LAS FOGOSAS ALAS DEL PLACER (NOVELA ERÓTICA) (Spanish Edition)

The newspapers contributed to maintaining the public in similar error, and from the mouth of the Press and of the people is where she acquired a real candidacy that the Corporation itself judged to be fantastic. The two women are joined together by their afinity as writers, and their shared consciousness: The letters were inserted into the public sphere through the Spanish and the American press, promoting an open dialogue in the public sphere where public opinion could be transformed.

As editor and founder of female magazines, and assiduous collaborator in the press, on both sides of the Atlantic, she played an active role in the public sphere and was able to inluence public opinion to bring about social reform. Not only did she participate fully in the discursive public sphere advocating for the eman- cipation of her sex, but her arguments had a profound and lasting impact on the Hispanic society of her time. Margaret Fuller, one of the most prominent feminist writers of the time and editor of The Dial, was a leading female intellectual and author.

In , based on her previous essay, she published Women in the Nineteenth Century, which became a classic of feminist thought. Between and , she was co-editor alongside Ralph Waldo Emerson of The Dial, a literary and phil- osophical journal to which she contributed many articles and reviews on the arts and literature. In , she became a book review editor and, in , a foreign correspon- dent for the New York Tribune.

The emancipation of women irst became a theme of public debate in the nineteenth century Osterhammel Through print culture, nineteenth-cen- tury women could gain entrance to the public sphere not only as readers, but also as writers that participated in the public arena to promote their own causes. Album de las damas. Album de las damas — continued to be published from November 2, , to at least May 3, , producing a total of thirty-one issues.

Her intention was to promote a free and rational exchange of ideas in civil so- ciety, where all its members could begin to deliberate about the common issue of the emancipation of the female sex. She was aware that through the articles that ap- peared in newspapers and periodicals, an emancipatory discourse could take shape and circulate in the public sphere among all the citizens of civil society. Her argument centers on the tension between the principles of equality and hierarchy when applied to the relations between men and women in order to advocate the premise of egalitarian gen- der relations.

She argues that the subordination of her sex is based on a distor- tion of the true nature of women as intellectually and morally inferior to men. By breaking with perceived prejudices and false myths about female nature and questioning the prevailing models of femininity, the author redeines the true nature of woman as that of a rational being equal to man in terms of her capabilities, implying that reason and talent have no sex. She takes the defense of women in a new direction toward the question of sexual equality. Album de las Damas, November 2, , 4. The moral revolution that emancipates women should be more force- fully methodical than that which was already felt by the indestructible bases of the emancipation of the people because in that case, the majority was immense, the material force was irresistible.

In this case, there is no majority, there is no powerful material force. Everything has to wait for the progress of the Illustration, hoping that it will make the oppressors themselves see how shameful and tiresome they are, see the chains of ig- norance and degradation that they have imposed on beings to whom they, at the dispense of their laws, are tying up and subjecting both intimately and eternally to the supreme laws of nature.

The author concludes that the female sex has a capacity superior to that of the opposite sex for the art of government. However, the essay on the great lyric poet Sappho only mentions that her life story is a translation from the French without providing any name or ref- erence whatsoever: The famous women that appear in the collected biographies are from diverse national backgrounds representing countries like Austria, India, France, Egypt, Greece, Italy, Spain, and England.

She asserts the intellectual equality between the sexes, defends the rights of women, and praises the many abilities of the female sex. The articles on Sappho, Simrou Begghum, and Vittoria Colonna that appear in these collected biographies are also reprinted in the same section of Album Cubano , devoted to the lives of notable women in history. During their lifetimes, these female rulers exercised political authority by conducting and inluencing the public affairs of the state; among them are monarchs, princesses, warrior queens, and consorts of powerful men. She was the mistress, and later the second wife, of Francesco I de Medici, Grand Duke of Tuscany, who oficially made her his consort January 25, , 4—5.

The inclusion of Elizabeth Fry, the English reformer and abolitionist Quaker, in the section dedicated to the biographies of celebrated women in a Spanish female journal is an unusual occurrence. At the age of eighteen, after hearing the sermons of the American abolitionist Quaker William Savery, Fry was inspired to help the poor, the sick, and the imprisoned. As a prison reformer, she was a major driving force behind new legislation aimed at making the treatment of convicts more humane.

As a member of the Society of Friends Quakers , Elizabeth Fry was also inluential and active in the anti-slavery movement and a strong supporter of abolition. Furthermore, the Quaker William Savery — , the fervent abolitionist from Philadelphia who inlu- enced Fry with his preaching in her youth, was the American who petitioned Congress to abolish slavery in The Quakers started the abolition campaign in Britain around , when they began to express their oficial disapproval of the slave trade and worked toward the introduction of reforms.

For it, we are indebted to the pen of a foreigner, who we desire and hope will return again in the future to grace the pages of our periodical. Note from the editor. Ortiz y otros literatos apreciables. Diario de la Ma- rina, December 20, , 2 News. The periodical that until now had been published in Ma- drid under the title of Gaceta de las mugeres, will take from the the irst of November the name of the Album de las damas.

Ortiz and other signiicant men of letters will work on it as well. Album de las Damas — was well known among a Cuban readership. The reason behind this unusual selection was that the English social reformer was the best female example to convey an undercurrent abolitionist message to women and to encourage readers to become active participants in the abolitionist movement.

It was an implicit call to recruit women through the press into the anti-slavery cause and to encourage her female audience to enter the political scene and become active participants in the ight against slavery. The editor showed with the exemplary life of this Quaker woman that Christian activists were to be found at the forefront of the anti-slavery move- ment.

Moreover, this catalog of exceptional igures also elaborates a narrative of female heroism and distinctive patriotism by citing a long list of women rul- ers and warriors. The biographies also demonstrate the intellectual and moral equality of the female sex with its many references to learned women, and its acknowledgment of virtuous wives and mothers. That is, as social actors who are independent and autonomous, who have con- tributed greatly to bringing about social change, and who have promoted the advancement of civilization. Due to this dialog, it represents a comprehensive attempt at a defense of her sex.

In her revisionist approach toward historical discourse, she tries to respond to the most common prejudices voiced against women. However, in her defense of the female sex, the author does not fail to also provide examples of virtuous wives and mothers, as well as self-sacriicing heroines, which also serves to demonstrate the superiority of women in the domain of sentiment and the caring for others.

The celebratory tone of the biographical essays, and the careful selection of remarkable women reveal the didactic intention of the author. The biographies of these eminent women were designed to appeal to her female readers, asking them to look into their common past and develop a collective consciousness as a source of strength in their struggle toward the emancipation of the female sex.

The biographical accounts of prominent women—portrayed as learned individuals, heroines, rulers, warriors, and religious igures—provided her audience with different models of female power. Her contribution was not only to ques- tion the truth of a historical tradition centered on male igures by depicting women as protagonists of history, but also to formulate a call to her sex to cultivate and develop its ininite potential.

She was a frequent collaborator for both the Cuban and the Spanish periodical press, and as early as , she undertook the direction of Gaceta de las Mujeres: Redactada por ellas mismas, a female journal in Madrid, becoming the irst woman editor in Hispanic literature of a magazine devoted entirely to the fe- male sex. Album de las Damas — This historical catalogue enumer- ates examples of women who have made signiicant contributions to society and history, a rhetorical strategy employed by the author to assert the presence and participation of women in history, culture, and public affairs.

Throughout the different parts of the work, the author makes reference to eminent women and offers systematic arguments in defense of her sex that are reinforced with citations, references to authors both implied and explicit , and sources derived from the classics, literary works, the Scriptures, feminist treatises, historians, philosophers, theologians, as well as contemporary thinkers and writers. Her discussion of the role of the female sex in civil society is broad-ranging and multifaceted, covering the ields of religion, history, government, intellectual life, the sciences and the arts, as well as the private domain of sentiment.

She promotes a female archetype primarily deined by active participation in all spheres of activity, including government and the defense and expansion of the national territory. These disciplines established a dynamic of control over the subjects they sought to rule by developing strategies of domination. She unveils how the discourses of knowledge addressing the female sex shaped and created deinitions, con- cepts, identities, and practices that, in turn, gained the status of truth. The author shows how judgments made in detriment of her sex are usually based on com- mon beliefs that in most cases are prejudices, since they are formulated with- out an adequate basis.

First, she identiies the main negative beliefs generally held about women and argues that such beliefs are invalid precisely because they were adopted through custom or negative assumptions traditionally held about the female sex. As a response, the author offers a revised deini- tion of female nature that invalidates the postulate of the alleged inferiority of her sex. In the debate about the women question, intellect was a cen- tral element to the principle of equality. Her aim is to invalidate the premise that states that the female sex is intellectually and morally inferior to men.

The author proclaims not only the equality of the sexes, but also the superiority of women in the most dificult of all tasks: After an exhaustive catalogue of illustrious women rulers, she goes on to claim that women are capable of governing peoples and administering public interests. In sum, she proclaims the superior capacity of women to govern nations. Therefore, the subordination of women is not grounded on actual evidence, but rather on coercion.

Moreover, she states that holding women in an inferior position is a detriment to society as a whole. The author calls for the emancipation of her sex as an indispensable requisite for the progress of civilization, anticipating a new era of equality when women will have the right to enter any sphere of activity. She maintains the irm belief that increased equality and freedom for the female sex are inevitable for the com- mon good of society as a whole. The author concludes her feminist treatise by declaring that only in countries where women are honored is there genuine civilization and progress and asserts that places where the opposite is true are condemned to bondage, barbarism, and moral decay.

Let the Cubans Speak: By claiming that Sab was outlined on the island colony before her departure to Europe, the article suggests that the author out of the Cuban context conceived the idea of the anti-slavery novel from a space where slavery was a fundamental institution.

The Banning of Sab, 17—18]. Thus, the irst abolitionist novel in the Americas was a direct product of the socio-political context of the island, and a condemnation by the author of slavery, the funda- mental institution of nineteenth-century Cuban society. Mary Cruz moments of idleness and melancholy , and that the completed manuscript was left aban- doned in a drawer for a three-year period, until it was inally published in Madrid in During this time, the author maintained relations with creole reformers in Spain, among them were promoters of the abolitionist cause.

Respecto a mi novela. Su bondad le ha hecho propasarse hasta. Obras, VI, With respect to my novel. I have submitted its irst ten chapters to the censorship of my countryman. He has cheered my timid pen,. His kindness has made it prosper to the point of. Perhaps the most inluential work of iction in nineteenth-century Cuba, Sab, has often been misinterpreted by contemporary scholars. In their analy- sis of the novel, many literary critics neglect to take into proper account the socio-political environment in which the text was conceived, written, and published by its author.

The confusion surrounding the misinterpretation of Sab can be explained in great part by the failure of many critics to acknowl- edge that slavery was the most important social institution of Cuba during the nineteenth century Osterhammel Therefore, the master-slave model permeated all aspects of daily life including the relations among individuals in the social domain and determined how society was viewed and deined However, Sab has caused so much confusion in our day that several critics have downplayed or even denied the anti-slavery content of the irst abolitionist novel in the Americas and the enormous in- luence that this subversive text exerted on the debate about slavery in Cuba.

Sab was always present at the center of the national debate in Cuba, and it became an inluential work in shaping public opinion regarding the question of slavery on the island. It was precisely the insertion of Sab into the public sphere through the newspapers and journals of the island that allowed its anti-slavery message to reach a wider audience.

The irst letter, from July 6, —quoted in another document dated September 1, —claimed that the unacceptable features of the novel were that it con- tained subversive doctrines opposed to the system of slavery on the island. It also claimed that Sab exhibited tendencies that were offensive to the moral principles and good customs of Cuban society.

As stated in the oficial docu- ment: During that period, the anti- slavery narrative was already known to Cubans on the island, as evidenced by the frequent references to the work in the periodical press of the Spanish colony and in the reviews and articles written about its author. The news of the publication of Sab in Madrid was immediately released in Cuba by the is- land press.

In addition, a few months later, a review of the abolitionist novel by Cirilo Villaverde appeared in a well-known Cuban journal, El Faro Industrial de la Habana, in August quoted in Figarola-Caneda 78— During the nineteenth century, the newspapers molded readers into politically mature subjects while at the same time giving them a forum in which to circulate and mobilize political thought Osterhammel Thus, the periodical press became a political force allow- ing the free communication of ideas and opinions among its readers 31— The anti-slavery novel was frequently mentioned in the periodical press of the island: Furthermore, Sab was published twice in serial- ized form during crucial moments of nineteenth-century Cuban history: Therefore, Sab entered the public sphere mainly—but not only—through the periodical press.

From the moment of its instant insertion in the press until slavery was inally abolished in , the abolitionist novel became central to the national debate on the island. Sab circulated widely among the reading public in Cuba, regardless of its initial banning by the colonial authorities.

Indeed, prohibition made this irst propaganda novel against slavery in the Americas even more popular among Cubans. One might imagine how Cubans met informally in houses in private gatherings to read aloud and discuss passages and chapters of the anti-slavery narrative. Besides such gatherings, Portuondo reminds us that handwritten copies of the novel were copied and passed from hand to hand, circulating clandestinely on the island Thus, it can be concluded that there was an underground circulation and distribution of the anti-slavery work among Cubans who considered the novel to be communal property.

After being banned, the novel not only became more popular among the Cuban peo- ple, but the fact of having been censured on the island increased its subversive potential and transformed the work of iction into something else: Sab became something more than a novel. It was a symbol of insurrection, giving the ictional text a different status.

In the minds of Cubans, it was a manifesto of rebellion against the institution of slavery. Therefore, in the minds of the readers, an association between the two works could easily be established, which again brings up a necessary consideration of the banned novel. Therefore, the veiled reference to the banned work of iction restores the text to its audience by implicitly asking the readers to remember the anti-slavery novel, making the forbidden work visible again.

Although Sab was removed from circulation by the Spanish government oficials, the abolitionist narrative was never erased from the imagination of the Cuban public. This daily paper announced at different historical periods that copies of Sab were available for sale in Cuba. Furthermore, in the last decades of the nineteenth century, on January 28, , the Havana newspaper advertised on its title page that another edi- tion of the abolitionist novel was for sale at an even lower price than before.

The availability of this second edition of the novel appears under the heading: Moreover, besides the editions of the novel sold on the island as reported by the Diario de la Marina, Sab circulated in serialized form in the periodical press of both Havana and New York during the s and the s. The second re- lease in serial format was in , only three years before the abolition of slavery in the Spanish colony. The announcement emphasizes the abolitionist character of the novel and calls the attention of its readers to the fact that the work was banned in Cuba due to its subversive anti-slavery message.

The fact that Sab appeared twice in the periodical press of both Cuba and the United States suggests its inluence in transforming the public opinion in the island. For this reason, the Spanish authorities considered the novel in its own day an extremely dangerous text. Willioforce [sic] in the English Parlament. Sab was an inluential political tool for several reasons: Second, it was crucial in maintaining the abolitionist sentiment on the island and the commitment to the prolonged struggle alive and strong. The work of iction that contributed most to the anti-slavery cause on the island was present in the imagination of the members of the horizontal com- munity of the nation from its initial release.

Sab remained at the center of the national debate for ive consecutive decades, from the s to the s, un- til slavery was inally abolished in Cuba by Spanish royal decree on October 7, On the centennial of her birth in , she was compared with the greatest male writers of Spanish literature: Thus, the present volume is a collective effort to reassess the lasting and profound impact of the work of arguably the leading female writer of the Spanish language. This volume is an international endeavor that brings together essays by scholars from Cuba, Canada, and the United States.

Some of the contributors re-evaluate well-known texts by the author by providing new insights, while others focus their analyses on those neglected writings that have received less critical attention, such as the early play Leoncia and the leyendas folk tales. Overall, the essays by these scholars represent an original and fresh contribu- tion toward a more comprehensive and in-depth understanding of a body of writings that encompasses all the literary genres.

The relationship of the writer with the American nation is explored by focus- ing on her U. Cirilo Villaverde and Lorenzo de Allo. It also explores her extensive coverage in the U. The three essays of the second section, Sab The First Anti-Slav- ery Novel in the Americas, are devoted to the analysis of Sab from differ- ent theoretical approaches. Despite her important contribution to anti-slavery literature of the Americas, and her direct and ex- plicit denunciation of slavery in Sab, critics continue to debate the extent to which the novel in fact presents an anti-slavery argument.

The goal of this essay is to contextualize Sab within the larger body of anti-slavery literature of the Americas as well as within the Cuban anti-slavery movement to demon- strate the ways in which she was a pioneer of such literature. For Rodenas, the privileged space of Cubitas and its environs is mapped by lyrical evocations of two distinct trop- ical ecologies—garden and cave—as well as by a recurrent natural phenome- non—the tempest.

At once illegible and revealing, stable and disruptive, she performs the role of the ab-original mother, bearer of na- tive roots, oral tradition, and narrative practices. Through a close reading of this marginal character and the Cubitas cave—a space framing an extended characterization of Martina—this essay addresses some of the possible alter- native meanings that the igure of the indigenous mother brings to the novel.

Mar- tina, in contrast, remembers and insists on repetitively narrating the violence forever inscribed in the subterranean space of the cave. A kind of archival womb of an indigenous past and of colonial violations, the cave symbolizes the reproduction of knowledge and the transmission of a memory that threat- ens the foundational concept of national consolidation and racial restitution identiied by Sommer.

She places these historical ig- ures on the forefront of her ictional plot, which permits the encounter of two discursive modes in the same text: Literary critics have seen two major themes of European Romanticism in this work: Pratt proposes to read her as a woman poet who was ahead of her time and as more modern than canonical romantics like Heredia, La- martine, or Espronceda.

In one of her late compositions, a poem written in direct reference to a corresponding poetic text by Heredia, she takes up an aggressively modernizing position in contrast with his romanticism. For Pratt, we are in the presence of a bold creative talent that, in the face of a poetic repertoire that excludes her, appropriates that tradition and uses it to animate an insubordinate artistic practice. These personal and intimate texts intersect in intricate ways narrating an epistolary autobiography, but also a modern novel of formation, a Bildungsroman.

The correspondence focuses on her transformation into a woman who has gained experience of the world. This corpus of letters exhib- its the awakening of a modern female consciousness and remains an exquisite expression of human love as one of the greatest universal passions. For a discussion of the major topics see Osterhammel, chapter eight, and chapters twelve to eighteen. University of North Carolina, Chapel Hill, University of Pittsburgh Press, Album de las Damas Balances, perspectivas y prospectivas.

Universidad de Salamanca, El color del verano. Su vida y su obra. The Anxiety of Inluence: A Theory of Poetry. Oxford Univer- sity Press, Las damas del liberalismo respetable. Cotarelo y Mori, Emilio. La Avellaneda y sus obras: Editorial Letras Cubanas, Obra literaria de La Avellaneda. La hija de Cuba. Theory of the Lyric. Harvard University Press, Essays in the Rhetoric of Contemporary Criticism.

University of Minnesota Press, The Rhetoric of Romanticism. Columbia University Press, Harcourt, Houghton Miflin Harcourt, Imprenta la Pluma de Oro, Notes by Emilia Boxhorn. Fuente, Alejandro de la. The Press and Slavery in America, — The Melancholy Effect of Popular Excitement. The Theatre in Nineteenth-Century Spain. Cambridge University Press, Album cubano de lo bueno y de lo bello: Revista quince- nal, de moral, literatura, bellas artes y modas. Los Libros de Umsaloua, Revista quincenal, de moral, literatura, bellas artes y modas I, Lorenzo Cruz de Fuentes, 2nd ed.

Lorenzo Cruz de Fuentes. Obras de la Avellaneda, VI. American Book Company, Drama oriental en cuatro actos y en verso. Album de las Damas 20 January 25, , 4—5. Album de las Damas 8 November 2, , 3—5. Album de las Damas 24 March 8, , 5. Cuadernillos de viaje y La dama de gran tono. Album de las Damas 16 December 28, , 4—5. Semanario de literatura, historia, costumbres y viajes. Revista quin- cenal, de moral, literatura, bellas artes y modas I, Album de las Damas 27 April 5, , 7—8. Album de las Damas 13 December 7, , 6—8. Album de las Damas 15 December 21, , 4—5.

Soler, calle de la Muralla, I, , —; — Imprenta y esteriotipia de M. Lo bueno y lo bello: Al- bum de las Damas 21 February 8, , 3—4. Album de las Damas 18 January 11, , 5. Album de las Damas 8 November 2, , 5—6. Memorias de viaje y relexiones sobre la mujer. Obras de la Avellaneda. Manchester University Press, Arte y Literatura, Sab in El Museo, vol. Imprenta Mercantil de Santiago S. Album de las Damas 11 Novem- ber 23, , 5—6.

Album de las Damas 12 November 30, , 5—6. Album de las Damas 16 December 28, , 5—6. Historia de la literatura hispanoamericana 2. The Banning of Sab in Cuba: Documents from the Archivo Nacional de Cuba. Elizabeth Barrett Browning and the Aesthetics of Abolition. Mothers of the Nation: Indiana University Press, Otra mirada a la Peregrina. Editorial Letras Cuban- as, Rereading the Spanish American Essay: University of Texas Press, Estrategia y propuesta de un periodismo marginal. La Avellaneda bajo sospecha.

Avellaneda, Nineteenth Century Feminist. Icons and Fallen Idols. University of California Press, Ortega del Villar Aniceto. Opera en un acto y nueve escenas. Script and Musical Score. The Transformation of the World: A Global History of the Nineteenth Century. Princeton University Press, Editorial Letras Cu- banas, Memorias del simposio en el centenario de su muerte. El Movimiento Literario 29 December El Triunfo 4 July Society of Spanish and Spanish American Studies, The National Romances of Latin America.

University of Pennsylvania, Opera in Quattro Atti. Havana, 8—9 August , 2. European Culture, Politics and Gender, — University Press of New England, Italian translation of Auto- biography. French translation of Sab. Lithuanian translation of Sab. Selections of Baltasar in French. Nina Scott and Doris Meyer. Re- reading the Spanish American Essay: Dodge and Burbeck Booksellers and Stationers, Anna-Marie Aldaz and W. In English Translation, with Orig- inal Text. Modern Language Association of America, The Gorham Press, First Abolitionist and Feminist in the Americas and Spain.

Hispanic Issues On Line 18 The impressions of her travels were collected in two poems: During the summer of , she took the short trip to Niagara Falls, an experience that became the inspi- ration for her composition. The two American compositions that the trip to the United States had inspired were both masterpieces, addressing the nature of good government as one that is based on institutions that protect the freedom and exercise of genuine liber- ty among all of its citizens. These texts—the sonnet she wrote as a tribute to George Washington and the ode to Niagara Falls—are remarkable examples of political poetry, where American republicanism is praised as a model to be followed by other nations.

As such, she rescues the literary precedent for a woman poet to speak publicly on political Gender and the Politics of Literature: We have to trust that politicians, industry, designers and citizens will be able to change their attitudes and ways of living en masse, and that we can take this necessary step in the right direction.

After all, it would be very good business to do so. A su alrededor gira todo proyecto. Most of the time, people talk about Spanish design only in terms of the designers involved, but it should be understood that design always takes place in a plural context; it is a film with three protagonists: The current condition of Spanish design can be described as the sum of these different stances: These three positions move at different speeds, and on one hand we are witness to a globalisation of Spanish design at the hands of the designers themselves, unprecedented in terms of both their numbers and the quality of the work.

However, this massive outpouring of new talent has not met with a similar response on the part of Spanish industry. There are only a few exceptions, which have become references in the sector. The present crisis is putting the progress that the bulk of Spanish industry has achieved to the test. The dinosaurs will die out, but life on Earth will continue.

New, sleeker and more efficient forms of life will manage to survive and repopulate the face of the planet, and this is precisely what we are about. Finally, there is the third element, the Spanish customer. The period of abundance we have lived through has had a positive effect inasmuch as it has created a more demanding client who is more aware of his or her needs.

Every project is centred on this figure. The current situation is one in which both economic and mental terms are subject to drastic adjustments, philosophies and strategies have to be rethought. The crisis is like a hangover after a party. For many Spanish companies, it will be their last crisis, but those who manage to survive will have to come to terms with the idea that another world is possible, and that after all these years it is time to start over again.

Why is it desperate? Because this is the feeling that usually, although thankfully not always, comes over designers when we have to deal with an industrial sector, a manufacturing base and a business class that persists in seeing our work as a mere cosmetic addition, useful only for advertising and media publicity. We have tried over and over to explain to these businessmen that design is, or should be, an integral value, not a supplement as it usually is, tagged on with more good intentions than criteria.

It should be an intrinsic value for any coherent manufacturing process, and aware at the same time that it exists in a shifting, complex global context. And why is it not serious? Because we see that the world is a little bigger every day, that frontiers are vanishing and our work need not be limited to production within the geographic limits that our physical and economic circumstances mark out for us. We sincerely believe that Spain can become an exporter of creativity, originality and talent, and that Spanish designers can make their mark in any place where viable solutions are sought for complex issues, just like those that Otto presents his future father-in-law with.

En este sentido hemos ganado en madurez y esto repercute en el nivel de exigencia del consumidor. We have been in this business for about ten years, and in this time we have seen a significant renovation in Spanish design on several fronts, among designers, companies and the public. There is no doubt that ordinary people in Spain are beginning to appreciate the value of good design, although they may not be fully aware of the fact. Design was associated for many years with the ideas of exclusiveness and glamour, but now it is being recognised for other facets, such as practicality, efficiency and sustainability.

The public has also learned that designers create more than just chairs and lamps, and that design is present in many household items such as packaging, toys and domestic appliances. There is greater maturity about what we do, and that in turn affects the level demanded by the consumer.

Even so, we feel that there is still a lot to do, that there are still too many companies that do not invest in design, so that their products, and the company itself, are seen abroad as inferior. Spain has been a consistent source of talented professionals in recent years. The designers of my generation have been highly praised in other countries, and as a result, in Spain too.

There is a new generation of designers with things to say and who are keen to get things done, which is great be-. Today we can claim to have a tremendous reserve of designers with plenty of potential, probably more than we imagine, but we need to have a little more faith.

Few countries have produced as many good designers in the last few years as Spain. The international design scene has woken up to the fact that every passing year sees Spanish designers behind more and more of the most significant creations. They are not, however, being produced only by Spanish companies. Maybe we should be taking similar actions within Spain because, although we have made great progress, there is still a lack of awareness about design among both the business sector and the public.

There is no museum of design in Spain that has anything like the prominence of the Design Museum of London, nor is there an organization like the British Design Council, which does not just promote design as a cultural asset, but supports all kinds of designrelated activities.

Spain needs greater awareness of design, especially in the business sector, as we already have plenty of excellent designers. Businessmen need to realise that designers can be their most significant allies in the struggle to survive in an ever more competitive market. Industry needs to show greater faith in us, the designers. Spain is teeming with brilliant minds that are waiting for industry to give them a chance to prove themselves. Guillem ferran A veces positivo.

Existe un gran potencial industrial. Los buenos productos se venden solos. There is a powerful industrial sector. There are factories primed with powerful, incredible machinery and production facilities, industries that are forgotten, abandoned and stopped. What is missing is the lubricant, the imagination, creativity and strategy to make it all work smoothly. A lack of awareness and appreciation of the designer. Designers are treated like beggars, Spanish society must make an effort to realise that the added value that design brings is not just limited to the financial aspects, but it also benefits society, culture and the development of the nation.

Businessmen should learn that by spending more money, by banking on the creation of unique, powerful products, they might stand to earn more than what they spend on advertising and marketing. It is an investment. After all, good products sell themselves. I think that industrial designers in Spain are very creative and able to work to the highest standards. Thanks to the efforts of the Spanish manufacturing sector, they are able to make their products better than ever, so that the high quality of the design is matched by the production values.

The results are as good as anything produced abroad. However, I also think that the public sector has sometimes transmitted an excessively frivolous image of industrial design in Spain that has little to do with reality. It seems that the media interest in the designer is more important than the image of Spanish industrial design, and the industry as a whole.

In any case, I think Spanish design has a very high level in terms of creativity and development, and is competitive. Everything is intricate, with different levels and many possibilities. Tenemos las herramientas humanas y culturales. We have started our journey, but I feel that Spanish design still has a long way to go. There are fantastic designers in Spain, and I am convinced that they will make their way to the top of the ladder of international creativity step by step and by producing things in this country with international appeal. I received my professional training outside Spain, but I have worked with Spanish companies and I can see how we have grown.

We still have lessons to learn with regard to our appreciation of local talent and in our choice of a true, unique language all our own. We have the talent and the culture; we only need to learn how to use them in our favour. Poner cierta distancia entre el objeto observado y el observador. Muchas son las empresas que gracias al coraje y la creatividad crean empleo y producen bienes de consumo.

Sometimes, one must take a step back in order to see more clearly what one aims to understand. One must put a little distance between the object and the observer. Any enquiry into the health of Spanish design involves certain complications. We can see a panorama of many designers and few companies.

There is plenty of industry, and there are many companies whose boldness and creativity create jobs and produce consumer goods. But how many of these actively promote the values of research? How many place quality before profit? How many are prepared to run risks? And what about service companies? Could they be waiting for the right moment? And may we designers be capable of demonstrating with hard facts that good design is also good business. And this precisely in the field —cuisinewhich seems least likely.

Maybe the next book should tackle this issue. The map of design in Spain reveals a new series of hotspots. Areas which depend on the furniture industry or public administration are now keen to bolster their existing industrial and cultural activity. On the other hand, a new generation is stepping forward with a large number of young designers setting up platforms on which to display their projects, some with the activity of the mid-to-late nineties in mind.

The emergence of new design companies willing to take risks to stand out means that we are beginning to see interesting pieces by new names in Spanish design. Many companies now see that it is not only important to make good products, but also to improve their communications. You only have to visit one of the international furniture fairs to see what the finest Spanish designers can offer the market. I have only one more thing to add: Por primera vez los profesionales tenemos una imagen excelente fuera de.

Y a esto se suma que tenemos una buena cantera de gente joven. Recent years have seen Spain occupy a very good position in the international design scene, to the extent of becoming an influential reference. For the first time ever, Spanish professional designers have acquired an excellent image abroad thanks to a few ambassador-designers whose work has endowed Spanish design with a sound reputation in the eyes of foreign manufacturers. We can also count on an excellent supply of young designers.

There are also a number of Spanish manufacturers who have backed our designers, and who continue to place their trust in them. It is a pity that these are only individual efforts, and the chance to lend significant public support to Spanish design, companies and professionals has not been taken. Many Spanish companies lack an internal technical department, many brands do not develop their products within the company but prefer to subcontract this work out, and I think that this does not help.

I believe that Spanish design is enjoying a moment of splendour, and we are in a unique situation which no other country is experiencing: There is a lot of creativity in Britain and the Netherlands, but not many companies who can take advantage of it, while in Italy the reverse is true; there are a lot of companies with a great tradition but which have to buy creativity abroad.

One only has to look at the designers of the most important Italian companies. Spain is more evenly balanced, and this is an advantage when it comes to establishing relations which have a happy ending. I honestly believe that there is a group of Spanish designers who represent the highest quality in skills and international recognition. Besides this, there is an enormous cultural contrast within Spain, and this gives us a great diversity in our ideas and ways of seeing design.

From our point of view, Spanish design is far more international now than ever before, both in terms of the type of work we do and the determination of designers to reach out to all parts of the globe. One of the most important qualities that Spanish design has compared with others is that we have a balance between the aesthetic and the conceptual that is far more advanced than in other cultures.

This gives us a certain advantage and means that we are in demand for this quality, which is a blend of latin passion and European industrial capacity. El estilo se lo han apropiado. Las tendencias llegan de los holandeses o de lo s suecos. Que no la hay. I would like to talk about design that has a Spanish accent. I think that this is a vision which is more real because the frontiers of creativity are becoming more and more blurred.

It is also a more optimistic vision, because the generation of the s have not had a clear or pure successor. It is also a more competitive view because if we want to claim the merit we have to find some common trait that identifies us. Trends are generated by the Dutch or the Swedes. The classics now come from Vitra, which is more German than Swiss… We have always felt that we possessed genius, but lacked an identity and unity. I am envious of Spanish chefs when I see them jet around the world in groups and working together. Designers and companies should offer more support to one another, which does not mean that they should merge.

It would also be healthy if they were to learn a little humility and assume that they cannot always be the centres of attention. Besides a good designer, there has to be a good businessman, a good project, a good idea, good creative management, a good technical team, good production, a good image, good promotion, a good sales team, a good distribution network, good outlets and finally, a bit of luck so that the client decides to buy. In this sense, we need to educate the public so that it can distinguish and appreciate good design, as in other parts of Europe.

I think that the current crisis could push Spanish design into a third phase. The eighties were a time of incredible expansion, but since then Spanish design became a little more staid as a result of latching onto successful movements taking place in other countries. There are a number of questions arising in every field about sustainability, from the production phase to product use and recycling.

I feel that it is now time to find answers to these issues while holding on to the essence of Spanish design and simultaneously taking an active part in the global scene. There has to be investment in research, and in creating a line of work that owes nothing to anybody. First, there must be contacts with new generations of designers, both at home and abroad. This approach has given Italian design a boost in recent years.

The term used to be a label, but it is now changing. However, design has now come to form part of our daily lives. I believe that our designers have the potential to achieve the same credibility in design that we have already achieved in architecture and the graphic arts. Even so, it is fundamental that any technical or aesthetic innovation calls for an investment of time and money, and this investment must be taken seriously.

This is a playful small desk lamp, based on a shuttlecock cone made of feathers. It is very practical in those cases where what is needed is a point of light in the darkness. We were surprised by the intricacy of the skirt, and as we have the custom of putting light bulbs everywhere, we turned it into a lamp.

Bad Lamp Prod.: The most important aspect of my projects is that they all derive from a clear concept, an idea. Naturally, this is linked to my personal life, by which I mean my memories and experiences through the observation and collection of objects, images and sensations.

This baggage is a kind of unsorted raw material, but it corresponds to what my true essence is, to what I am. It gives me the basic ingredients for the development of my ideas. When these ideas come together, when they shape the metaphors, it is not me that is working but. A geometric box with urban echoes opens up to reveal the organic forms of the perfume flask inspired by the fanciful shapes that natural erosion sculpts in stones, turning them into little jewels.

The veneration of nature and the essence of life from within the urban environment. Technology meeting nature and blending to extract the best out of each. Inside, a fragrance which, without smelling it, reminds us of fresh streams, pebbles and the seashore. It is a truly magical moment, a sensation that cannot be explained rationally and which gives me pleasure. If I can transmit faithfully what I have inside me, the best thing that can happen is that the result is interesting, timeless and universal. Light is a fundamental element in my work, it is the most subtle material, the most fleeting and so the most beautiful.

And beauty interests me. I think it is a value that must be recognised and protected. It is a demonstration of the creative talent of a select group of designers, with Estudio Arola among them, in a collection of implements for use in the kitchen. A new set of knives and tongs for cooking with a design that optimises their use, and a set of bowls for preparing and serving food. Este bagaje, que es como una materia prima sin orden —pero que responde verdaderamente a mi esencia, a lo que soy— me da ingredientes fundamentales para desarrollar las ideas.

Y la belleza me interesa, creo que es un valor que hay que reivindicar y proteger. Cada asta incorpora un led para crear una luz de acento sobre la superficie de trabajo. Es posible crear varias combinaciones modulares mediante uniones de efecto.

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• Where Were You (When The World Stopped Turning)?
• EL DESPACHO DEL SPANKER: Magazine de spanking y azotes, música, videos, imágenes y algo de ciencia?
• Advances in Mergers and Acquisitions: 12 (Advances in Mergers & Acquisitions)!
• Hispania. Volume 75, Number 3, September 1992;

Modular interior lighting system which can be built in or applique. Each bar carries a led to create a highlight on the work surface. Other combinations are possible by joining together extra modules. The optical effect is reproduced by putting two concentric cylinders of coloured mesh, white, red or metal grey. The result is a double cylinder with undulating reflections that change with the light. The Oven light was inspired by a jellyfish, and was created for the restaurant of the same name which we were designing in the studio in Barcelona It is an enormous translucent globe with a diameter of cm, and a glowing core, colourful and changeable.

The application of colour theory to the light made it possible to change the tone of the light emitted by using a remote control dimmer. The range of the colour spectrum can be achieved by varying the intensity of the three light sources with the three primary colours of light: On a more practical note, at maximum strength the light Oven gives off white light. The special feature of this wall lamp is the ability to achieve chromatic variations through the movement of an illuminated bar across a panel decorated with different colours that blend into each other.

El resultado es un nudo luminoso que proyecta la luz en distintos planos, con transparencias variables. Thin strips of maple wood attached to a steel structure form a knot around a powerful light source, giving it volumetric qualities. One of the peculiar features of this light is that the strength and flexibility of the fibre of maple means that the consumer can arrange it as he or she wants.

It comes in two sizes: The strips have been numbered to ensure that they can be correctly fitted onto the cage like cubic nucleus of nickel-plated steel. The result is a luminous knot which projects light onto different surfaces, with variable transparencies. The Cubrik lamp was the result of a search for innovative materials and solutions. A hanging cube of light, with a steel lattice structure overlaid with tilting plastic flaps, available in various colours. Una vida en transito sin ataduras materiales.

Tenerlo todo sin tener apenas nada. Habitable space with basic features; folding, inflatable, reversible.

Derechos y deberes de la Spankee.

An almost immaterial house weighing g which inflates with the heat from our own bodies or in the sun, so versatile that it can protect us from the cold or heat simply by turning it inside-out, so light it floats and can be folded and put in your pocket. A life in transit with little material burden. To have everything while having hardlyanything. I approach each project differently, but with time I suppose I have established a way of handling the creative process. I think of myself as an observer and a storyteller, I like to imagine stories, use my intuition to supply the missing parts of my incomplete knowledge of things.

The principal source of my work is the people and the things going on around me. I have been lucky enough to travel a lot in the last few years and this has broadened my outlook. I saw an immense contrast between landscapes and cultures, but they were all part of the same reality, a complex world where everything is related; the history, economics and material limitations of the environment. Travelling takes us away from our problems and lets us compare them with other situations.

I am receptive to a wide range of references. One begins by asking oneself questions and then developing possible hypotheses from an intuitive use of the references at your disposal. I think that my. Anything is possible at this stage, my imagination is the only limit. Afterwards there is a process where the thinkable is honed down to the feasible, and here is where the technological, material and economic limitations kick in, as well as the social and environmental implications. There is quite a bit of feedback between the two activities; the first keeps me thinking creatively and the second gives me the means to make these ideas a reality.

While seduction is certainly one of our attributes, I prefer to do it in the context of commitment and sustainability. I believe that our future environment will be a highly technological simplicity, with fewer objects but which are far more efficient. We will move beyond the idea of the functional object to one of a more rational functional space.

Maybe once we have simplified our surroundings, we will come to like and appreciate objects again. The champions of Barcelona 03 received the most surprising medals and trophies ever awarded in any World Swimming Championships, with an innovative design where water is the principal element.

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2. EL DESPACHO DEL SPANKER: Magazine de spanking y azotes, música, videos, imágenes y algo de ciencia.
3. Para un Palacio un Caribe: José Gualberto Padilla, El Caribe (Spanish Edition).
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Water is not only the physical medium where swimming takes place, it is also the prize. La actualidad, el entorno, la gente, son mi principal fuente de trabajo. The cup becomes real through an imaginary material, and the simple act of pouring liquid into the cup makes the fluid, ephemeral cup visible, for a period in which the protagonists will be new materials. Soy permeable a recoger referencias muy dispares.

Tengo la suerte de poder compaginar proyectos muy especulativos. Estas dos actividades se retroalimentan: La casa nido es una sencilla estructura de metal y cuerda que se completa con materiales naturales; ramas, hojas, etc. A lesson learned from birds that settle in a location and use the closest resources to build their nests, integrating them into the landscape. The bird house is a simple metal and rope structure which is completed with natural materials such as branches, leaves, etc. It does not occupy any land, it hangs from a tree by a wide strap so as not to damage it.

Once in place it can be used as an observation point or a basic room where you can spend a night. The nest house enables you to see a natural area as a setting for animal, vegetable or mineral life. Designed using the traditional Catalan handkerchief for making bundles. Nature is the protagonist and creator of this representation. These are photographs of naturally occurring shadows projected onto a canvas which are then applied to items of clothing.

Designed for the Neo-rural exhibition. Roca space in Casadecor. Bathroom technology takes us closer to nature. The traditional flask, the botijo, has been redesigned to recover this pleasant and ecological way to keep water cool. It cools water in direct sunlight due to the porosity of the earthenware. There is a summer version which cools the water and a winter version with a varnished interior so that water does not seep out. This is a reflection on the subject of natural ornamentation. A series of highly porous white ceramic jugs are placed in striking locations in the countryside.

A new version was commissioned by Droog Design for the Open Borders exhibition in It was the motive for a commission from the company Escofet to develop a series of textures for architectural surfaces Biocolonisable Textures. A rotomoulded polypropylene washbasin that can be used in a variety of contexts besides a bathroom; installations, laundries, garages, storerooms, even outdoor or in gardens with a hose.

This is a stool made entirely out of rotomolded plastic. Its form is organic but is actually the result of a natural transition from the base, the support for the feet and the seat. This project is a compromise between computer created forms and the rotomoulding technique which creates closed volumes where the plastic is distributed.

The use of a single material simplifies the production process as well as its recycling. A system of bowls for the table or kitchen that combined or separately can be used to beat, mix, blend, sieve, measure, carry, keep, drain, manipulate and serve food practically anything you can do in the kitchen. When stacked they only take up the space of one and can therefore maximise the available space. Two steel rings that let us make a bread basket out of an ordinary napkin. Esta pensado para sentarse en una mesa de un restaurante o mesa de reuniones.

La forma del Om permite que la funda se tense en toda la superficie y no genere arrugas. Om is an armchair with the height and width of a chair. It has been designed for sitting at a restaurant or meeting table. This limits its width to 60cm. The piece was designed with the minimum thickness and angles that rotomoulding can allow. The chair can be used outdoors as it is with a plastic surface, or with a cover for interior use. The shape of Om keeps the cover tight all over the surface and does not wrinkle.

The design process began with an exploration of the shapes that permitted a good circulation of material within the mould and which was also easy to cover using well-positioned seams, all with the dimensions similar to those of a chair. The ergonomics were studied using a paper model made up of ergonomic sections. Different finishes were considered for the uncovered version with patterns and textures that recalled wickerwork chairs. The textures protect the chair from scratches in use. La idea es proporcionar un poco de paz consigo mismo o con otra persona. I like to think of objects as living organisms, imagining them coming to life and being able to surprise me with their behaviour.

I want to make things with my hands, so I can give them my personality. I would make them into communication devices that stir the imagination and transmit sensations. I want to make objects with an element of fiction or fantasy, which take you away from your daily life. Furniture of recycled paper.

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The idea is to find a little peace with yourself or with somebody else. Created in the Spazio Fendi of Milan and Miami. Experimental project on habitat in the landscape.



• Previously Feared Darkness!
• The Wrong End Of A Gun (A Noir Mystery Short).
• La llama y la flor (Birmingham 1) (Spanish Edition).

Made of biodegradable plastic, this design falls between the natural and artifical and is inspired by a bee hive. An ephemeral biometric proposition. Balonas Esferas creadas en material biodegradable pensadas para alojar velas y dejarlas en el exterior. Spheres made of biodegradable material as supports for candles outdoors. The weather will erode them little by little. This is a sofa which can be changed in situ. The rubber outer coating contains sand so that it can adapt to our forms, making it personalised.

Sofas made on site with white or coloured concrete. The appearance is that of a normal, soft sofa, but its texture is hard and suitable for outdoors. Presentado por Droog en la Bienal de Arquitectura de Venecia. This sofa breathes life into pets. When you sit on it, the air is distributed through some tubes to inflate various animals which keep you company.

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They deflate and disappear when you get up, leaving you alone again. Presented by Droog in the Venice Biennal of Architecture. Biombo-colgador Amalia Screen-coatstand Amalia Prod.: A lightweight basic structure where you can hang jackets, bags, helmets etc. It may consist of a single module attached to the wall, or as many as the user wants there are three modules of different widths , with complete freedom to combine them in different ways using O rings.

It rarely happens directly, spontaneously, although it has happened. I like to read a book which is more or less directly related with the subject, whether theoretical, fictional or one that simply falls into my hands by chance. Sometimes I hope always I revert to asking myself about the why and wherefore of the object or subject that is to be designed. I try to avoid immediately formulating mental images of what the finished product will be. If one pops into my head,.

I treat it with mistrust unless the deadline is closing in. I usually have a file physical and virtual for each project where I bring together the brief, the information on the subject, photos, cuttings and sketches. Once things start to happen, such as sketches being made, we begin by generating renders and quick models, meetings and dialogue with the client and with myself, and whenever possible a prototype. I have the feeling that nearly all designers must work in the same way. I am quite slow and thoughtful, and I think I probably need more time to design than other designers.

Refuse bag for trips to countries that do not have infrastructure for the correct handling of waste. The bag will contain all the waste that the visitor generates so that it can be returned to his own country. Y prototipo siempre que se puede. Cardboard boxes with one side painted to function as a blackboard where the contents can be written or drawn.

When cutting bread, the crumbs fall through some holes into a funnel and from there into a tube that takes them outside to a container for wild birds. Panels of different lengths to support cardboard, plastic, wooden boxes etc. New design for the paper cone for roasted chestnuts sold in the street. It has two pockets, one for the chestnuts and another for their shells. This basin has an independent recipient without a drain so that the water can be used again, for example, to refill the cistern, mop the floor, wash the dog, water the plants, etc.

Cha-Cha Aplique de pared en el que una gorra, sombrero, casco de bici, etc. Wall applique which allows the user to place a hat, cap or cyclist helmet on it to act as a shade, giving texture and colour to the light. Trophy designed for theatre awards. Flower vases made of the spilled oil from the sunken tanker Prestige which collected on the coasts of Galicia. We wanted to explore a new language between the wood structure and the upholster, we wanted to explore the way both materials communicate with eachother, based on words like: We centered in the automobile, as a contemporany industry that was developed along these premises.

This is what shapes our activity, the human touch that impregnates everything we do. The human relations that are generated by each project are a fundamental part of our work. The emotional input of the client forms part of the design we create. There are clients who think that their relation begins and ends with the money invested and are unaware of the details that cannot be bought on any budget, they do not know that the personal relation that is created is directly proportional to the sensitivity and soul that the object designed is capable of capturing and transmitting.

Design is a more enriching journey if taken in good company. CuldeSac was set up in order to have more time. Time to allow for a more profound reflection on everything that was proposed or which troubled us. Time has shown CuldeSac to. The ideas in CuldeSac belong to the group and are the sum of a collective effort.

CuldeSac always offers the chance to participate; there is a primary stage in which everyone is invited and where the aim is to suggest points of view. Of course, the main idea behind each project comes from one person, but from this moment the idea begins to mature and transform through the contribution of the group.

We might say that the initial idea is like the raw material of any industrial process, it is at the base of the result but would not have achieved its potential without the action of transformation. This is why we have control and criticism sessions where the team assigned to the project present their progress and solutions, and in which the whole group takes part.

At present CuldeSac has become a form of life, a place where our projects, families, friends, travels, celebrations and clients are all mixed in together. As we usually say: The whole is greater than the sum of the parts. We have not stopped working since we started 6 years ago. An object buried in our memories: Me deja parado, amuermado. Por descontado, existe elemento neutro, si no aportas, me quedo igual. Si me voy a quedar igual, no hago el esfuerzo de conocerte, y mucho menos de azotarte.

Visor de obras.

Hoy ya se me ha ido de las manos: Publicado por Cometospk el Derecho natural de la azotaina. Para no daros demasiado la chapa con sesudas disposiciones legales, os intercalo este post. Derechos y deberes de la Spankee. No puede haber debido proceso si el spanker es tendencioso. Los derechos fundamentales de la Spankee son los siguientes: Obviamente no incluye a la propia spankee. En el Credo del Spanker , se afirma: La Spankee tiene el deber de cononocer el principio ultra petita.

La ignorancia no exime del cumplimiento de la ley. La buena fe puede ser evaluada desde dos perspectivas: En caso contrario el spanker dispone de multitud de casos jurisprudenciales en los que basar sus castigos y admoniciones. Es el Spanker total: Suele aplicar las denominadas Azotainas de Mantenimiento Maintenance Spankings como recuerdo de la recurrencia en comportamientos nocivos y lesivos para la salud y bienestar de la spankee.

Muchas experiencias vividas en esa lengua, muchas confidencias y recuerdos imborrables. Pero de vez en cuando aparece algo de calidad, como "Domani Smetto". The Good, the Bad and the Ugly. Yes I Can Pervert Californication: The Whore of Babylon. The killer inside me. Escape from the castle.