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    <title><![CDATA[Ara Balears in English - feminisms]]></title>
    <link><![CDATA[https://en.arabalears.cat/etiquetes/feminisms/]]></link>
    <description><![CDATA[Ara Balears in English - feminisms]]></description>
    <language><![CDATA[es]]></language>
    <ttl>10</ttl>
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      <title><![CDATA[The women's 'no to war']]></title>
      <link><![CDATA[https://en.arabalears.cat/culture/history/the-women-s-no-to-war_130_5711239.html]]></link>
      <description><![CDATA[<p><img src="https://static1.ara.cat/clip/b5b58d80-3c95-4d1c-9051-da668c234f36_16-9-aspect-ratio_default_0.jpg" /></p><p>Women have played a key role in the history of antimilitarism. When men were obliged to go to war, mothers, wives, and sisters did not hesitate to mobilize to save their loved ones from certain death. It was during the Modern Age (15th-18th centuries) that the armies of European states became permanent and increasingly large. At that time, the Hispanic monarchy, following what was done in the rest of the continent, had three ways of supplying its troops: with mercenaries (professionals who fought in exchange for pay), with forced levies (generally from marginalized people, prisoners, and vagrants), and with the quintas.</p>]]></description>
      <dc:creator><![CDATA[Antoni Janer Torrens]]></dc:creator>
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      <pubDate><![CDATA[Sat, 18 Apr 2026 14:47:30 +0000]]></pubDate>
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      <media:title><![CDATA[1. Illustration about the demonstrations against the conscription in Zaragoza.]]></media:title>
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      <subtitle><![CDATA[From the 19th century, amidst a state of permanent war, in the Balearic Islands mothers, sisters and wives did not stop mobilizing to prevent their relatives from leaving to die through the conscription system of the quintas]]></subtitle>
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    <item>
      <title><![CDATA[To write is to love]]></title>
      <link><![CDATA[https://en.arabalears.cat/opinion/to-write-is-to-love_129_5522873.html]]></link>
      <description><![CDATA[<p>To write is to love, to embody the fabric of writing that inhabits you, as did the first signs engraved in clay and the bonds that filled the symptoms of your primordial emptiness. From your first babblings, you will begin to discover the spirals of affection that would later become maps that would guide your narratives. Today I invite you to think about metaphor. Let the words sprout inside your head, let them resonate in the literary space of your home, which are your thoughts and yours. <em>sentithoughts</em>To think is to encounter your voice, feeling the rush of words all trying to call out at once, searching for a place in your brain to sit in turn, waiting for you to carefully select them and carve out a new and unusual life.</p>]]></description>
      <dc:creator><![CDATA[Laura Izquierdo]]></dc:creator>
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      <pubDate><![CDATA[Thu, 09 Oct 2025 06:10:41 +0000]]></pubDate>
      <subtitle><![CDATA[]]></subtitle>
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    <item>
      <title><![CDATA[My godmother is as much a 'pickme girl' as I am.]]></title>
      <link><![CDATA[https://en.arabalears.cat/culture/my-godmother-is-as-much-pickme-girl-as-am_1_5483269.html]]></link>
      <description><![CDATA[<p><img src="https://static1.ara.cat/clip/a121e25a-87fd-4e92-a322-5f87953e1ca8_16-9-aspect-ratio_default_0.jpg" /></p><p>The other day I caught myself thinking, "I like that girl C. Tangana has now." Let's recap some facts about who he is: he also calls himself El Madrileño or Pucho, although his real name is Antón Álvarez. He is the author of songs as good as <em>You stopped loving me </em>and <em>Laureating in the limo, </em>among others, but also of a controversial photo on the deck of a yacht surrounded by women showing their backsides as if they were their trophies. Confusing the person and the character, it seems to me that he's playing at being a two-faced man, virile and tender, real and stupid: ironically (?) sexist. In short, C. Tangana embodies everything a guy should have to send you straight to a psychologist, as my friend Henry would say. And now it turns out he has a partner in whom, inexplicably, I find it easier to see myself. </p>]]></description>
      <dc:creator><![CDATA[Alba Tarragó]]></dc:creator>
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      <pubDate><![CDATA[Sun, 31 Aug 2025 15:09:15 +0000]]></pubDate>
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      <media:title><![CDATA[Actresses Margot Robbie and Rhea Perlman in Greta Gerwig's Barbie.]]></media:title>
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      <subtitle><![CDATA[I don't hide it: since I was a child I have felt this urgency to be perceived and accepted by the male gaze, even finding a certain comfort in the unhealthy mold that was created for us in the image and likeness of the divas of the nineties and 2000s.]]></subtitle>
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      <title><![CDATA[The invisible women who 'trained' the Part Forana]]></title>
      <link><![CDATA[https://en.arabalears.cat/culture/history/the-invisible-women-who-trained-the-part-forana_130_5449390.html]]></link>
      <description><![CDATA[<p><img src="https://static1.ara.cat/clip/0569bf01-cdfe-4e3d-b16c-12940282c41c_16-9-aspect-ratio_default_0.jpg" /></p><p>73-year-old Selvatgina native Francisca Coll Sampol proudly stands next to her huge youthful photo in the exhibition. <em>Braid</em>, at the Inca Footwear Museum. "It's from 1965," she says. "I was 13 years old at the time. It was made for me by the people from Trenzados Fiol in Inca for a leather fair that was scheduled to take place in Düsseldorf (Germany). For the occasion, they wanted me to dress as a peasant, although I never had a handloom with me. This is the ancestral tradition of our trade."</p>]]></description>
      <dc:creator><![CDATA[Antoni Janer Torrens]]></dc:creator>
      <guid isPermaLink="true"><![CDATA[https://en.arabalears.cat/culture/history/the-invisible-women-who-trained-the-part-forana_130_5449390.html]]></guid>
      <pubDate><![CDATA[Sat, 19 Jul 2025 19:47:44 +0000]]></pubDate>
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      <media:title><![CDATA[Francisca Coll Sampol next to the photo taken of her braiding in 1965, at the age of 13, for the Düsseldorf Leather Fair.]]></media:title>
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      <subtitle><![CDATA[An exhibition at the Inca Footwear Museum highlights the hidden role played by nearly a thousand women workers from the Pla de Mallorca region in the sophisticated braiding industry, which would eventually become an international benchmark. This activity enabled many families scarred by the difficult post-war years to prosper.]]></subtitle>
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