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Impact on the Sustainable Development Goals (SDGs)

Analysis of institutional authors

Ana ValtierraCorresponding Author

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January 14, 2021
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Article
Diamond

Mitografía y manipulación iconográfica de la muerte de Cleopatra en la pintura occidental

Publicated to:Asparkia: Investigació feminista. (37): 27-49 - 2020-01-01 (37), DOI: 10.6035/asparkia.2020.37.2

Authors: Valtierra, Ana

Affiliations

Universidad Complutense de Madrid - Author

Abstract

Cleopatra es una de las figuras históricas que más repercusión y fama posterior han tenido, y uno de los temas más recurrentes en toda la pintura occidental. El episodio de su suicidio, supuestamente en manos de un áspid, cobró un gran protagonismo en la pintura entre los siglos XVI y XIX. Sin embargo, esa construcción iconográfica que se hizo de su muerte estaba basada en la visión fraudulenta que la campaña política de Octavio transmitió. Se divulgó la imagen de una reina devora hombres, una femme fatale capaz de cualquier cosa con tal de mantener el poder. La pintura a partir del siglo XVI no solo mantuvo esta idea, sino que añadió algunos elementos iconográficos que han contribuido de manera notable a la creación del mito de Cleopatra.  El pintar el áspid del tamaño de una lombriz, o el trasladar la picadura al pezón, son tan solo algunos elementos de esta mitografía pictórica. En este artículo, partiremos de las campañas de desprestigio romanas para hacer un análisis de las falsedades sobre su muerte que la iconografía posterior legó a nuestros días, y que contribuyeron que la distorsión de la imagen de la reina.

Keywords

Arts and humanities (all)Arts and humanities (miscellaneous)Ciencias socialesEstudios de géneroFilosofíaGender studiesHistoriaInterdisciplinaresSocial sciences (miscellaneous)SociologíaSociologia i políticaSociology

Quality index

Bibliometric impact. Analysis of the contribution and dissemination channel

The work has been published in the journal Asparkia: Investigació feminista, Q4 Agency Scopus (SJR), its regional focus and specialization in Gender Studies, give it significant recognition in a specific niche of scientific knowledge at an international level.

From a relative perspective, and based on the normalized impact indicator calculated from the Field Citation Ratio (FCR) of the Dimensions source, it yields a value of: 2.38, which indicates that, compared to works in the same discipline and in the same year of publication, it ranks as a work cited above average. (source consulted: Dimensions Jul 2025)

Impact and social visibility

From the perspective of influence or social adoption, and based on metrics associated with mentions and interactions provided by agencies specializing in calculating the so-called "Alternative or Social Metrics," we can highlight as of 2025-07-05:

With a more dissemination-oriented intent and targeting more general audiences, we can observe other more global scores such as:

  • The Total Score from Altmetric: 3.
  • The number of mentions on Wikipedia: 2 (Altmetric).

It is essential to present evidence supporting full alignment with institutional principles and guidelines on Open Science and the Conservation and Dissemination of Intellectual Heritage. A clear example of this is:

  • The work has been submitted to a journal whose editorial policy allows open Open Access publication.
  • Additionally, the work has been submitted to a journal classified as Diamond in relation to this type of editorial policy.
Continuing with the social impact of the work, it is important to emphasize that, due to its content, it can be assigned to the area of interest of ODS 5 - Gender Equality, with a probability of 59% according to the mBERT algorithm developed by Aurora University.

Leadership analysis of institutional authors

There is a significant leadership presence as some of the institution’s authors appear as the first or last signer, detailed as follows: First Author (VALTIERRA LACALLE, ANA MARIA) and Last Author (VALTIERRA LACALLE, ANA MARIA).

the author responsible for correspondence tasks has been VALTIERRA LACALLE, ANA MARIA.