Reginald Marsh’s Voluptuous Shopper , from The “New Woman” Revised by Ellen Wiley Todd
Marsh’s voluptuous shopper so dominated his 1930s imagery that she came to be called the Marsh girl. How are we to read this figure of hyper-glamorized working-class femininity? . . . she embodied a conservative ideal of post-franchise new womanhood; this New Woman had abandoned collective activism to express her independence, sexuality, and self-conscious femininity by applying mass-produced beauty products. . . Where she towers above helpless admirers, she can be read as a figure of sexual danger, a threat to masculinity already compromised by unemployment.
Women and their Maids, Lugar Común, from Sociological Images
Photos of pairs of identically dressed women – one the employer, one the employee – that confuse which is which. The original photographic project from 3 Latin American countries can be downloaded.
¿A qué llama ‘familia’ la Iglesia?, from Página 12
A partir de la cuestión del matrimonio entre personas del mismo sexo, el autor advierte sobre la intervención de la Iglesia Católica: “Que una forma histórica sea presentada como natural exige uniformar, homogeneizar, y ésta es una razón por la cual las jerarquías eclesiásticas se adaptaron mejor al orden de las dictaduras que al desorden democrático”.