the effects of the Industrial Revolution. Art in the Victorian era. Universal expositions. The Crystal Palace in London. The realism and the question of reality. Convention Representation and observation. The new realism and social issues. The cartoon and its constitution as a genre in mass media. Impressionism: Painting the instantaneous.

The industrialization of the techniques in the production of books: mechanical press, industrial paper, linotype. Innovations in the reproduction of images: boxwood engraving, lithography, steel engraving, photography, photo. The new readers: children, women and working class. Role

image printed objects. The development of optics and theories of vision. The graphic book. New products, new genres. Romantic vignette. Unit IV


End

century ideological and aesthetic aspects of the thought of William Morris. Morris as a designer. The foundation of Arts & Crafts. Kelmscott Press, a project of maturity. Crisis in bourgeois society, political and cultural transformations. Discussion with historicism. Post-Impressionism: criticism of the classical models of representation. New art forms, new languages. Symbolism, Modernism and the applied arts. The form-function problem. Technology and mass market.

The height of the industrial and urban transformation. Consumption boom: the poster modern advertising. Influence of Japan.

mass culture: popular illustrated newspapers and weeklies. Visual information. The satirical press. The Modern Review. Illustration and book design.