Our Lady of Guadalupe : contemporary explorations of personal and cultural identity

Since it first appeared, the image of Our Lady of Guadalupe has remained relatively unchanged. In the last thirty-five years, however, this has been changing. Artists are creating new variations of the icon to represent and express their reinterpretations. In some of these more contemporary images, the figure of Guadalupe has changed dramatically, but still retains enough traditional elements to be easily recognizable. Some of these images have been received with mixed results and have even sparked major controversy. These new, and sometimes controversial depictions of Guadalupe, specifically those created by Ester Hernández, Yolanda M. López and Alma López, will be explored here. Although each artist has her own individual motivations and intentions, all of the images presented here explore personal and cultural identity, as well as seek in some way to honor ordinary, human women through the sacred iconography of Our Lady of Guadalupe.

Symbol for a Community: The Dickens Opera House and Theaters of the American West

This paper reveals the importance of the Dickens Opera House to the local history of Longmont, Colorado. Through an exploration of pioneer history and of architectural patronage and audience accommodation, this paper illustrates how the Dickens Opera House participated in the construction of cultural identity and civic aspirations of the city of Longmont. Using the Tabor Opera House of Leadville and Wright Opera House of Ouray as framing examples to place the Dickens Opera House within its proper architectural and historical context, I approach the building’s inception, construction, and early years as a way to track the early civic identity of a community through a work of architecture. The Dickens Opera House provided a point for the citizens of Longmont to focus their hopes of success and respectability in a newly formed community. An opera house provided a high-class perception of a town that provided a projection of respectability. Such a construction was built from various sources – the architecture of the building, simply calling the building an ‘opera house’, furnishings in the latest fashions and equipment of the latest technology, and extravagant scenery and curtains. In addition to these outward projections, opera houses also provided a place for community events. It was the location in town that brought people together.

Russia's Clandestine War against the United States: The Resurrection of the KGB and Russian Organized Crime Post 9/11

As American leadership has narrowly focused on fighting global terror in Iraq and Afghanistan, the modern version of the KGB, now known as the FSB, has been conducting continuous clandestine warfare operations against the United States. These warfare operations include strategic economic and political partnerships with anti-American entities worldwide and direct embedding of double agents in the US intelligence community. This paper investigates the role of Russia's cultural history leading to the merger of the Russian Federal Security Service (FSB) and Russian Organized Crime (ROC). This paper concludes that the FSB is the most pervasive security threat to the United States and that employing Russian native and heritage speakers of Russian in the US intelligence community compromises US national security.

Las huellas del tiempo en la arquitectura moderna intervenida

Algunas obras ejemplares del Movimiento Moderno, como son: el Sanatorio en Hilversum, la Escuela de la Bauhaus, la Villa Savoye o el Pabellón de Alemania, etc., han sido intervenidas. ¿Qué criterios se han seguido? ¿Han sido los mismos? ¿Cuáles han sido los prioritarios? Sea mediante restauraciones o reconstrucciones parciales o totales, los criterios que más han prevalecido devuelven las obras al origen, por lo menos en la forma. Resulta significativo que lo que más ha motivado estas intervenciones sea el avanzado deterioro debido, en muchos casos, a la debilidad de las soluciones constructivas empleadas que no han superado el medio siglo. ¿Es el movimiento moderno patrimonio? ¿Qué diferencia hay entre esta arquitectura moderna y la histórica que la precedió? Si se considera que ambas son portadoras de los valores culturales de su época, ¿por qué se aplican criterios distintos en cada caso? ¿Por qué sobre el patrimonio histórico prima el diferenciar el tiempo de la actuación mientras que sobre el patrimonio moderno se tiende a borrar las huellas del tiempo mediante la restauración arqueológica? ¿Cuánto no hay de contradictorio con los fundamentos del Movimiento Moderno en esta fosilización?.

Geological risk assessment of Amtoudi Agadir in southern Morocco: a key case for sustainable cultural heritage

Medieval fortified granaries known as “agadirs” are very common in southern Morocco, being catalogued as world cultural heritage by United Nations. These Berber buildings (made of stones and tree trunks) usually located on rocky promontories, constitute historical testimonials related to the origin of Morocco, and, as tourist attractions, have a positive impact on the local economy. The sustainability of these ancient monuments requires geological-risk evaluations of the massif stability under the agadir with the proposal of stabilization measures, and an architectonic analysis with appropriate maintenance of the structural elements. An interdisciplinary study including climate, seismicity, hydrology, geology, geomorphology, geotechnical surveys of the massif, and diagnosis of the degradation of structural elements have been performed on the Amtoudi Agadir, selected as a case study. The main findings from this study are that the prevalent rocks used for construction (coming from the underlying substratum) are good-quality arkosic sandstones; the SW cliffs under the agadir are unstable under water saturation; some masonry walls are too thin and lack interlocking stones and mortar; and failures in the beams (due to flexure, fracture, and exhaustion in the resistance due to insect attacks or plant roots) are common. The basic risk assessment of ancient buildings of cultural heritage and their geologic substratum are needed especially in undeveloped areas with limited capacity to implement durable conservation policies. Therefore, recommendations have been provided to ensure the stability and maintenance of this important archaeological site.

O registro do patrimônio cultural imaterial: as práticas do IPHAN e do IEPHA/MG

Patrimônio cultural é tudo aquilo que possui significado social e representa identidades, sendo dividido em duas principais categorias: material e imaterial. O reconhecimento deste último foi construído ao longo de um processo de maturação, ampliação de debates, legislação e ação de órgãos públicos nacionais e internacionais. No Brasil, a Constituição Federal de 1988 incorporou, ao lado do patrimônio material, as diversas formas de expressão e os modos de criar, fazer e viver, como patrimônio imaterial, adotando novos instrumentos de proteção aos bens culturais: o registro e o inventário. Entretanto, somente pelo Decreto 3.551/2000 é que o registro do imaterial foi definitivamente normatizado. Paulatinamente, ocorreu a descentralização da legislação e das políticas públicas, que passaram a ser compartilhadas por União, Estados e Municípios e, nesse sentido, um caso peculiar na gestão do patrimônio cultural ocorreu no estado de Minas Gerais, no qual o Instituto Estadual do Patrimônio Histórico e Artístico de Minas Gerais (IEPHA/MG) assumiu um valioso papel na preservação do patrimônio cultural, onde as ações municipais voltadas ao patrimônio cultural no Estado contam com repasses financeiros, via distribuição do Imposto Sobre Mercadorias e Serviços (ICMS). Esse cenário propiciou um campo para a reflexão e debate sobre o papel e a função desse órgão estadual frente às práticas de identificação, valorização e promoção do patrimônio imaterial de Minas Gerais.

Balkan Peninsula Region, ca. 1805 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Carte de la Turquie d'Europe, en 15 feuilles : comprenant toute la côte orientale de la Mer Adriatique, l'archipel, la Morée, l'île de Candie, la Crimée et la partie occidentale de la mer Noire, par P.G. Chanlaire, directeur de l'Atlas national de France. It was published by Chez l'Auteur, Rue Geoffroy-Langevin No. 7, près celle St. Avoye, ca. 1805. Scale [ca. 1:830,000]. Covers the Balkan Peninsula region. Map in French.The image inside the map neatline is georeferenced to the surface of the earth and fit to the Europe Lambert Conformal Conic coordinate system. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as drainage, cities and other human settlements, roads, territorial boundaries, shoreline features, and more. Relief shown by hachures. This layer is part of a selection of digitally scanned and georeferenced historic maps from the Harvard Map Collection. These maps typically portray both natural and manmade features. The selection represents a range of originators, ground condition dates, scales, and map purposes.

Jefferson County, Kentucky, 1910 (Raster Image)

This layer is a georeferenced raster image of the historic, topographic paper map entitled: Topography of Jefferson County, Kentucky : from U.S. Geological Survey topographic atlas sheets surveyed in 1904-1910, U.S. Geological Survey ; in cooperation with Kentucky Geological Survey, C. J. Norwood, director. It was published by U.S. Geological Survey in 1912. Scale 1:62,500. The image inside the map neatline is georeferenced to the surface of the earth and fit to the Kentucky North State Plane NAD 1983 coordinate system (in Feet) (Fipszone 1601). All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This is a typical topographic map portraying both natural and manmade features. It shows and names works of nature, such as mountains, valleys, lakes, rivers, vegetation, etc. It also identify the principal works of humans, such as roads, railroads, boundaries, transmission lines, major buildings, etc. Relief is shown with standard contour intervals of 20 feet and spot heights. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection as part of the Imaging the Urban Environment project. Maps selected for this project represent major urban areas and cities of the world, at various time periods. These maps typically portray both natural and manmade features at a large scale. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.