Andrea Giunta. How gender stereotypes were deconstructed and represented in literature and the visual arts in the four decades from the recovery of democracy to the present are some of the questions on which the art historian Andrea Giunta and the writers reflected. María Rosa Lojo and Ana María Shua in the framework of a new commemoration of International Women’s Day on March 8. From the powerful visual expression achieved from the voices of the Mothers and Grandmothers of Plaza de Mayo in the 80s with their white scarves and silhouettes in the streets demanding the appearance of their children and grandchildren kidnapped during the dictatorship to the massification of feminisms in 2015 which brought groups that work hard to make inequality visible in the field of art We propose among many others the representation of problems and realities linked to gender is uneven. That which is not seen or which was not shown in art -the presence of women artists in Argentine museums still does not exceed 11 percent in their heritage and collections Giunta points out has its correlate in letters: there is no shortage of great writers Argentine women in the 19th and 20th centuries in fact there is no shortage of female writers who delve into the experience of gender and its historical conditioning Leonor Calvera is one of them says Lojo but they are much less visible or do not reach the same level of consecration and prestige as the men. First of all warns Shúa we must remember that before the democratic recovery before the dictatorship and before before the literature written by women was present it was important and valuable in our country. Let the enthusiasm for new achievements and new awareness not erase history. For children it must be confusing to see that most of the works in the National Museum of Fine Arts are by male artists. They must think that artists are all men Andrea GiuntaWe had great well-known writers throughout the 20th century something that did not happen in all Latin American countries. However our writers agreed to the sale but not to the prestige. Prestigious circles were still reluctant to accept that women could write literature with a capital L in fact in the 80s when it began to publish there were still certain obstacles for women one of the main ones was that there were very few female editors she recalls. . The anecdote is personal: I finished my novel ‘Los amores de Laurita’ at the end of 1982 跨際數位行銷 after the Malvinas war. The following year I was rejected by six publishers. In one of them they gave me the yes but conditioned. ‘We could publish it said the publisher but next year because this year we already have a novel by a woman.’ Luckily in the interim Enrique Pezzoni became interested in my Laurita and Sudamericana published it. An unthinkable situation today when men sometimes have to write ‘women’s’ novels to attract the attention of contest judges Shua estimates. Highly popular authors in the middle of the 20th century such as Silvina Bullrich Beatriz Guido or Marta Lynch are minimized under the label of best-seller – Lojo graphic (Buenos Aires 1954) -. Victoria Ocampo a pioneer in the defense of ‘La mujer y su expresión’ the title of her 1936 essay and author of a dazzling autobiography began to be published in 1979 immediately after her and is much more valued as editor and patron that as a creator In the work of these widely read writers and of others such as Sara Gallardo gender stereotypes and the roles assigned to women are both exhibited and questioned indicates the author of ‘La princesa federal’ and that trend she says will diversify and deepen from the democratic recovery in a climate of expansion of freedoms and rights that stimulates other approaches to sexuality authority political struggles and State terrorism following the path opened by emblematic authors such as Griselda Gambaro. Maria Rosa Lojo. For Shúa this invisibility is not about the fact that the editors discriminated but rather that naturally and without awareness of the situation their networks of friends and relationships were masculine. Today however the publishers are in the majority although not yet (in many cases) at the highest level of decision-making. On the other hand she adds women have always been interested in reading ‘masculine’ fiction: ‘Little Women’ and ‘Prince Valiant’ side by side. Today when our women writers shine all over the world for the high quality of their texts male readers still prefer to read books written by other men.That itself could be understood as what has not yet changed pointed out by Giunta a curator and researcher born in Buenos Aires in 1960 that is the presence of women artists in museum rooms in their collections where they do not constitute more than 11%. . But what does have an impact in the field of art is the green tide: at that moment of massiveness the artists also became aware that their exclusion involved symbolic symbolic censorship he remarks. The of Alicia Muñiz at the hands of her husband 跨際數位行銷 跨際數位行銷有限公司 跨際數位行銷有限公司dcard 跨際數位行銷 面試 the boxer Carlos Monzón in 1988 drew public attention to domestic in an unexpected way Ana María ShuaSince 2015 with the massification of feminism in the streets and since 2017 when the artists began to fight without being intimidated for parity things have been changing” he says. Feminist art collectives with their activism have been instrumental in the ongoing transformation in the visual arts. Among the groups that Giunta lists are Mujeres públicas with its activism for the legalization of since 2003; Desperate for the Rhythm; Queer screen printers; We Propose 跨際數位行銷有限公司 跨際數位行銷 a truly federal group that works autonomously; Lola Mora and Cromoactivismo who have contributed greatly to making inequality visible in the field of art. A turning point in the representation of women within the popular imagination based on art was the fight for the legalization of 跨際數位行銷有限公司 跨際數位行銷 with artists very involved in the whole process Giunta points out making posters graphics and actions that actively collaborated in the visibility of the fight in the streets and in the networks. For the historian many changes have taken place 跨際數位行銷 面試 跨際數位行銷 評價 跨際數位行銷 ptt 跨際數位行銷有限公司dcard 跨際數位行銷有限公司 跨際數位行銷有限公司dcard 跨際數位行銷 in 2018 parity was introduced in the Regulations of the National Hall for example promoted by We Propose and in 2021 the 8M award was announced which has already been held for three editions incorporating 36 works to the national heritage. The issue -he warns- is that the rate of additions is slow the works travel but have not yet been incorporated into museum collections. For children it must be confusing to see that most of the works in the National Museum of Fine Arts Arts are by male artists. They must think that the artists are all men – ironically – she. By this I mean: there is a long way to go but a lot has also been done in the last 5 years. Ana Maria Shua. Lojo for his part highlights that the revitalization of the historical novel since the 1980s brings new representations and interpretations of women in founding spaces where the social imaginary did not place them but where they were nonetheless showing their significant performance in the History whether in usual or exceptional roles for its time and aspiring to reveal from an internal perspective those previously unconsidered subjectivities. In fact the grouping of female writers at the classic ‘girls’ table’ at festivals or book fairs is less frequent where the invariable topic to be discussed was the existence or not of a ‘female literature’. Not only are the representations of women in literature multiplying and enriching but also those of the writers themselves who address all literary modalities and are valued individually as male authors always were. The grouping of female writers is now less frequent at the classic ‘girls’ table’ at festivals or book fairs where the invariable topic to be discussed was the existence or not of a ‘feminine literature’María Rosa LojoIt is difficult for me to see new cons -adds on the other hand- . Except (but this is valid for all genres) the problems derived from a simplistic culture of cancellation such as the form of censorship typical of our time. Shua talks about another pivotal moment in female representation since the return of democracy: The of Alicia Muñiz at the hands of her husband the boxer Carlos Monzón in 1988 drew public attention to domestic in an unexpected way. The media tried to defend the champion but the evidence was overwhelming recalls the writer. In 1991 when the oral trial (one of the first which we all followed on the radio) had not yet finished the magazine Crimes and Punishments asked me for a long note on the subject. At that moment I had access to the autopsies and I was amazed at the distortion of the news when everything was so obvious in the doctors’ report. Never again we would like to say…and yet. Resistance to these changes in the construction of popular opinion has always been strong.In the year 2006 so little ago! -reviews the writer- I tried to publish an article in defense of legal demonstrating how it was not true that women were in favor of (come on girls let’s have an it’s so funny!) but rather against clandestine which hurt us so much. No media dared to publish it. However … for years on March 8 I was contacted by almost all the media to speak as a writer about Women’s Day Shua points out. Today that responsibility is shared among the dozens of great Argentine writers. Sometimes no one calls me on March 8… and that’s wonderful! It means girls we made it. 跨際數位行銷 面試 , 跨際數位行銷 mobile01 , 跨際數位行銷 ptt , 跨際數位行銷 mobile01 , 跨際數位行銷 評價 跨際數位行銷 ptt , 跨際數位行銷 mobile01 ,
