{"id":24325,"date":"2003-04-07T00:00:00","date_gmt":"2003-04-07T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/imagenes-de-una-metafora-circunstancial-la-mujer-falangista-como-mujer-moderna-revista-para-la-mujer-1938-1940\/"},"modified":"2003-04-07T00:00:00","modified_gmt":"2003-04-07T00:00:00","slug":"imagenes-de-una-metafora-circunstancial-la-mujer-falangista-como-mujer-moderna-revista-para-la-mujer-1938-1940","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/imagenes-de-una-metafora-circunstancial-la-mujer-falangista-como-mujer-moderna-revista-para-la-mujer-1938-1940\/","title":{"rendered":"Im\u00e1genes de una met\u00e1fora circunstancial. la mujer falangista como mujer moderna (revista para la mujer, 1938-1940)"},"content":{"rendered":"<h2>Tesis doctoral de <strong> M\u00f3nica Carabias \u00e1lvaro <\/strong><\/h2>\n<p>Como ya indicara mary nash(1), en las dos \u00faltimas d\u00e9cadas la historiograf\u00eda ha intentado paliar la invisibilidad de las mujeres en los estudios hist\u00f3ricos.  partiendo de tal premisa, esta tesis doctoral centra la atenci\u00f3n sobre un colectivo de mujeres durante la guerra civil espa\u00f1ola, analizando su protagonismo vital e imaginario a trav\u00e9s del documento gr\u00e1fico y period\u00edstico que modera su propia organizaci\u00f3n durante los a\u00f1os b\u00e9licos.  por consiguiente, el objetivo ha sido exponer con un trabajo sobre la imagen visual en toda su extensi\u00f3n -fotos, gestos reales, fisonom\u00edas, paradigmas visuales, etc.-, Es decir, por v\u00eda de una antropolog\u00eda social c\u00f3mo la configuraci\u00f3n de una iconograf\u00eda particular a trav\u00e9s de una revista, y. Revista para la mujer, y la asunci\u00f3n de unas inusuales actuaciones concretas en el espacio y en el tiempo de la guerra civil cuyos antecedentes se remontan al a\u00f1o 1934, no reflejan necesariamente su historia social ni posterior imagen cultural, sino un modelo que result\u00f3 ser m\u00e1s una utop\u00eda que una opci\u00f3n real.  la proyecci\u00f3n que experimenta su organizaci\u00f3n pol\u00edtica facilita a las mujeres una posici\u00f3n oficial privilegiada paralela al espejismo que experimentaron un grupo de j\u00f3venes acomodadas \u00abmodernas\u00bb, esencialmente en su sem\u00e1ntica y no tano en su sint\u00e1ctica, que pese a sus ra\u00edces conservadoras comprendieron que los tiempos modernos que viv\u00edan las exig\u00edan nuevas actitudes y compromisos con la sociedad y el rumbo de la misma(2).<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Im\u00e1genes de una met\u00e1fora circunstancial. la mujer falangista como mujer moderna (revista para la mujer, 1938-1940)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Im\u00e1genes de una met\u00e1fora circunstancial. la mujer falangista como mujer moderna (revista para la mujer, 1938-1940) <\/li>\n<li><strong>Autor:<\/strong>\u00a0 M\u00f3nica Carabias \u00e1lvaro <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 04\/07\/2003<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Jaime Brihuega Sierra<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: guadalupe G\u00f3mez-ferrer sierra <\/li>\n<li>Juli\u00e1n D\u00edaz s\u00e1nchez (vocal)<\/li>\n<li>Ana Mar\u00eda Arias de coss\u00edo (vocal)<\/li>\n<li>concha Lomba serrano (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de M\u00f3nica Carabias \u00e1lvaro Como ya indicara mary nash(1), en las dos \u00faltimas d\u00e9cadas la historiograf\u00eda ha intentado [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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