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Women, Religion, and Culture in Spain and Spanish America (1900-2000)

西班牙和西班牙美洲的妇女、宗教和文化（1900-2000）

基本信息

批准号：
AH/R013144/1
负责人：
Ricki O'Rawe
金额：
$ 4.59万
依托单位：
Queen's University Belfast
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2019
资助国家：
英国
起止时间：
2019 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FR013144%2F1
关键词：
Women Religion Culture Spain Spanish

项目摘要

This network will conceive, develop, and explore a new set of questions about how women's cultural production in Spain and Spanish America is intertwined with changes in the role of religion and spirituality in the 20th and 21st centuries. This project will help to recast cultural Modernism, which has often been seen as a period in which the death of God was paramount, as a constructive artistic enterprise aimed at discovering new constellations of material and spiritual life.On the morning of Tuesday 11th September 2001 al-Qaeda hijacked and flew two American passenger planes into the World Trade Centre-a symbol of global capitalism-killing 2,996 people. The relevance of religion was reaffirmed for the western world in the wake of this incident (Winnfield 2007). In the immediate aftermath the socio-political changes in global relations were apparent to everyone, but in recent years the event of 9/11 has made the connections between art, politics, and religion more explicit, after a period of scepticism about the ability for art to achieve anything at all (Eagleton 2014: 196). The threats and attacks on the offices of Charlie Hebdo and Jyllands-Posten have acted as a violent reminder of the power of art to affect change-positive or negative-on society. More recently, viral images of French police demanding that a woman remove a burquini on a beach were juxtaposed with a 1925 image of a woman in a bathing suit standing on a Florida beach as the police measure the distance from the hem to the knee to ensure it confirms with strict swimsuit regulations. These two images, which challenge assumptions about advancement of the personal and religious freedom of women in contemporary society, invite exploration of the renewed 'interdependence of politics and religion' (Critchley 2012: 8) and suggest that we reopen questions about the origins of patriarchy in control of a woman's sexuality (Lerner 1986). As well as drawing attention to the continued attempts to regulate the women's bodies in the public sphere, the images act as evidence of the increased power of the visual image in contemporary discourses of power.Spain and Spanish America have long been a crucible of politico-religious tensions, from the complex relationship between Islam and Christianity in early modern Iberia to the clash between the Church and progressive forces culminating in the Spanish Civil War and exile. From the moment Christianity was introduced in Spanish America, it has always been in dialogue with indigenous religions and beliefs and the growth of movements like Liberation Theology in the later part of the twentieth century as well as the more recent spread of evangelical movements show a continued preoccupation with religious thought in the region. This broad historical overview might suggest that a crude narrative exists in which religion waned after the Enlightenment only to return to centre stage in 2001. This is an over-simplified position but one which contains a grain of truth. The focus and value that modernist writers and artists placed on the overturning of old orthodoxies at the beginning of the 20th century inevitably included a rejection of organised religion, yet they did not disengage from the types of philosophical questions often associated with religious devotion (Gay 2010). The main aim of this project is to explore the use of symbols and imagery related to both organised and alternative religions and spiritualties in works by women artists and writers from across the Spanish-speaking world to show that whilst the influences of organised religion on social and political life was waning, writers and artists still used and engaged with religious symbols as a means of explaining the world.

该网络将构思，开发和探索一系列关于西班牙和西班牙美洲妇女文化生产如何与20世纪和21世纪宗教和精神作用变化交织在一起的新问题。这个项目将有助于重塑文化现代主义，这往往被视为一个时期，上帝的死亡是至高无上的，作为一个建设性的艺术企业，旨在发现新的星座的物质和精神生活。2001年9月11日星期二上午，基地组织劫持并驾驶两架美国客机撞向世界贸易中心-一个全球资本主义的象征-杀害2,996人。在这一事件之后，宗教的相关性在西方世界得到了重申（Winnfield 2007）。全球关系中的社会政治变化对每个人来说都是显而易见的，但近年来，9/11事件使艺术，政治和宗教之间的联系更加明确，在一段时间对艺术实现任何事情的能力持怀疑态度之后（2014：196）。对《查理周刊》和《日德兰邮报》办公室的威胁和袭击，强烈地提醒人们，艺术的力量可以对社会产生积极或消极的影响。最近，法国警察要求一名妇女在海滩脱掉布基尼的病毒图像与1925年一名妇女穿着泳衣站在佛罗里达海滩的图像并列，因为警察测量了从下摆到膝盖的距离，以确保它符合严格的泳衣规定。这两幅图像挑战了当代社会中女性个人和宗教自由进步的假设，引发了对新的“政治和宗教相互依存”的探索（Critchley 2012：8），并建议我们重新审视父权制控制女性性行为的起源问题（Lerner 1986）。这些图像不仅让人们注意到在公共领域对女性身体进行规范的持续努力，而且还证明了视觉图像在当代权力话语中的力量越来越大。西班牙和西属美洲长期以来一直是政治宗教紧张局势的熔炉，从现代早期伊比利亚伊斯兰教和基督教之间的复杂关系，到教会和进步势力之间的冲突，西班牙内战和流亡从基督教传入西属美洲的那一刻起，它就一直与土著宗教和信仰进行对话，二十世纪后期解放神学等运动的发展以及最近福音派运动的传播表明该地区对宗教思想的持续关注。这一广泛的历史概述可能表明，存在一种粗略的叙述，即宗教在启蒙运动后衰落，直到2001年才重返中心舞台。这是一个过于简单化的立场，但其中包含了一点真理。现代主义作家和艺术家在世纪初对推翻旧正统观念的关注和价值不可避免地包括对有组织宗教的拒绝，但他们并没有脱离通常与宗教奉献有关的哲学问题（Gay 2010）。该项目的主要目的是探索西班牙语世界各地的女艺术家和作家在作品中使用与有组织的和非传统的宗教和灵性有关的符号和图像，以表明虽然有组织的宗教对社会和政治生活的影响正在减弱，但作家和艺术家仍然使用和参与宗教符号作为解释世界的手段。