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This paper presents the results of a comparative study that seeks to identify conceptions of the importance of four types of formal content in history teaching (periods of history, cross-cutting themes in history, history of places, and national historical processes) among a group of Colombian (M = 764) and Spanish (N = 648) students in the last year of compulsory education in the cities of Bogotá and Murcia, respectively. A descriptive approach was followed based on a closed-ended questionnaire relating to historical consciousness, with item responses measured on a Likert scale. The results support the idea that the interest shown by students in the formal content proposed is an indicator that calls for a critical review of the structure and organization of history curricula in the two contexts studied. [ABSTRACT FROM AUTHOR]

Organizing housemaids to form a trade union has been quite a difficult task because of the characteristics of this occupation, the lack of school education of its members, and the traditional undervaluation and disdain such an important activity generates Not many people are aware of a relatively long history of attempts for organizing these workers and that in the 1940s the foundation of the first domestic service union was set by a Catholic Church initiative through the so-called Catholic Action. The purpose of this paper is to reconstruct part of this story, highlighting the paternalistic bias of the organization and, even though the movement had female leadership, activities and development of the union were determined by the support given by the clergy and the ecclesiastical institution. Also, although it was a lay organization in its beginnings, the union served as for the creation of two women religious orders. [ABSTRACT FROM AUTHOR]

This paper develops a reflection on the elements that concurred in the late nineteenth century in Bogotá to form the notion of aesthetic canon. For the analysis of documentary sources we will refer to two illustrated publications: El Papel Periódico Ilustrado (Illustrated Newspaper), managed by Alberto Urdaneta, and the Revista Ilustrada (Illustrated Magazine), managed by Pedro Carlos Manrique. Such publications define themselves as platforms for the formation of taste and, within a set of political, religious and cultural conditions, allow us to see new processes in the formalisation of specialised culture through institutions such as the Escuela Nacional de Bellas Artes (National School of Fine Arts). The contribution of these illustrated publications becomes a reference to what will be the relation between art critique and the public, formulating notions of aesthetic appreciation and taste that we understand as programmatic in a project of civilisation. [ABSTRACT FROM AUTHOR]