Suchergebnisse

The progress in recent decades in the achievement of civil rights within the LGTB community in Spain (decriminalization of homosexuality, equal marriage, Trans law) has led to a review of the role that different organizations and cities (Barcelona, Madrid) have played in the achievement of these rights. 2017 marked the 40th anniversary of the first demonstration for LGBT rights in Barcelona (June 1977), organized to demand the repeal of the Ley de Peligrosidad (dangerousness law) passed during the Franco dictatorship. That demonstration had replicas a year later in cities such as Madrid, Bilbao and Seville and, at the end of that year, the withdrawal of homosexuality from the dangerousness law was achieved. 2018 marked the 40th anniversary of these demonstrations, ephemeris that continued in 2019 with the celebration of the fiftieth anniversary of the Stonewall Inn riots in New York (USA) which, historically, has meant the beginning of the homosexual liberation movements. These commemorations were accompanied by a process of revision of the role that cities such as Barcelona or Madrid had played in this journey. However, it became clear how the peripheries and, therefore, the subaltern discourses, were displaced. Thus, the role that tourist areas such as Torremolinos, already since the sixties, had as a destination for the international LGBT community in the context of Franco's dictatorship and the emergence of LGBT activism during the democratic transition, remained in the background. Proof of this was the opening of what is considered the first gay bar in Spain, Tony's bar, in 1962. During almost all that decade and coinciding with the developmentalist economic policies, Torremolinos became the destination of the national and international LGBT community, in what was a kind of island in the context of the Franco dictatorship. ; Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech.

This paper proposes an epistemological approximation between the method of visual analysis developed by Aby Warburg in Atlas Mnemosyne, and the concept of "emotional resistances" proposed by Eve Kosofsky Sedgwick with the intention of developing "reparative epistemologies" (Touching Feeling. Affect, Pedagogy, Performativity, Duke, 2003). The construction of a queer cartography from Warburg's Atlas Mnemosyne is a project of great magnitude. This is the reason why we want to start from a g-local conception (global and local), and apply this methodology to the analysis of the traces and practices of personal photography that were developed in the Sixties and Seventies in the LGTBQ+ community of Torremolinos (Spain), as an example of cultural practice that allows to recover the "emotional resistances", especially of the members of this community with which the Francoist "emotional regime" (1939-1975) fattened. We will use a queer counter-methodology: the protagonists of the 1970s preserve experiences, memories and materials in the form of personal collections, which sometimes find themselves in a precarious drift that makes militant archival work indispensable. These photographs show the role that Torremolinos had in the Sixties and Seventies as a destination for the LGTBQ+ community in Europe and the development of activism in Spain. This is the reason why in January 1977 the Democratic Union of Homosexuals (UDH) was created in Málaga, months before the first demonstration for the repeal of the Ley de Peligrosidad y Rehabilitación Social (LPRS) in Barcelona in June 1977. The analysis of these photographs will be carried out taking into account both Aby Warburg's method (mainly the Pathosformel and the assembly concept present in the Atlas Mnemosyne) and Eve Kosofsky's concept of "emotional resistences". ; Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech.

[EN] Through this communication we want to present a renewed reading of one of the most important works of Spanish painting of the sixteenth century: the altarpiece of San Pelayo by Maestro Becerril, located in the Cathedral of Malaga. This renewed reading focuses not so much on what the artistic historical tradition has said about it (incorporation of elements from the Italian Renaissance tradition in the form of architectural elements and mythological legends) but on how the legend of the martyrdom of San Pelayo has served to To construct the sexual norm in diverse moments of the history of the Spanish State. For this, we must remember what this legend consists of: According to sources contemporary to the martyrdom (10th century), Pelayo was martyred to death for not succumbing to the libidinous desires of Caliph Abderramán III. Thus the young martyr became a symbol of the virtue of Christian chastity in the face of the nefarious sin represented by the greatest political and religious figure of the Muslims, Caliph Abderraman III. The limits of this communication force us to focus on a specific historical moment: the arrival of the altarpiece of San Pelayo to the Cathedral of Malaga from Becerril de Campos (Palencia) in the context of the 1 40s. In order to offer the renewed reading that we announced above we will start with the numerous studies (most of them AnglomSaxons) which, starting with queer theory, are helping to renew the discipline of art history. Analyzing the arrival of the altarpiece of San Pelayo to Malaga from the perspective queer leads us to understand the meaning of the work within the context of the sexual politics of the time, from which the images of the altarpiece take on a new meaning. ; [ES] A través de esta comunicación queremos presentar una lectura renovada de una de las obras más importantes de la pintura española del siglo XVI: el retablo de San Pelayo del Maestro de Becerril, situado en la Catedral de Málaga. Esta lectura renovada se centra no tanto en lo que la tradición ...