42- Seducted by the Lycan

Maybe is amal a real Lycan or maybe he is just a distraction, but the truth is She can not thinks clearly already.

Immersed in an existence determined by multiple social constraints, reading opened doors to women (and men, of course) to the outside world. As Max Gallo (1989: 53) points out, "reading was also a step forward towards women's liberation." On one hand, reading opened up new horizons for them, and at the same time it showed that many women, thanks to new inventions and better living conditions, had enough free time to dedicate themselves to their reading passion.

The war in Cuba had unforeseen consequences in Spain, not only did it plunge the nation into something like a collective depression, but it also confronted it with its own circumstances as a declining country that a young power had managed to humiliate.

Furthermore, the loss of the last colonies was an economic blow to many entrepreneurs. La Última Moda, the women's magazine directed by Julio Nombela, lost a few thousand subscribers in Cuba, Puerto Rico, and the Philippines.

The posters advertising cruises to American countries also serve as a reminder that a significant portion of the European population decided to emigrate rather than endure hardship in their respective countries. Unlike the old nineteenth-century advertisements, with their cruises occupying the entire poster, the new advertisements contained a more complex rhetoric (Fig. 3).

Woman and modernism

Between the final decade of the 19th century and the beginning of World War I, the dominant style in graphic arts, and therefore in advertising, was modernism. It's not that there was no trace left of the nineteenth-century style, with its hieratic figures and somewhat rigid way of representing individuals and collectives, but it no longer constituted the distinctive mode of the time, and it survived more in graphic publications, and even more so in American ones, than in the poster, where a series of artists worked with imagination and freedom for a variety of advertisers.

One of the characteristics of modernism, or rather of modernisms, is its predilection for the female figure. Posters and advertisements were filled with female characters, regardless of what was being advertised. It could be a car, a stove, a medicine, or a railroad line, the presence of women was practically obligatory. The protagonists of these advertisements were not the merchandise, not the services, not the new forms of transportation. The woman was the protagonist of the advertising, that is, in different incarnations.

Why this sudden emergence of female figures? In the Belle Époque, woman is the personification of beauty. Industrial products are inherently ugly, according to the mentality of the time. "Industry is the root of all ugliness," Oscar Wilde had said. That is why objects are adorned with carvings or castings of plant motifs, neoclassical columns, volutes, spires, and all kinds of ornaments that disguise their inherent ugliness. To the extent possible, the product will be hidden behind its own message in favor of a scenario of beauty, more or less poetic or symbolic, modern or legendary, in which the figure of the woman participates as the main star (Fig. 4).

To some extent, then, women in modernism did not represent themselves, nor did they represent women in general, but rather an ideal of beauty. They were not just mere ornaments, but rather symbols of everything that the artists of their time advocated for and opposed to the culture of industrialization: spirituality, grace, mystery, etc. It is true that industry was creating wealth and helping the middle classes access many goods, but it was also surrounded by poverty, dirt, and suffering. The working-class neighborhoods, pollution, and waste were also products of industrialization that needed to be hidden behind scenes of ideal beauty. Inequality and corruption occupied the space of reality, while beauty and fantasy often occupied literature, the stage, and graphic publications.If we pay a little attention, we will realize that women were associated with many values at that time, sometimes even contradictory: ideals, ideologies, aesthetic or social movements, inventions and commodities. While the iconographic position of men was more stable and, above all, more uniform, women could be used to represent the sublime, but also moral baseness (the prostitute, the demi-mondaine), they were associated with utopian socialism and outdated patriotism, with the progress of reason and the esoteric, with elegance and vulgarity, with vile commodities and lofty ideals, but above all with beauty, charm, and grace. Nature and women were the elements with which the late 19th-century artist fought against a materialistic, sordid, and prosaic society. The poetry of plant forms, flowers, reeds and wild canes, leaves and trees, against the prose of industrial, crude, and insubstantial forms. The delicate poetry of the female figure against the fierce and coarse prose of iron and coal. The obligation of advertising was to hide this prosaicism and brutality with the claim of nature and women as sources of beauty. It was to cover up with the rhetoric of advertisements all those cracks that cracked the industrialized community and the social order. The female figure, and to some extent nature, represented the triumph of the spirit over matter, of the vital over the inert. According to the mentality of the time, women were spiritual beings (we would rather say emotional nowadays), far from the obtuse earthly nature of men, more anchored in their carnality and more tied by material bonds. All of this, of course, were fantasies of the artists of the time, far removed from the real condition of women and their concerns. While painters recreated them as angelic or paradisiacal beings, they fought for survival, for their children and for their status as women. One of the fundamental struggles of women throughout Europe was precisely the right to education.

The only choice is run so far aways as soon the gards run behind of them. She knows they are about to die and the only thing that really matters is stay next of him as soon as She cans eep breathing.