El perito médico en los delitos sexuales, 1880-1890

En la Argentina se institucionalizó la figura del perito médico con la creación del Cuerpo Médico de Policía por decreto del Gobernador de la Provincia de Buenos Aires Gral. Martín Rodríguez en 1822, apareciendo en los expedientes judiciales con la designación de "Médico de Policía" o "Médico de Tribunales". Sin embargo la primera definición de este auxiliar de la justicia como "experto en arte o cosa" es más antigua, apareciendo en la legislación base de nuestro sistema penal: las Leyes de Partidas (especialmente la 3a y la 7a). En este capítulo analizaremos la actuación de este agente en los casos de violencia sexual, mostrando la importancia vital de su función para la determinación misma de su existencia como delito punible por la ley, veremos como se mezclan a un tiempo las consideraciones científicas, sociales e incluso personales en sus informes pretendida y idealmente neutrales. Además buscaremos resaltar cuando sea posible el nivel de imbricación de los saberes médicos y legales en los abogados y médicos de esta época caracterizada por la profesionalización de ambas ramas.

El marxismo latinoamericano de papel : La política editorial de Jorge Abelardo Ramos a comienzos de los años sesentas

La importancia del marxismo en el pensamiento latinoamericano ha sido señalada en reiteradas oportunidades. Su capacidad para generar diversos proyectos políticos y culturales fue una característica central de dicha tradición, desplegada a través de distintos agentes e instituciones desde la llegada de los escritos de Marx y Engels a América Latina a fines del siglo XIX. Sin embargo, buena parte de esa historia todavía es parcial, anclada en perspectivas nacionales y poco atenta al estudio de sus formas materiales, esto es, a aquellos aspectos a través de los cuales el discurso marxista logró conformar una materialidad específica, tanto para la elaboración teórica como la acción de militantes, obreros, estudiantes e intelectuales. El trabajo tiene como objetivo proponer una exploración del marxismo latinoamericano desde la perspectiva de la reconstrucción de su mundo impreso, a partir de delinear una serie de problemas, temas y reflexiones solventados en el estudio de la editorial Coyoacán de Jorge Abelardo Ramos a principios de los años sesentas en la Argentina

Commandeering Aesop’s Bamboo Canon: A 19th Century Confederacy of Creole Fugitive Fables

In my thesis, “Commandeering Aesop’s Bamboo Canon: A 19th Century Confederacy of Creole Fugitive Fables,” I ask and answer the ‘Who? What? Where? When? Why?” of Creole Literature using the 19th century production of Aesopian fables as clues to resolve a set of linguistic, historical, literary, and geographical enigmas pertaining the ‘birth-place(s)’ of Creolophone Literatures in the Caribbean Sea, North and South America, as well as the Indian Ocean. Focusing on the fables in Martinique (1846), Reunion Island (1826), and Mauritius (1822), my thesis should read be as an attempt capture the links between these islands through the creation of a particular archive defined as a cartulary-chronicle, a diplomatic codex, or simply a map in which I chart and trace the flight of the founding documents relating to the lives of the individual authors, editors, and printers in order to illustrate the articulation of a formal and informal confederation that enabled the global and local institutional promotion of Creole Literature. While I integrate various genres and multi-polar networks between the authors of this 19th century canon comprised of sacred and secular texts such as proclamations, catechisms, and proverbs, the principle literary genre charted in my thesis are collections of fables inspired by French 17th century French Classical fabulist, Jean de la Fontaine. Often described as the ‘matrix’ of Creolophone Literature, these blues and fables constitute the base of the canon, and are usually described as either ‘translated,’ ‘adapted,’ and even ‘cross-dressed’ into Creole in all of the French Creolophone spaces. My documentation of their transnational sprouting offers proof of an opaque canonical formation of Creole popular literature. By constituting this archive, I emphasize the fact that despite 200 years of critical reception and major developments and discoveries on behalf of Creole language pedagogues, literary scholars, linguists, historians, librarians, archivist, and museum curators, up until now not only have none have curated this literature as a formal canon. I also offer new empirical evidence in order to try and solve the enigma of “How?” the fables materially circulated between the islands, and seek to come to terms with the anonymous nature of the texts, some of which were published under pseudonyms. I argue that part of the confusion on the part of scholars has been the result of being willfully taken by surprise or defrauded by the authors, or ‘bamboozled’ as I put it. The major paradigmatic shift in my thesis is that while I acknowledge La Fontaine as the base of this literary canon, I ultimately bypass him to trace the ancient literary genealogy of fables to the infamous Aesop the Phrygian, whose biography – the first of a slave in the history of the world – and subsequent use of fables reflects a ‘hidden transcript’ of ‘masked political critique’ between ‘master and slave classes’ in the 4th Century B.C.E. Greece.

This archive draws on, connects and critiques the methodologies of several disciplinary fields. I use post-colonial literary studies to map the literary genealogies Aesop; use a comparative historical approach to the abolitions of slavery in both the 19th century Caribbean and the Indian Ocean; and chart the early appearance of folk music in early colonial societies through Musicology and Performance Studies. Through the use of Sociolinguistics and theories of language revival, ecology, and change, I develop an approach of ‘reflexive Creolistics’ that I ultimately hope will offer new educational opportunities to Creole speakers. While it is my desire that this archive serves linguists, book collectors, and historians for further scientific inquiry into the innate international nature of Creole language, I also hope that this innovative material defense and illustration of Creole Literature will transform the consciousness of Creolophones (native and non-native) who too remain ‘bamboozled’ by the archive. My goal is to erase the ‘unthinkability’ of the existence of this ancient maritime creole literary canon from the collective cultural imaginary of readers around the globe.

Obediencia- desobediencia del derecho : Una propuesta de diálogo entre iusfilosofía e historia

Propongo tomar una perspectiva a la vez filosófica e histórica pensando en torno al problema más abstracto de los límites a la obediencia de la norma en términos teóricos por un lado (poniendo en diálogo construcciones iuspositivistas e iusnaturalistas) y ejemplos concretos que pueden notarse en la práctica de los abogados penales durante el siglo XIX en Buenos Aires en particular el de los casos de violación en varones. Si bien no existe codificación formal hay persecución formal y pena del delito a partir de la denuncia y en contradicción con la idea de obediencia a la ley formal y a ciertos principios considerados fundamentales (no penar sin ley previa). En estos casos que tomo como base para la reflexión se puede ver no sólo el conflicto jurídico sino su relación con cuestiones que pueden considerarse "no-jurídicas" como ideas sobre la sexualidad, la honorabilidad y las consecuencias para la sociedad de este delito, que llevan a una práctica jurídica desobediente/disidente de la ley formal. Planteo que en ocasiones la desobediencia con fundamentos puede garantizar no sólo una forma del hacer -y de entender el hacer- justicia sino llevar al cambio en las normas como, para el caso en particular, ocurrió en 1903.

Obediencia- desobediencia del derecho : Una propuesta de diálogo entre iusfilosofía e historia

Propongo tomar una perspectiva a la vez filosófica e histórica pensando en torno al problema más abstracto de los límites a la obediencia de la norma en términos teóricos por un lado (poniendo en diálogo construcciones iuspositivistas e iusnaturalistas) y ejemplos concretos que pueden notarse en la práctica de los abogados penales durante el siglo XIX en Buenos Aires en particular el de los casos de violación en varones. Si bien no existe codificación formal hay persecución formal y pena del delito a partir de la denuncia y en contradicción con la idea de obediencia a la ley formal y a ciertos principios considerados fundamentales (no penar sin ley previa). En estos casos que tomo como base para la reflexión se puede ver no sólo el conflicto jurídico sino su relación con cuestiones que pueden considerarse "no-jurídicas" como ideas sobre la sexualidad, la honorabilidad y las consecuencias para la sociedad de este delito, que llevan a una práctica jurídica desobediente/disidente de la ley formal. Planteo que en ocasiones la desobediencia con fundamentos puede garantizar no sólo una forma del hacer -y de entender el hacer- justicia sino llevar al cambio en las normas como, para el caso en particular, ocurrió en 1903.

Obediencia- desobediencia del derecho : Una propuesta de diálogo entre iusfilosofía e historia

Propongo tomar una perspectiva a la vez filosófica e histórica pensando en torno al problema más abstracto de los límites a la obediencia de la norma en términos teóricos por un lado (poniendo en diálogo construcciones iuspositivistas e iusnaturalistas) y ejemplos concretos que pueden notarse en la práctica de los abogados penales durante el siglo XIX en Buenos Aires en particular el de los casos de violación en varones. Si bien no existe codificación formal hay persecución formal y pena del delito a partir de la denuncia y en contradicción con la idea de obediencia a la ley formal y a ciertos principios considerados fundamentales (no penar sin ley previa). En estos casos que tomo como base para la reflexión se puede ver no sólo el conflicto jurídico sino su relación con cuestiones que pueden considerarse "no-jurídicas" como ideas sobre la sexualidad, la honorabilidad y las consecuencias para la sociedad de este delito, que llevan a una práctica jurídica desobediente/disidente de la ley formal. Planteo que en ocasiones la desobediencia con fundamentos puede garantizar no sólo una forma del hacer -y de entender el hacer- justicia sino llevar al cambio en las normas como, para el caso en particular, ocurrió en 1903.

The Gentleman-Scholar at Home: Domesticity, Masculinity, and Civility in Dutch Seventeenth-Century Genre Painting

This dissertation examines the gentleman-scholar depicted at home in Dutch seventeenth-century genre paintings, focusing primarily on art created in the Northern Netherlands from the 1630s through the 1670s. The methodological approach is art historical but also pertains to history of architecture, history of dress, and gender studies. Employing the framework of the 'Ages of Man', this thesis investigates three related pictorial themes: the student, the scholar in his prime, and the aged scholar. Variations of male scholarly figures and the accoutrements of the study have a long history in Europe. Prototypical sources include religious history paintings of learned hermit-saints; artistic interest in the allegorical Saturnine persona; portraits of famous scholars; and the iconography of scholarly melancholy implied through vanitas allusions in portraiture and genre paintings. While the majority of Dutch genre paintings pertain to themes of women, male domestic routines form a small but important subset of this imagery and have not been studied. By the 1640s, this subject is readily identified by his setting, clothing, and actions. The ubiquity of scholarly attributes, such as books and globes, paired with the wearing of scholarly robes suggest the merits of intellectual curiosity and the privileges of studying as a pastime and designating a room as a study (studeerkamer). Distinct themes in genre also imply the challenges and rewards of scholarly activity pursued in concert with masculine civic and familial duty. Central to the development of this pictorial theme were: the innovative treatment of learned men by Rembrandt and his circle; the fijnschilder subjects of Dou; and the practice of amateur study by elite men, as suggested by the art of Vermeer. As this dissertation reveals, this convention did not grow to be consistent across the Northern Netherlands, nor was artistic interest limited to university towns. Rather, the larger relevance of scholars in Dutch society is evident in visual and literary sources. The domesticity of this figure in genre painting suggests that scholars mediated between an active and a contemplative life. Societal respect was garnered for scholars through their balance of familial and social duties with the honorable pastime of scholarly leisure.

Americanismo e fordismo nos boletins da comissão brasileiro-americana de educação industrial

This text thematizes the performance of the Brazilian-American Commission of Industrial Education (CBAI) since its installation at Rio de Janeiro, on 1947, and extinction in Curitiba, on 1963. The general goal consists in identifying if are there any relation between Gramsci’s Americanism and Fordism elements and the CBAI’s performance, by means of a speech analysis from de Newsletter of CBAI and other documental sources related to the organizations performance. The specifics objectives intend to contextualize the political and economic situation that Brazil was going through before and concomitant to CBAI’s performance, emphasizing some aspects of the Cold War feature that contributed to narrow the relations between United States and other countries of Latin America, especially Brazil. On the following, it intends to present the main aspects of Gramsci’s thought and the Americanism and fordism and Passive Revolution as key categories for a better understanding of the presence of an Americanization project on Brazilian’s professional education. As so, the object of this study are the Newsletters of CBAI. Finally, the speech’s analisys of the Newsletter was the methodology used to demonstrate CBAI as an Americanism diffuser. The documental research and sources served as groundwork, especially the Newsletters, were found at Departamento de Documentação Histórica of Universidade Tecnológica Federal do Paraná (DEDHIS) and at Biblioteca de Educação of Universidade de São Paulo (FEUSP). The theoretical foundation has as a workline for the conception of the categories the studies of Gramsci about the of work (and the Newsletters itself), and the speech’s analysis of main concepts from Bakhtin, Voloshinov’s and the Circle of studies about language philosophy. At last, this paperwork concludes that the attempt to disseminate an amerizanization project in Brazil obtneined significant results on the industrialization of the country according to the fordism’s racionalization standarts, nevertheless, this research considers that such a project corroborates the comprehension about the consolidation of a Passive Revolution’s project.

Os tímpanos como instrumento solista no contexto da percussão de altura definida

Com este projecto pretende-se abordar uma vertente no estudo dos Tímpanos que, ao longo da sua história, tem sido marginal, relativamente à sua utilização "normal" de instrumento de orquestra - A utilização de Tímpanos como instrumento solista, especialmente na situação de solista não concertista. Para a persecução deste objectivo será traçada a trajectória evolutiva do instrumento ao longo da História da Música, tanto do ponto de vista das suas características de construção como da sua utilização pelos compositores ao longo do tempo. Não pode, por isso, deixar de ser feita uma abordagem da utilização dos Tímpanos em Orquestra, pois foi a utilização orquestral o "motor" da evolução do instrumento. Em complemento ao atrás enunciado, será igualmente desenvolvido o tema das preocupações de respeito pelo contexto histórico aplicado ao caso específico dos Tímpanos. Será igualmente feita uma tentativa de identificação de existência de exemplares antigos em Bandas de Música amadoras, através da realização de um inquérito. Por fim será traçado o quadro geral da utilização dos Tímpanos em Portugal nos dias de hoje. Atenção especial será dada a composições onde o objecto de estudo deste projecto está, mais directamente, em evidência. É este o caso de Marche (1685) dos irmãos Philidor, de um conjunto de Concertos e Sinfonias para múltiplos Tímpanos do final do século XVIII e das Eight Pieces for Four Timpani (1950/1966) de Elliott Carter. No caso da Marche será feita uma pequena análise e realizada uma edição moderna. No caso das peças para Tímpanos de Elliott Carter, será analisada com mais profundidade a peça Moto Perpetuo. Até ao final do século XVIII os Tímpanos foram, quase exclusivamente, os únicos instrumentos de Percussão usados na Música Erudita Ocidental. A partir do século XIX a secção da Percussão foi enriquecida com inúmeros novos elementos. Entre eles, novos instrumentos de Percussão de altura definida a que os Tímpanos pertencem. Será, tal como para os Tímpanos, traçado o seu trajecto de evolução e assim será completado o quadro actual da Percussão de altura definida. O Recital concretiza os principais pontos explorados no trabalho escrito, através da apresentação de um conjunto de obras apresentadas por ordem cronológica: -Marche de André e Jacques Philidor (1685) - Eight Pieces for Four Timpani de Elliott Carter (1950/1966) (March, Saeta, Moto Perpetuo, Recitative) - Concerto pour Percussion et Orquestre de André Jolivet (1958) (andamentos I, II e III) - OMAR Due pezzi per Vibrafono de Franco Donatoni (1985) ABSTRACT: Investigate the marginal use of the Timpani as a solo instrument is the main object of this study. ln order to achieve this main goal, we will point out the evolution of the instrument along Music History. We will focus both: the main characteristics of its construction and the way they have been used by composers. Bearing these facts in mind, we will also center our attention on the way that Timpani have been used at Orchestras, which had certainly leaded to the development of the instrument we are studying. At the same time, we will study historical respect and performance, by contextualizing the different historical periods of Timpani. It is also important to have information about the quantity of Timpani used at amateur musical bands in Portugal, mainly in what concerns ancient instruments. These elements will allow us to draw a general idea about the way Timpani are used in Portugal. ln order to have concrete examples of the Timpani as a solo instrument, we will analyze the following compositions: Marche de Timba/les (1685) by André and Jacques Philidor; The ensemble of Concerts and Symphonies for multiple Timpani from the end of the XVIIIth century; The Eight Pieces for Four Timpani (1950/1966) by Elliott Carter. Bearing in mind that other Defined Pitch Percussion Instruments have emerged at the beginning of the XIXth century, we will also study the evolution of those instruments. The Recital will materialize the main aspects we have focused at our written work and already mentioned above. The presentation will follow a chronological sequence as indicated: Marche de Timballes by André and Jacques Philidor (1685) Eight Pieces for Four Timpani by Elliott Carter (1950/1966) (March, Saeta, Moto Perpetuo, Recitative) - Concerto pour Percussion et Orquestre by André Jolivet (1958) (Movements I, II, III) Omar Due Pezzi per Vibrafono by Franco Donatoni (1985)

Remember or Revive: Alice Payne and the Gold Coast and Hinterland Historical Society

In this creative practice work, designer Alice Payne examines the history of twentieth century Queensland fashion icon Paula Stafford, and interprets her story into an illustrated narrative and textile print. Paula Stafford was a swimwear designer operating in the Gold Coast, Queensland Australia 1940s to 1980s, and is credited with bringing the bikini to Australia. This project was commissioned by The Fashion Archives as part of their series Remember or Revive, in which the curators partnered designers with museums to reinterpret historical costume for a contemporary fashion audience. To develop the project, Payne visited The Gold Coast and Hinterland Historical Society to view Paula Stafford’s swimwear, resortwear, photographs, newspaper articles, fabric swatches and other artefacts relating to Stafford’s practice. Through examining Stafford’s work and history, Payne developed a series of designs based on the story and the experience of viewing and handling the garments. Research statement Fashion history is often experienced via static museum displays of garments and photographs from the period, and this research examines other means through which the archive and the fashion museum collection may be reinterpreted and made fresh. It does this in two ways: first, the work interprets a story from fashion history for a contemporary audience. Second, the project illuminates the fashion design process by demonstrating how garments from the past may be reinterpreted to inspire contemporary textile prints. The Paula Stafford collection at The Gold Coast and Hinterland Historical Society has a number of garments and photographs on display, however these only show a partial picture of the richness of Stafford’s work and legacy. Undertaking a practice-led methodology, in the course of developing the work, Payne examined the archive in order to interpret Stafford’s contribution to Queensland fashion through photography, narrative, and illustration. The work contributes to research into historical fashion curation and interpretation. The work appeared in Issue 11, March 2014 of the The Fashion Archives, an online publication by fashion curators Nadia Buick and Madeline King. The Fashion Archives has received funding from Arts Queensland, State Library Queensland and Creative Partnerships Australia and has published over 200 articles and projects related to Queensland Style. The Fashion Archives is the first project to examine in depth Queensland fashion history. As Paula Stafford is one of Queensland’s most iconic designers, this project is significant in being the first to examine her legacy through creative practice. The Fashion Archives was established in 2013 and involvement is by invitation from the curators.

Familienerinnerungen. Ein Fragment 1790-1913

History of the family of Isak Mirabeau (born 1840); his maternal grandfather Isak Henle was the first Jew to receive civic rights in Hall (Wuerttemberg); his paternal grandfather came from Olnhausen (Wuerttemberg); he was a hops and wool merchant; he became wealthy as a supplier for the French army, and entered the banking business; notes on Jewish history in 19th century Wuerttemberg; contains also instructions to his son for the case of his death (does not have to say kaddish).

Book Review: "The Interface: IBM and the Transformation of Corporate Design, 1945-1975", John Harwood, Minneapolis: University of Minnesota Press, 2011

Within the history of twentieth-century design, there are a number of well-known objects and stories that are invoked time and time again to capture a pivotal moment or summarize a much broader historical transition. For example, Marcel Breuer’s Model B3 chair is frequently used as a stand-in for the radical investigations of form and new industrial materials occurring at the Bauhaus in the mid-1920s. Similarly, Raymond Loewy’s streamlined pencil sharpener has become historical shorthand for the emergence of modern industrial design in the 1930s. And any discussion of the development of American postwar “organic design” seems incomplete without reference to Charles and Ray Eames’s molded plywood leg splint of 1942. Such objects and narratives are dear to historians of modern design. They are tangible, photogenic subjects that slot nicely into exhibitions, historical surveys, and coffee-table best sellers...

Enirio-Aralar mendietako abereen eta basoen ustiapena aro berrian zehar

[EUS]Enirio-Aralarreko mendietako basoek ez dute XVIII. mendera arte ustiapen gogorrik jasango. Ordura arte Batasunetako biztanleek behar zuten egurra soilik ateratzen zuten, ia ustiapen industrialik gabe. XVIII. mendean, beheko aldeko hariztiak agortu zirenean, Enirio-Aralarreko pagoak hasi ziren ustiatzen ikatza, itsasontziak edo arma-kajoiak egiteko. Aldi berean, ordura arte “tokian tokiko” abeltzaintza izan zena, erdi trashumantzia bihurtu zen: kostaldeko eta inguruko artaldeak Enirio-Aralar mendietan hasi ziren uda ematen. Aipatutako bi faktoreek –basoaren ustiapenak eta kanpoko artaldeen etorrerak–, batik bat XVIII. mendearen bukaeran eta XIX. mendearen hasieran, Enirio-Aralarreko basoaren atzerakada eragin zuten. XIX eta XX. mendeetan zehar deforestazioa areagotu egin zen, bertako mendiei gaur egun ezagutzen dugun itxura eman arte.