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Gordon Linda - One of the best experts on this subject based on the ideXlab platform.
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La interseccionalidad, el Feminismo Socialista y el activismo contemporáneo: reflexiones de una feminista Socialista de la segunda ola
'Universidad Nacional de Rosario', 2020Co-Authors: Gordon LindaAbstract:Título original: ‘‘Intersectionality’, Socialist Feminism and Contemporary Activism: Musings by a Second-Wave Socialist Feminist’. Gender & History, Vol.28 No.2 August 2016, pp. 340–357. Traducción de Lía Diaz
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La interseccionalidad, el Feminismo Socialista y el activismo contemporáneo: reflexiones de una feminista Socialista de la segunda ola
'Universidad Nacional de Rosario', 2020Co-Authors: Gordon LindaAbstract:Título original: ‘‘Intersectionality’, Socialist Feminism and Contemporary Activism: Musings by a Second-Wave Socialist Feminist’. Gender & History, Vol.28 No.2 August 2016, pp. 340–357. Traducción de Lía Diaz.Fil: Gordon, Linda. Swarthmore College. Swarthmore; Estados UnidosFil: Gordon, Linda. Yale University. New Haven; Estados Unido
Gargallo Celentani Francesca - One of the best experts on this subject based on the ideXlab platform.
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Los Feminismos y las políticas de las mujeres en el horizonte de poner fin a los mandatos patriarcales de la violencia
2018Co-Authors: Gargallo Celentani FrancescaAbstract:One of the important currents of Feminism, the Socialist Feminism of the late nineteenth and early twentieth centuries, influenced the German social democracy, the Bolshevik ideology and the practices of the Spartacist League. Also for more than a century, anarchist feminists had identified the spaces of their oppression in work, religion and family, rebelling against any figure of dominion. “Without god nor patron nor husband” It was one of his slogans. Socialist Feminism was the one that organized in Mexico the first two feminist meetings in the north of our America, He did it in Mexico, Yucatán, in 1916, where several topics were discussed, among them the sexual freedom of women.Uma das correntes importantes do Feminismo, o Feminismo Socialista do final do século XIX e início do século XX, influenciou a social-democracia alemã, a ideologia bolchevique e as práticas da Liga Espartaquista. Também há mais de um século, as feministas anarquistas identificaram os espaços de sua opressão no trabalho, religião e família, rebelando-se contra qualquer figura de domínio. “Nem Deus, nem o chefe, nem o marido” eram um dos seus lema. O Feminismo Socialista foi o que organizou no México as duas primeiras reuniões feministas no norte de Nossa América, Ele fez isso em México, Yucatán, em 1916, onde vários tópicos foram discutidos, entre eles a liberdade sexual das mulheres.Una de las corrientes importantes del Feminismo, el Feminismo Socialista de finales del siglo XIX y principios del XX, influyó en la socialdemocracia alemana, la ideología bolchevique y las prácticas de la Liga Espartaquista. Igualmente desde hace más de un siglo, las feministas anarquistas tenían identificados los espacios de su opresión en el trabajo, la religión y la familia, rebelándose a cualquier figura de dominio. “Ni dios, ni patrón, ni marido” era uno de sus lemas. El Feminismo Socialista fue el que organizó en México los dos primeros encuentros feministas del norte de Nuestramérica, lo hizo en Mérida, Yucatán, en 1916, donde se discutieron varios tópicos, entre ellos los de la libertad sexual de las mujeres
Garcia Dora - One of the best experts on this subject based on the ideXlab platform.
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Dossier in relation to the project Amor Rojo (film, Part 1)
Dora Garcia Kunsthøgskolen i Oslo Avdeling Kunstakademiet, 2020Co-Authors: Garcia DoraAbstract:The figure of Alexandra Kollontai (1872-1952), a Marxist theorist and October revolutionary, radical feminist and sexual activist at a time when those terms were not yet in use, is at the center of an experimental fiction film walking the labyrinth of female freedom, sexual revolution, and love as weapon; and bridging an ocean from Moscow to Mexico, and from Socialist Feminism to queer postcolonial struggle. Amor Rojo (film, Part 1) are the first steps towards a film to be completed by 2021
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Dossier in relation to the project Amor Rojo (film, Part 1)
Dora Garcia Kunsthøgskolen i Oslo Avdeling Kunstakademiet, 2020Co-Authors: Garcia DoraAbstract:The figure of Alexandra Kollontai (1872-1952), a Marxist theorist and October revolutionary, radical feminist and sexual activist at a time when those terms were not yet in use, is at the center of an experimental fiction film walking the labyrinth of female freedom, sexual revolution, and love as weapon; and bridging an ocean from Moscow to Mexico, and from Socialist Feminism to queer postcolonial struggle. Amor Rojo (film, Part 1) are the first steps towards a film to be completed by 2021.submittedVersio
Francesca Gargallo Celentani - One of the best experts on this subject based on the ideXlab platform.
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Los Feminismos y las políticas de las mujeres en el horizonte de poner fin a los mandatos patriarcales de la violencia; Os Feminismos e as políticas das mulheres no horizonte de terminar os mandatos patriarcais de violência; Feminisms and women's policies on the horizon of ending the patriarchal mandates of violence
Corriente nuestrAmérica desde Abajo, 2018Co-Authors: Francesca Gargallo CelentaniAbstract:Resumen: Una de las corrientes importantes del Feminismo, el Feminismo Socialista de finales del siglo XIX y principios del XX, influyó en la socialdemocracia alemana, la ideología bolchevique y las prácticas de la Liga Espartaquista. Igualmente desde hace más de un siglo, las feministas anarquistas tenían identificados los espacios de su opresión en el trabajo, la religión y la familia, rebelándose a cualquier figura de dominio. “Ni dios, ni patrón, ni marido” era uno de sus lemas. El Feminismo Socialista fue el que organizó en México los dos primeros encuentros feministas del norte de Nuestramérica, lo hizo en Mérida, Yucatán, en 1916, donde se discutieron varios tópicos, entre ellos los de la libertad sexual de las mujeres. Palabras clave: violencia de género, políticas, sexismo, discriminación Resumo: Uma das correntes importantes do Feminismo, o Feminismo Socialista do final do século XIX e início do século XX, influenciou a social-democracia alemã, a ideologia bolchevique e as práticas da Liga Espartaquista. Também há mais de um século, as feministas anarquistas identificaram os espaços de sua opressão no trabalho, religião e família, rebelando-se contra qualquer figura de domínio. “Nem Deus, nem o chefe, nem o marido” eram um dos seus lema. O Feminismo Socialista foi o que organizou no México as duas primeiras reuniões feministas no norte de Nossa América, Ele fez isso em México, Yucatán, em 1916, onde vários tópicos foram discutidos, entre eles a liberdade sexual das mulheres. Palavras-chave: violência de gênero, política, sexismo, discriminação Abstrac: One of the important currents of Feminism, the Socialist Feminism of the late nineteenth and early twentieth centuries, influenced the German social democracy, the Bolshevik ideology and the practices of the Spartacist League. Also for more than a century, anarchist feminists had identified the spaces of their oppression in work, religion and family, rebelling against any figure of dominion. “Without god nor patron nor husband” It was one of his slogans. Socialist Feminism was the one that organized in Mexico the first two feminist meetings in the north of our America, He did it in Mexico, Yucatán, in 1916, where several topics were discussed, among them the sexual freedom of women. Keywords: gender violence, politics, sexism, discriminatio
Cuenca García Celia - One of the best experts on this subject based on the ideXlab platform.
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Transgression, Fusion and Dangerous Possibility. The graphic keys of Ghost in the Shell
'Universitat Politecnica de Valencia', 2019Co-Authors: Cuenca García CeliaAbstract:[EN] In 2017, Ghost in the Shell. The Soul of the Machine was released in a real-image version of the animated film Ghost in the Shell, created by Mamoru Oshii in 1995 from the manga of Masamune Shirow Kokaku Kidotai (1989). While the remake tried to honor the plastic universe of the director and the entire saga, its aesthetic approach showed some differences that made the new proposal a technophobic and pessimistic version. The reason is that while this review highlights the human essence as a superior feature, the anime defended cyborg hybridization as a revolutionary attitude and open to the future. To develop that optimistic view, Oshii used three graphic clues that defined the discourse of his film, to highlight the transgressed limits, to represent the fusion of opposites, and to design the dangerous possibilities that the technological future could bring. In our opinion, those three ideas already appeared in a work previous to Oshii's film, which looked to the future in a very similar way: Donna Haraway’s “A Cyborg Manifesto” (1991). This article addresses the translation of these theoretical assumptions to their aesthetic representation through animation, a genre that offered Oshii the possibilities with which to create a unique universe.[ES] En 2017 se estrenó Ghost in the Shell. El alma de la máquina (Rupert Sanders, 2017) la versión en imagen real de la película de animación Ghost in the Shell creada por Mamoru Oshii en 1995 a partir del manga de Masamune Shirow Kokaku Kidotai (1989). Si bien el “remake” trataba de homenajear el universo plástico del director y de toda la saga, su planteamiento estético puso de manifiesto algunas diferencias que convertían la nueva propuesta en una versión tecnófoba y pesimista. El motivo es que mientras que esta revisión destaca la esencia humana como rasgo superior, el anime defendía la hibridación cíborg como una actitud revolucionaria y abierta al futuro. Para desarrollar esa mirada optimista Oshii se sirvió de tres claves gráficas que definían el discurso de su película: resaltar los límites transgredidos, representar la fusión de los opuestos y diseñar las posibilidades peligrosas (u oportunidades) que podría traer el porvenir tecnificado. En mi opinión esas tres ideas aparecían ya en una obra anterior a la película de Oshii que miraba al futuro de una forma muy similar: el “Manifiesto cíborg” de Donna Haraway (1991). Este artículo aborda la traducción de esos supuestos teóricos a su representación estética mediante la animación, técnica que ofreció a Oshii las posibilidades con las que crear un univeso irrepetible.Cuenca García, C. (2019). Transgresión, fusión y posibilidad peligrosa. Las claves gráficas de Ghost in the Shell. Con A de Animación. (9):118-131. https://doi.org/10.4995/caa.2019.11338SWORD1181319ALTOZANO, José, 2017. "El alma de la máquina no entiende al alma de la máquina", en DayoScript, 21 de agosto (https://www.youtube.com/watch?v=Qt3JnTkFA10 [acceso: agosto, 2017]).ELÍADE, Mircea, 1998. Lo sagrado y lo profano, Barcelona: Paidós.ESQUIROL, Josep María, 2015. La resistencia íntima, Barcelona: Acantilado.HARAWAY, Donna, 1991. "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century", en Simians, Cyborgs and Women: The Reinvention of Nature. Nueva York: Routledge.MARTÍN DE RUEDAS, Álvaro, 2017. "Monográfico sobre "Ghost in the Shell", la película que en el año 1995 redefinió la animación y el cine de ciencia ficción", en Akira Comicas. Blog comics, libros y reseñas, 3 de abril de 2017 (https://www.akiracomics.com/blog/ghost-in-the-shell-cuestion-de-tiempo [acceso: abril, 2018]).McCLOUD, Scott, 1993. Understanding Comics. The Invisible Art, Nueva York: Harper Collins.NAPIER, Susan, 2000. Anime: From Akira to Princess Mononoke, Nueva York: Palgrave.OSHII, Mamoru, 1995. Ghost in the Shell: Production Report, Japón: Manga Entertainment.PUSCHANK, Evan, 2015. "How to Animate Life", en The Nerd Writer, 16 de septiembre (https://www.youtube.com/watch?v=gXTnl1FVFBw&t=22s [acceso: septiembre, 2015]).PUSCHANK, Evan, 2016. "Identity in space", en The Nerd Writer, 23 de noviembre (https://www.youtube.com/watch?v=xf0WjeE6eyM [acceso: noviembre, 2016]).RODRÍGUEZ SERRANO, Aaron, 2017. Nostalgia de la encarnación, Santander: Shangrila.SHIROW, Masamune, 2017. Perfect Book, Barcelona, Planeta."Kokaku Kidotai" en Young Magazine, Kodansha.STODDARD, Mathew, 2010. "Contested Utopias: Ghost in the Shell, Cognitive Mapping and the Desire for Comunism", en ImageTexT: Interdisciplinary Comics Studies, volumen 5, nº 2.YUEN, Wong Kin, 2000. "On the Edge of Spaces: Blade Runner, Ghost in the Shell and Hong Kong's Cityscape", en Science Fiction Studies, volumen 27, parte 1.ZAPATER, Juan, ORIA, Blanca, 2008. "Entrevista a Mamoru Oshii", España: Ghost in the blog (https://www.youtube.com/watch?v=ahBJPn19_E0&t=6s [acceso: noviembre, 2008])