Historia Byzantina duplici commentario illustrata : prior familias ac stemmata imperatorum Constantinopolitanorum, cum eorundem augustorum nomismatibus, & aliquot iconibus, praeterea familias Dalmaticas et Turcicas complectitur ; alter descriptionem urbis Constantinopolitanae, qualis extitit sub imperatoribus christianis /

Mode of access: Internet.

Recuerdos y bellezas de España;

Later edition has title: España, uss monumentos y artes, su naturaleza é historia.

Exploraciones arqueológicas en la Calle de las Escalerillas,

Ex copy is no. 5 of a vol. of 5 pamphlets.

'Strange Fruit', ícono de identidad y memoria

Nuestra identidad se forma con lo que nuestra vida diaria, la sociedad y la familia en la que nacemos, y -sobre todo- nuestro pasado, nos dan. Y no hay identidad sin memoria. A pesar de que un pueblo pueda ignorar muchos detalles sobre su historia, es producto de ella, y por ello, su realidad se encuentra inserta en lo que ha sucedido antes de su llegada al mundo. Nos comportamos de manera que 'encajemos' en ese lugar en el que nos ha tocado existir, y heredamos un modo de vida, el cual, a veces, puede llegar a estar construido sobre la base de prejuicios y odio irracional hacia otros, que nos hacen tener una sensación de pertenencia, es decir, una identidad. Si los aceptamos sin cuestionar sus razones ni saber sus orígenes, podemos contribuir a su extensión en el tiempo y en las personas. Una manera de hacerlo es a través de la creación de monumentos conmemorativos de eventos nefastos que han sucedido en la historia. "La memoria se hace concreta en piedras y monedas: algo que sirve de recordatorio y advertencia, y algo que sirve de punto de partida para el pensamiento o la acción" (Manguel, 2000, p. 249, trad. mía). Otros tipos de arte también pueden tener esta función: una fotografía, una pintura, una novela, un poema, una canción. En este trabajo, estudiaremos 'Strange Fruit', una canción muy conocida en la versión de Billie Holiday de 1939, que se ha convertido en un ícono de los movimientos por los derechos humanos hasta el día de hoy. Veremos a qué hace referencia y cómo ha servido de herramienta para la memoria y la conciencia, dentro de una cultura cuyo sentido de identidad proviene de la diferencia entre blancos y negros y el mantenimiento de esa división

'Strange Fruit', ícono de identidad y memoria

Nuestra identidad se forma con lo que nuestra vida diaria, la sociedad y la familia en la que nacemos, y -sobre todo- nuestro pasado, nos dan. Y no hay identidad sin memoria. A pesar de que un pueblo pueda ignorar muchos detalles sobre su historia, es producto de ella, y por ello, su realidad se encuentra inserta en lo que ha sucedido antes de su llegada al mundo. Nos comportamos de manera que 'encajemos' en ese lugar en el que nos ha tocado existir, y heredamos un modo de vida, el cual, a veces, puede llegar a estar construido sobre la base de prejuicios y odio irracional hacia otros, que nos hacen tener una sensación de pertenencia, es decir, una identidad. Si los aceptamos sin cuestionar sus razones ni saber sus orígenes, podemos contribuir a su extensión en el tiempo y en las personas. Una manera de hacerlo es a través de la creación de monumentos conmemorativos de eventos nefastos que han sucedido en la historia. "La memoria se hace concreta en piedras y monedas: algo que sirve de recordatorio y advertencia, y algo que sirve de punto de partida para el pensamiento o la acción" (Manguel, 2000, p. 249, trad. mía). Otros tipos de arte también pueden tener esta función: una fotografía, una pintura, una novela, un poema, una canción. En este trabajo, estudiaremos 'Strange Fruit', una canción muy conocida en la versión de Billie Holiday de 1939, que se ha convertido en un ícono de los movimientos por los derechos humanos hasta el día de hoy. Veremos a qué hace referencia y cómo ha servido de herramienta para la memoria y la conciencia, dentro de una cultura cuyo sentido de identidad proviene de la diferencia entre blancos y negros y el mantenimiento de esa división

Ícones urbanos na cidade de Natal: arquitetura e desenvolvimento urbano na cidade do sol e mar

Natal has come through major changes in the last 150 years, since the actions of city beautification, in the 19th century, until the present day, when such transformations start to have the objective of including the city in the competition for the attraction of the capital flows and consumption, domestically and in a foreign sense. It is thought that the first initiatives aimed at increasing tourism in Natal occurred in the 1960s, however, it became apparent that only from the 1980s was there a significant increase in tourist activities in Natal and the Metropolitan Region, especially on the east coast of the state of Rio Grande do Norte, leading to an expansion of the labour market, the significant increase of foreign investment, territorial changes of great impact and the production of buildings primarily intended for the hotel industry and second residence for European tourists. Since then, the incentives for tourist activity in the state have been maintained and even increased, based on tourism aimed at natural beauties, local cuisine and events, which transformed the tourist activity in one of the main sources of foreign exchange for the city of Natal. In the early 21st century, the construction of high-rise condominiums, monuments (including the designer ones), such as the Parque da Cidade, designed by Oscar Niemeyer, were already established. Also, shopping centers and, in order to host the World Cup, the new football stadium, the Arena das Dunas, among others, which were aimed at local and foreign consumers, especially European, stood out in the city. It is understood that these new buildings, monuments and also renovations and restorations that were deployed in the city of Natal aimed at constructing a new identity for the city, within the process of capitalist development and urban spectacle. It is considered that the monuments and the iconic buildings are attributes of the cities aimed at selling locations as goods, establishing a new urban environment, a new role as cities, which aimed at seeking greater autonomy from the nation-state. In this research, it was sought to analyze the architectural object, that is, buildings and monuments built or restored in Natal and its relevance to the city marketing promoted by the city itself. It was found that, indeed, such buildings and monuments are inserted in contemporary architectural production as a basis for increasing the competitive nature of Natal. In addition, they reveal a capitalist mode of production, supported by public resources, operating in the production of urban space with a view to repeating the hegemonic model of a competitive city

A céu aberto: garimpando a memória e a identidade dos mineradores de Brejuí

The Brejuí Mine, situated in the municipality of Currais Novos (RN), was responsible for the local economy growth between the years of 1943 and 1990, causing the interest of miner's working class to its urban center. After the end of scheelita extraction, the mine became a "theme park", in 2004. The company left its mark on the city by building several monuments in reference to the mining activity and the company's founder, Tomaz Salustino. However, there are no written records that describe such activities on its early years, nor their pioneers in the mining subject. Therefore, it is important to investigate the miner’s memories and ask if, along the more than five decades that lasted the heyday of mining, an identity linked to the profession was built; the extent to which workers make reference to this history as membersand what are the symbols that are being triggered in the development of a working class identity. Further, I investigate what memory was mad concerning the pioneers, mostly farmers attracted by miner work. To do so, I make use of audiovisual archival resources and oral records of the interlocutors that were filmed in the preparations of the documentary “Lembranças de velhos garimpeiros". We have noticed that, in the script of the official history of the Brejuí Mine, the "boss" figure overlaps the workers and that the forms patronage, originated from the rural world, followed punctuating the social relations in the mine. Today, with the resumption of the mining activity, it is possible that the strengthening of the working class and the Seridó miner identity desire reborn.

Entre a cruz e a espada, a foice e o martelo: a representação do anticomunismo no Rio Grande do Norte

The objective of this dissertation is to investigate the propagation of an anticommunism movement in Rio Grande do Norte Estate, Brazil, in a process that started on the first decades of the twentieth century and shows reflections until today. Firstly, we introduce the operation promoted by the catholic oriented newspaper A Ordem. Through the analysis of publications from 1935 to 1945, we observe its role in an image campaign of the “Communist Conspiracy” event, in an attempt to legitimate the power of Right wing groups, specially the Catholic Church and the Military Police. The newspapers discourse is analyzed in serial, quantitative and qualitative perspectives. Secondly, we search to understand the space dynamic of the anticommunism discourse thought the creation of evocation and representation spaces that ended up becoming memory places. Our considerations are based on the concept of representation by Roger Chartier, observing the way communism is represented by A Ordem, as well as the spatial category used to reactivate the anticommunist memory and represent it. We analyze the interests that are served by the construction of the monuments, the Oral History, as well as the relation between the local communities with them. Thirdly, we establish a parallel with many authors, in an approach that gathers Cultural and Social elements and Political History, in order to find explanations for the articulation of these discourses.

Luís da Câmara Cascudo prefaciador

Presenting a reading of prefaces written by Luís da Câmara Cascudo, related to literary and non-literary books from the early 20TH century (1921-1984), is the goal of this thesis. Considering the word in its meaning: "Latin praefatio, the action of speaking in the commencement. Synonym for 'prologue ', in the sense of text that precedes or introduces a work" (MOISÉS, 1999, p.416). In this research, a preface is understood as the text written and published with the intent to provide information to facilitate reading and/or understanding of the work to which it refers, regardless it is set at initial pages, when it is named as „prolog‟, „letter to the reader‟, „proem‟, „prelude‟, „preamble, forewords, summary, etc., or when only appears in the last pages of the book and turns to be named as „afterword‟. It is a qualitative research, with a bibliographic and interpretive feature, considering that part of the analysis of texts employs the inductive method, focuses on the depth of understanding that the researcher has on the researched object. For the study of this genre we recourse to Sales (2003), Teles (1986; 1989; 2010), Clemente (1986) and Candido (2005); as for the notion of tradition, we resort to Eliot (1997) and Candido (1997; 1980). The set of prefaces is a wide material for research that will allow scholars of Brazilian culture to continue work started by Luís da Câmara Cascudo, still in 1921, when he started his career as a prefacer.

Luís da Câmara Cascudo prefaciador

Presenting a reading of prefaces written by Luís da Câmara Cascudo, related to literary and non-literary books from the early 20TH century (1921-1984), is the goal of this thesis. Considering the word in its meaning: "Latin praefatio, the action of speaking in the commencement. Synonym for 'prologue ', in the sense of text that precedes or introduces a work" (MOISÉS, 1999, p.416). In this research, a preface is understood as the text written and published with the intent to provide information to facilitate reading and/or understanding of the work to which it refers, regardless it is set at initial pages, when it is named as „prolog‟, „letter to the reader‟, „proem‟, „prelude‟, „preamble, forewords, summary, etc., or when only appears in the last pages of the book and turns to be named as „afterword‟. It is a qualitative research, with a bibliographic and interpretive feature, considering that part of the analysis of texts employs the inductive method, focuses on the depth of understanding that the researcher has on the researched object. For the study of this genre we recourse to Sales (2003), Teles (1986; 1989; 2010), Clemente (1986) and Candido (2005); as for the notion of tradition, we resort to Eliot (1997) and Candido (1997; 1980). The set of prefaces is a wide material for research that will allow scholars of Brazilian culture to continue work started by Luís da Câmara Cascudo, still in 1921, when he started his career as a prefacer.

¿A quién pertenecen los valores de los bienes culturales declarados Patrimonio Mundial?

Presentamos una reflexión sobre el abismo existente entre el significado que tienen las declaraciones de Patrimonio Mundial de la UNESCO y la percepción e interpretación que le llega a la sociedad, transmitida por las declaraciones de los políticos que gestionan el Patrimonio y repetidas por los medios de comunicación. Desde que se proclamó la Convención de 1972 (París) el concepto de Patrimonio Mundial ha experimentado una evolución interesante visible a través de los avances que se han producido en materia de conservación y valoración del Patrimonio por parte de la sociedad y traducida en el reconocimiento de nuevas categorías patrimoniales además de los Monumentos y Sitios: Centros históricos, Itinerarios culturales y Paisajes culturales. Analizamos también los desvíos que afectan a los bienes declarados tales como la reproducción de los bienes patrimoniales, la reproducción del arte y la pérdida de autenticidad como ejemplo del gravísimo problema derivado de las implicaciones legales y económicas sobre la propiedad del Patrimonio. Es un problema cultural que afecta al comportamiento de los gestores cuando actúan con los valores colectivos de los bienes patrimoniales, comportamiento que se contrapone con el modo con que la sociedad quiere mantener la autenticidad de su memoria y tener acceso a su disfrute. El cambio de relación de los ciudadanos con los valores de los bienes Patrimonio Mundial, nos permite señalar que la sociedad ha llegado a considerar que el Patrimonio colectivo ya no nos pertenece ya que solo sirve para su utilización turística. Los cambios demográficos, la liberalización y la descentralización del mercado mundial, el turismo de masas, y la explotación comercial del Patrimonio, han acarreado un cambio de condiciones que lo someten a presiones y problemas asociados al desarrollo, antes inexistente. Si hasta el año 2000 los documentos legales y las recomendaciones de UNESCO habían creado un marco de referencia para la preservación de conjuntos urbanos históricos, las dificultades actuales, las presiones, exigen la formulación y aplicación de una nueva generación de políticas públicas que sirvan para reconocer y proteger la estratificación de valores culturales y naturales. Estas presiones han actuado para desarmar la protección del Patrimonio Mundial. Pero es preciso que la población no lo note. Por eso se explica el éxito del invento de Patrimonio Inmaterial como nueva categoría patrimonial.

El periodismo de proximidad local: los periódicos burgaleses del siglo XIX en la defensa del Patrimonio Histórico Artístico

Los periodistas de Burgos del siglo XIX desempeñaron un importante protagonismo en la defensa del patrimonio histórico artístico. En un momento en el que la protección de los monumentos no estaba garantizada ni regulada, estos profesionales demostraron con su pluma tener una mentalidad adelantada a la de su tiempo y defendieron la necesidad de mantener, proteger y rehabilitar los grandes y pequeños monumentos. Su intervención y sus denuncias constituyen una demostración de la importancia del periodismo, y en especial del periodismo local.

Travel, back and forth, to the myth. Cinema´s contribution to the formation of the tourist iconography of Mallorca

Mallorca, the largest of the Balearic Islands, is a well-known summer holidays destination; an ideal place to relax and enjoy the sun and the sea. That tourist gaze reflected on postcards results from advertising campaigns, where cinema played an important role with documentaries and fiction films. The origins of that iconography started in the decades of the 1920’s and 1930’s, reflecting the so-called myth of the “island of calm”. On the other hand, the films of the 1950’s and 1960’s created new stereotypes related to the mass tourism boom. Busy beaches and the white bodies of tourists replaced white sandy beaches, mountains and landscapes shown up in the movies of the early decades of the 20th century. Besides, hotels and nightclubs also replaced monuments, rural landscapes and folk exhibitions. These tourist images mirror the social and spatial transformations of Mallorca, under standardization processes like other seaside mass tourist destinations. The identity was rebuilt on the foundations of "modernity". Although "balearization" has not ceased, nowadays filmmaking about Mallorca is advertising again a stereotype close to that one of the 1920s and 1930s, glorifying the myth of the "island of calm". This singular identity makes the island more profitable for capital that searches socio-spatial differentiation in post-fordist times.

40 20th Century Spanish Sculptresses

This article presents a compilation of female artists who carried out their sculptural work during the twentieth century. With a brief presentation of each of them I want to implement visibility and the importance of incorporating their works to the collective imagery in order to be added to Spanish contemporary arts history. Some of them have public monuments of great popular recognition but their names have not been mentioned yet. Some others have “minor” works but they were relevant teachers to other artists. A few of them have extensive monographs about their life and their works. While others have almost gone unnoticed, but the proof of their professional career’s existence seems fundamental to us and they must be incorporated to history either through text books, university research works, ideally achieving a supported research project, to provide them the visibility their works and their vital trajectories deserve.

The management of bone tools from the Bronze Age site of El Portalón of Cueva Mayor, Sierra de Atapuerca, Burgos

In this paper we analyze the set of Bronze Age bone tools recovered at the archaeological site of El Portalón of Cueva Mayor in the Sierra de Atapuerca (Burgos). The Bronze Age cultural period is the best represented in the cavity and its study has forced us to unify the different excavation and stratigraphical criteria undertaken from the earliest archaeological excavations developed by J.M. Apellániz during the 70s until the excavations of the current research team (EIA) since 2000. We propose here for the first time a relationship between the initial system of “beds” used by Apellániz and our recent sedimentary sequence that recognizes eleven stratigraphic levels radiometrically dated from the late Upper Pleistocene to the Middle Age. Within the bone industry assemblage we recognize a large variety of utensils and ornamental elements, with native and allochthonous features, that make evident a regional as well as long distance relationships of these populations of the interior of the Iberian Peninsula during the recent Prehistory.