Women History

One of the topics developed by the Clarissan abbess Isabel de Villena in her work "Vita Christi" was the politics. This text is framed in the cultural and political polemic known as "Querelle des Femmes" that was developed in the Late Middle Ages. The author vividly poses the issue "gender and sovereignty". She designs a complete political theory represented in a feminine paradigm: the Virgin is the theoretical and practical model of the “marvelous science” of human government. Strikingly, Mother Isabel offers this female model to any class of rulers, including men, who should look at themselves in that model, but especially those with institutional, secular or ecclesiastical, power. In order to develop these ideas, the Virgin is presented as the performer of the two main instances of power of that time embodying the functions of queen and female pope and offering a new basis to the “art of government” of the kingdoms and the Church.
Uno de los temas desarrollados por la abadesa clarisa Isabel de Villena en su obra "Vita Christi" fue la política. Esta obra se enmarca en la polémica política y cultural conocida como "Querella de las Mujeres", que se desarrolló en la Baja Edad Media. La autora plantea vívidamente el tema "género y soberanía". Diseña una teoría política completa encarnada en un paradigma femenino: la Virgen es el modelo teórico y práctico de la "ciencia maravillosa" del gobierno humano. Sorprendentemente, la madre Isabel ofrece este modelo femenino a cualquier clase de gobernantes, incluidos los hombres, que se deben mirar en él, pero especialmente aquellos con poder institucional, secular o eclesiástico. Para desarrollar estas ideas, la Virgen se presenta como la titular de las dos principales instancias de poder de aquel tiempo encarnando las funciones de reina y papisa y ofreciendo  un nuevo fundamento al "arte del gobierno" de los reinos y la Iglesia

Modèles de vertu en apparence et pourtant manipulatrices, empoisonneuses et adultères, les Julio-Claudiennes ont une réputation sulfureuse. L’empereur Auguste fut contraint d’instrumentaliser les femmes de sa famille pour asseoir son pouvoir et sa dynastie. Mère, sœur, épouses, fille et petites-filles furent autant de pions au service de ses ambitions. Mais furent-elles victimes ou actrices de leur destin? -

See more at: http://www.grandpalais.fr/fr/evenement/femmes-fatales-imperatrice-et-princesses-au-temps-dauguste#sthash.cGqBHCuZ.dpuf

En este artículo, mediante al análisis pormenorizado de Apiano (BC, 4,32), uno de los textos a los que los especialistas en la historia política del Segundo Triunvirato han prestado menos atención, pretendemos demostrar el decisivo papel político desarrollado en su momento por Octavia, hermana de Octaviano y futuro emperador Augusto. Nuestro propósito es dejar claro que la imagen de Octavia fue construida, a lo largo del período analizado, en constante contraposición a la de la reina egipcia Cleopatra y que la romana no fue sólo un «peón», sino una gran matrona protagonista de sus propias decisiones en el complejo panorama de la alta política romana en la República Tardía.

Starting from an episode of gender violence suffered by the community of Franciscan tertiaries of Santa Maria de la Cruz de Cubas and caused by its prelates, we analyze here the denounce discourse formulated by these women in the biography of the visionary Juana de la Cruz and in her sermons. Possible change proposals in these texts are also evaluated. In order to do this, we review their concept of what the Church is and the relationship model between the sexes. The prophetic nature of this feminine discourse confers to its views an undoubted political weight.
Partiendo de un episodio de violencia de género sufrido por la comunidad de terciarias franciscanas de Santa María de la Cruz de Cubas a manos de sus prelados, se analiza aquí el discurso de denuncia que estas mujeres formularon en la biografía de la visionaria Juana de la Cruz y en sus sermones. También se valoran posibles propuestas de cambio en estos textos. Para ello, se pasa revista al concepto de Iglesia y al modelo de relación entre los sexos. El carácter profético de este discurso femenino confiere a sus planteamientos una indudable carga política.

La contribución de las mujeres al acervo cultural hispano que . conocemos con el nombre de " música medieval " está todavía por explorar, sin que, hasta la fecha , haya ocupado la atención de los musicólogos, ni de los medievalistas. La carencia de documentación musical conservada atribuida a mujeres y la falta de las categorías hermenéuticas adecuadas, pueden provocar en quien se acerca al estudio de esta realidad, la catastrofista imagen de quien se ve forzado a documentar, mal que le pese, una prolongada ausencia.

This article examines a dominant narrative about, Emmeline Pankhurst, leader of the Women's Social and Political Union (WSPU), the most notorious of the groupings campaigning for the parliamentary vote for women in Edwardian Britain. It is claimed that this narrative is to be found in the influential book, The Suffragette Movement (1931), written by one of Emmeline's daughters, Sylvia. In this book, Sylvia portrays her mother as a traitor to the socialist cause, a leader who deliberately encouraged wealthy Conservative women to join the WSPU and who failed to mobilise the working classes, a misguided autocrat who supported a single-issue campaign, a weak woman easily swayed by her eldest daughter, Christabel, and a failed mother who neglected her less favoured children, Harry, Adela and Sylvia. Emmeline Pankhurst is remembered today, at least in popular memory, as the heroine of the votes for women campaign waged in Edwardian Britain, the leader of the militant [2] Women's Social and Political Union (WSPU or Union), the most notorious of the groupings campaigning for the parliamentary vote for women on equal terms with men. She founded the WSPU as a women-only organisation and under her leadership the spectacular and heroic deeds of the 'suffragettes', as her followers were called, grabbed the public's imagination, then, as now. The popularisation of such a version of events was captured by Midge Mackenzie's BBC television series, Shoulder to Shoulder, watched by millions in 1974. Some twenty-five years later, Emmeline Pankhurst topped the polls amongst Observer and Daily Mirror readers as the woman of the twentieth century.[3] However, despite her hold in the popular imagination, until recently the majority of historians have presented Emmeline Pankhurst in a negative manner. Recent postmodernist debates about history writing pose a key question-whose history gets told? There can be no doubt that the most influential account of the militant women's suffrage campaign has been that written by one of Emmeline's daughters, namely, Sylvia Pankhurst's The

This paper studies the life and work of the foundress of the female Third Regular Order of Saint Francis, Angelina de Montegiove. This woman  raises a very interesting gender problem that manifests the difficulties generated by a female model of apostolic and active religious life and by new institutions governed autonomously by women. The reaction of the Order of Friars Minor of the Observance started a fight between tertiaries and friars that developed over two hundred years. These women represented their identity and self-consciousness in the paintings with which decorated the walls of their convent of Saint Anne in Foligno. They vindicated their value and capacities in order to develop and active life and to use public word. The later institutional construction of Angelina's sanctity reveals political gender maneuvers manifested in  topical religious models for women based in the ideal of female enclosure.