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:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'
:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.''
''Majo'' (masc.) or ''maja'' (fem.), also ''manolo'' and ''manola'', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.〔(Madripedia - Tipos castizos )〕
They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.
The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).〔Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.〕
In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.〔(15 mayo - San Isidro, el patrón de Madrid )〕
==Popularity of the ''Maja''==
Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown.
The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.〔(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )〕
In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.〔(La 'Carmen' de Mérimée en la visión de Brook )〕〔Luis Navarrete, ''Carmen y la españolada''〕 Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').〔Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos〕 Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.
The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.〔'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
Majo'' (masc.) or ''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'
:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.''
''Majo'' (masc.) or ''maja'' (fem.), also ''manolo'' and ''manola'', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.〔(Madripedia - Tipos castizos )〕
They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.
The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).〔Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.〕
In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.〔(15 mayo - San Isidro, el patrón de Madrid )〕
==Popularity of the ''Maja''==
Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown.
The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.〔(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )〕
In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.〔(La 'Carmen' de Mérimée en la visión de Brook )〕〔Luis Navarrete, ''Carmen y la españolada''〕 Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').〔Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos〕 Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.
The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.〔'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
'maja'' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'
:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.''
''Majo'' (masc.) or ''maja'' (fem.), also ''manolo'' and ''manola'', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.〔(Madripedia - Tipos castizos )〕
They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.
The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).〔Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.〕
In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.〔(15 mayo - San Isidro, el patrón de Madrid )〕
==Popularity of the ''Maja''==
Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown.
The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.〔(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )〕
In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.〔(La 'Carmen' de Mérimée en la visión de Brook )〕〔Luis Navarrete, ''Carmen y la españolada''〕 Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').〔Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos〕 Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.
The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.〔'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
' (fem.), also ''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'
:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.''
''Majo'' (masc.) or ''maja'' (fem.), also ''manolo'' and ''manola'', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.〔(Madripedia - Tipos castizos )〕
They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.
The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).〔Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.〕
In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.〔(15 mayo - San Isidro, el patrón de Madrid )〕
==Popularity of the ''Maja''==
Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown.
The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.〔(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )〕
In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.〔(La 'Carmen' de Mérimée en la visión de Brook )〕〔Luis Navarrete, ''Carmen y la españolada''〕 Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').〔Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos〕 Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.
The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.〔'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
'manolo'' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'
:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.''
''Majo'' (masc.) or ''maja'' (fem.), also ''manolo'' and ''manola'', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.〔(Madripedia - Tipos castizos )〕
They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.
The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).〔Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.〕
In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.〔(15 mayo - San Isidro, el patrón de Madrid )〕
==Popularity of the ''Maja''==
Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown.
The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.〔(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )〕
In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.〔(La 'Carmen' de Mérimée en la visión de Brook )〕〔Luis Navarrete, ''Carmen y la españolada''〕 Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').〔Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos〕 Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.
The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.〔'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
' and ''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'
:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.''
''Majo'' (masc.) or ''maja'' (fem.), also ''manolo'' and ''manola'', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.〔(Madripedia - Tipos castizos )〕
They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.
The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).〔Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.〕
In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.〔(15 mayo - San Isidro, el patrón de Madrid )〕
==Popularity of the ''Maja''==
Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown.
The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.〔(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )〕
In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.〔(La 'Carmen' de Mérimée en la visión de Brook )〕〔Luis Navarrete, ''Carmen y la españolada''〕 Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').〔Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos〕 Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.
The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.〔'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
'manola'', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'
:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.''
''Majo'' (masc.) or ''maja'' (fem.), also ''manolo'' and ''manola'', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.〔(Madripedia - Tipos castizos )〕
They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.
The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).〔Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.〕
In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.〔(15 mayo - San Isidro, el patrón de Madrid )〕
==Popularity of the ''Maja''==
Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown.
The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.〔(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )〕
In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.〔(La 'Carmen' de Mérimée en la visión de Brook )〕〔Luis Navarrete, ''Carmen y la españolada''〕 Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').〔Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos〕 Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.
The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.〔'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'
:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.''
''Majo'' (masc.) or ''maja'' (fem.), also ''manolo'' and ''manola'', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.〔(Madripedia - Tipos castizos )〕
They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.
The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).〔Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.〕
In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.〔(15 mayo - San Isidro, el patrón de Madrid )〕
==Popularity of the ''Maja''==
Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown.
The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.〔(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )〕
In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.〔(La 'Carmen' de Mérimée en la visión de Brook )〕〔Luis Navarrete, ''Carmen y la españolada''〕 Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').〔Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos〕 Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.
The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.〔'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
Majo'' (masc.) or ''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'">ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
'maja'' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'">ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
' (fem.), also ''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'">ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
'manolo'' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'">ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
' and ''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'">ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
'manola'', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'">ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'">ウィキペディア（Wikipedia）』
■ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
Majo'' (masc.) or ''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'">ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
'maja'' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'">ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
' (fem.), also ''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'">ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
'manolo'' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'">ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
' and ''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'">ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
'manola'', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'">ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.'''''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'">ウィキペディアで「:''Majas redirects here, for the locality in Mumbai, see Jogeshwari.''''Majo''''' (masc.) or '''''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
Majo'' (masc.) or ''maja''''' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
'maja'' (fem.), also '''''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
' (fem.), also ''manolo''''' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
'manolo'' and '''''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
' and ''manola''''', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
'manola'', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
', after the most popular names, were terms for people from the lower classes of Spanish society, especially in Madrid, who distinguished themselves by their elaborate outfits and sense of style in dress and manners, as well as by their cheeky behavior.(Madripedia - Tipos castizos ) They flourished from the late 18th to early 19th century, and to some extent later. ''Majos'' and ''majas'' were one of the favorite subjects of some 19th-century Spanish painters.The ''majos'' and ''majas'' outfits were exaggerations of traditional Spanish dress. The style stood in strong contrast to the French styles affected by many of the Spanish elite under the influence of the Enlightenment. ''Majos'' were known to pick fights with those they saw as ''afrancesados'' ("Frenchified" – fops).Charles J. Esdaile, ''Spain in the Liberal Age'', Blackwell, 2000. ISBN 0-631-14988-0. p. 10.In Spanish, the word possesses derived forms such as ''chulapo'' and ''chulapa'', a version of ''chulo'' and ''chula'' in reference to their saucy attitude, as well as ''chispero'' and ''chispera'', among others.(15 mayo - San Isidro, el patrón de Madrid )==Popularity of the ''Maja''==Although ''majos'' of both sexes were frequent subjects of painter Francisco Goya, two of his ''majas'', ''La maja vestida'' and ''La maja desnuda'' (the same model naked), would gain international renown. The outfit of the ''maja'' also would influence the costume of the eponymous protagonist of Georges Bizet's French opera ''Carmen'' in the mid 19th century.(París y la españolada; Casticismo y estereotipos nacionales en las exposiciones universales (1855-1900 )In the 20th century, with the popularization of Spain as a tourist destination, the ''manola'' or ''maja'', often holding a folding fan, increasingly gained recognition as the image of a stereotypical traditional Spanish woman. Thus the ''maja'' became one of the popular and informal symbols of Spain, along with the bullfighter, who took the place of the ''majo''.(La 'Carmen' de Mérimée en la visión de Brook )Luis Navarrete, ''Carmen y la españolada'' Some of the 20th century depictions of the ''maja'' became somewhat assimilated to the flamenco dancer (''la bailaora'').Antonio Elorza, ''Luis Bagaría: el humor y la política''. Anthropos Nowadays, the increasing popularity of the ''maja'' has ended up eclipsing that of the ''majo''.The image of a ''maja'' was the trademark of the Jabón Maja Myrurgia soap, one of the classical souvenirs from Spain. The brand's portrait of the ''maja'' in the soap boxes and wrappings was based on the person of Carmen Tórtola Valencia (1882–1955), a famous Spanish dancer of the early 20th century.'(El Mundo - La musa del 'jabón' que enamoró a los poetas )'」の詳細全文を読む
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