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Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper focuses on the study of the initial stage of the process of women's incorporation into the teaching profession in the first faculties that formed part of the Central University of Madrid, from the time when legislation made it possible, in 1910, until the end of the civil war. The circumstances and factors that made their access to teaching possible were analysed, taking into account previous contributions through an in-depth bibliographical review, and a new list of women professors classified by faculties was compiled, which recovers and expands on the data obtained in other research, as a result of new enquiries in the historical archives. [ABSTRACT FROM AUTHOR]

The aim of this paper is to explore the political messages painted on Madrid's walls by urban artists from the beginning of this artistic and political movement (the end of the 1990s) to the present day. We developed an extensive field-work that has helped us to create the first compilation of the key political messages of urban art in Madrid, based on an exploratory research approach complemented by the use of social media search. This descriptive and documentary approach was followed while keeping in mind that a wall is a public channel open to all and an outstanding method for expressing any political opinion with the greatest amount of visibility. Over the time span analyzed, the investigation discovered 15 urban artists with political content in their artistic production. The findings indicate that the political theme of these artists' works focuses primarily on condemning the Spanish government for current issues such as corruption or the economic crisis, as well as past events such as the Iraq War. Other recurring themes include social criticism of municipal policies and the living conditions of underprivileged groups such as refugees and beggars, as well as support for feminism and critiques of the rapid gentrification process of certain historic Madrid neighborhoods, such as Malasaña and Lavapiés. [ABSTRACT FROM AUTHOR]