Las Sinsombrero and Switzerland is a Swiss cultural project conceived by the Research centre for European Philological Tradition (www.receprio.eu), that seeks to recover the memory of those Spanish women writers, artists, activists and philosophers of the generation of 1927 known as Las Sinsombrero (Women Without Hats) during their exile in Switzerland.
It's been more than 40 years since the publication of the monumental study El Exilio español de 1939, by José Luis Abellán. In these forty years there has been a slow reevaluation of the literary reputation that many Spanish male authors gained in exile. But so far no one has been concerned with analysing the role played by the exiled women writers, artists, activists and philosophers. The research intends to focus also on the host land, Switzerland, where these women found the serenity that allowed them to be highly productive. A brief comparison of their Swiss trajectories seems an appropriate way to introduce Rosa Chacel, Ruth Velázqu...
For Robert Schumann (1810-1856), everything was in a name, and his own was legion. He wrote under many pseudonyms, Eusebius (representing his lyrical, contemplative side) and Florestan (his fiery, impetuous one), five of his other names were Emil, Ferdinand, Elise, Felix and Eugenie; he used these in his music, too.
His compositions at this time were mainly for piano: they include variations on the name of one of his lady friends, Abegg (the musical notes A-B-E-G-G), the character-pieces "Davidsbündlertänze" ('Dances of the league of David', an imaginary association of those fighting the Philistines), "Carnaval" (pieces with literary or other allusive meanings, including one on the notes A-S-C-H after the place another girl friend came from), "Phantasiestücke" (a collection of poetic pieces depicting moods), "Kreisleriana" (fantasy pieces around the character of a mad Kapellmeister) and "Kinderszenen" ('Scenes from Childhood'). The idea of pseudonyms derives from Schumann's