6,483 research outputs found
Voto y parecer de Don Juan de Salcedo, Dean de la Catedral de México, sobre la exigencia del pontifical viejo o el ceremonial nuevo, 1622 Mayo 19
No full textVoto y dictamen de Don Juan de Salcedo, Deán de la Catedral de México, sobre el uso del antiguo o del nuevo ceremonial. —— Vote and opinion of Don Juan de Salcedo, Dean of the Cathedral of Mexico, on the requirement of the old or the new ceremonial. Extent: 1 f. (2 p.
SALCEDO, Ezequiel; Luis N. MORONES; José F. GUTIERREZ y otros
No full textCorrespondence of Mr. Ezequiel Salcedo, Mr. Luis N. Morones, Mr. José F. Gutiérrez, Mr. Eduaro Moneda, Mr. Samuel O. Yúdico, Mr. José López Cortés, Mr. Juan B. Fonseca, Mr. Salvador Alvarez, Mr. Fernando Rodarte, Mr. Celestino Gasca, Mr. Reynaldo Cervantes Torres, Mr. Adalberto Polo, and Gen. Alvaro Obregón, in which Gen. Obregón reiterates his will to work for the working class to Mr. Ezequiel Salcedo. Private agreement between Gen. Alvaro Obregón and the working class regarding the labor policy to be followed when Obregón holds the Presidency. Reply from Gen. Obregón to Mr. Ezequiel Salcedo, Mr. Luis N. Morones, Mr. José F. Gutiérrez, Mr. Adalberto Polo, Mr. Eduardo Moneda, and others stating that it is necessary to discuss some of the clauses. / Correspondencia entre los Srs. Ezequiel Salcedo, Luis N. Morones, José F. Gutiérrez, Eduardo Moneda, Samuel O. Yúdico, José López Cortés, Juan B. Fonseca, Salvador Alvarez, Fernando Rodarte, Celestino Gasca, Reynaldo Cervantes Torres, Adalberto Polo y el Gral. Alvaro Obregón, en la cual el Gral. Obregón reitera al Sr. Ezequiel Salcedo su voluntad de luchar por la clase obrera. Convenio privado entre el Gral. Alvaro Obregón y la clase obrera, relativo a la política laboral a seguirse cuando Obregón ocupe la Presidencia. Respuesta del Gral. Obregón a los Srs. Ezequiel Salcedo, Luis N. Morones, José F. Gutiérrez, Adalberto Polo, Eduardo Moneda y otros, indicando que es necesario discutir algunas cláusulas
SALCEDO, Ezequiel; Luis N. MORONES; José F. GUTIERREZ y otros
No full textCorrespondence of Mr. Ezequiel Salcedo, Mr. Luis N. Morones, Mr. José F. Gutiérrez, Mr. Eduaro Moneda, Mr. Samuel O. Yúdico, Mr. José López Cortés, Mr. Juan B. Fonseca, Mr. Salvador Alvarez, Mr. Fernando Rodarte, Mr. Celestino Gasca, Mr. Reynaldo Cervantes Torres, Mr. Adalberto Polo, and Gen. Alvaro Obregón, in which Gen. Obregón reiterates his will to work for the working class to Mr. Ezequiel Salcedo. Private agreement between Gen. Alvaro Obregón and the working class regarding the labor policy to be followed when Obregón holds the Presidency. Reply from Gen. Obregón to Mr. Ezequiel Salcedo, Mr. Luis N. Morones, Mr. José F. Gutiérrez, Mr. Adalberto Polo, Mr. Eduardo Moneda, and others stating that it is necessary to discuss some of the clauses. / Correspondencia entre los Srs. Ezequiel Salcedo, Luis N. Morones, José F. Gutiérrez, Eduardo Moneda, Samuel O. Yúdico, José López Cortés, Juan B. Fonseca, Salvador Alvarez, Fernando Rodarte, Celestino Gasca, Reynaldo Cervantes Torres, Adalberto Polo y el Gral. Alvaro Obregón, en la cual el Gral. Obregón reitera al Sr. Ezequiel Salcedo su voluntad de luchar por la clase obrera. Convenio privado entre el Gral. Alvaro Obregón y la clase obrera, relativo a la política laboral a seguirse cuando Obregón ocupe la Presidencia. Respuesta del Gral. Obregón a los Srs. Ezequiel Salcedo, Luis N. Morones, José F. Gutiérrez, Adalberto Polo, Eduardo Moneda y otros, indicando que es necesario discutir algunas cláusulas
Hybrid sources: depictions of garments in postcolonial textile art
No full textIn today's atmosphere of globalisation - through positive agents such as communication networks as well as negative ones such as the refugee crisis - the national and cultural identities projected by dress embrace increasingly complex influences. Postcolonial theory and its attention to material culture, hybrid identities, and the ensuing Diaspora has influenced the work of contemporary artists worldwide. Contemporary artists working with textiles use the garment shape, as a motif and sculptural form rather than a functional peice of clothing, to express the complex results of colonisation. Common to all the works discussed here is an attempt to negotiate conflicts between language, culture and history that the postcolonial world must reconcile. Examples are drawn from work by Sue Blanchfield, Michael Parekowhai, Erica Spitzer Rasmussen, Elaine Reicheck, Doris Salcedo, Yinka Shonibare and Susan Stockwell
Analisando o compromisso político de Doris Salcedo
No full textThe first artistic production of Doris Salcedo, with a political intention, revolves around the violence unleashed by the Colombian war and the way in which it irreparably alters the lives of its victims. As part of an ongoing investigation, this essay will analyze how the work of Salcedo, while making visible the pain of the victims of the endless Colombian civil war and provoking emotional reactions of dejection and empathy in the viewer, results in a superficial understanding of relatively easy consumption and possible cause of its success in the market of the art. We will briefly trace the first political intention of Salcedo and his coincidence with the New Colombian Theater and then, in detail, his first series of furniture and sculpture, Closets Untitled (1995-2008).La primera producción artística de Doris Salcedo, de intención manifiestamente política, gira en torno a la violencia desatada por el conflicto bélico colombiano y la manera como ésta altera irreparablemente la vida de sus víctimas. Como parte de una investigación en curso, este ensayo analizará cómo, la obra de Salcedo, si bien visibiliza el dolor de las víctimas de la interminable guerra civil colombiana y provoca reacciones emocionales de abatimiento y empatía en el espectador, resulta en una aproximación superficial, de relativo fácil consumo, posible causa de su éxito en el mercado del arte. Rastrearemos brevemente la primera intención política de Salcedo y su coincidencia con el Nuevo Teatro colombiano y luego, detalladamente, su primera serie de muebles- escultura, armarios Sin Título (1995-2008). A primeira produção artística de Doris Salcedo, de intenção manifestamente política, gira em torno da violência desencadeada pelo conflito armado colombiano e a maneira como irremediavelmente altera a vida de suas vítimas. Como parte de uma investigação em curso, este ensaio irá examinar como, o trabalho de Salcedo, embora visibilize a dor das vítimas da interminável guerra civil colombiana e provoca reações emocionais de tristeza e empatia no espectador, resulta em uma abordagem superficial, de relativo fácil consumo, possível causa de seu sucesso no mercado da arte. Traçaremos brevemente a primeira intenção política de Salcedo e sua coincidência com o Novo Teatro colombiano e, em seguida, em detalhe, a sua primeira série de moveis-escultura, armários Sem Titulo (1995-2008)
Analisando o compromisso político de Doris Salcedo
No full textThe first artistic production of Doris Salcedo, with a political intention, revolves around the violence unleashed by the Colombian war and the way in which it irreparably alters the lives of its victims. As part of an ongoing investigation, this essay will analyze how the work of Salcedo, while making visible the pain of the victims of the endless Colombian civil war and provoking emotional reactions of dejection and empathy in the viewer, results in a superficial understanding of relatively easy consumption and possible cause of its success in the market of the art. We will briefly trace the first political intention of Salcedo and his coincidence with the New Colombian Theater and then, in detail, his first series of furniture and sculpture, Closets Untitled (1995-2008).La primera producción artística de Doris Salcedo, de intención manifiestamente política, gira en torno a la violencia desatada por el conflicto bélico colombiano y la manera como ésta altera irreparablemente la vida de sus víctimas. Como parte de una investigación en curso, este ensayo analizará cómo, la obra de Salcedo, si bien visibiliza el dolor de las víctimas de la interminable guerra civil colombiana y provoca reacciones emocionales de abatimiento y empatía en el espectador, resulta en una aproximación superficial, de relativo fácil consumo, posible causa de su éxito en el mercado del arte. Rastrearemos brevemente la primera intención política de Salcedo y su coincidencia con el Nuevo Teatro colombiano y luego, detalladamente, su primera serie de muebles- escultura, armarios Sin Título (1995-2008). A primeira produção artística de Doris Salcedo, de intenção manifestamente política, gira em torno da violência desencadeada pelo conflito armado colombiano e a maneira como irremediavelmente altera a vida de suas vítimas. Como parte de uma investigação em curso, este ensaio irá examinar como, o trabalho de Salcedo, embora visibilize a dor das vítimas da interminável guerra civil colombiana e provoca reações emocionais de tristeza e empatia no espectador, resulta em uma abordagem superficial, de relativo fácil consumo, possível causa de seu sucesso no mercado da arte. Traçaremos brevemente a primeira intenção política de Salcedo e sua coincidência com o Novo Teatro colombiano e, em seguida, em detalhe, a sua primeira série de moveis-escultura, armários Sem Titulo (1995-2008)
Carta, Rubén Darío a Benigno Díez Salcedo, 1908 Mayo 29
No full textabstract: Handwritten letter from Rubén Darío to Benigno Díez Salcedo, in Mexico D.F. Rubén Darío was in Madrid when the letter was written.The original Rubén Darío Papers 1882-1945 (MSS-339) are located at ASU Libraries Archives & Special Collections. For more information about visiting the collection see http://hdl.handle.net/2286/L.A.0.In this letter, Rubén Darío refers to Benigno Díez Salcedo as a Nicaraguan Minister in Mexico D.F
Menoscelis angeloi Santos, Churata-Salcedo & Almeida, 2016, sp. nov.
No full textMenoscelis angeloi sp. nov. (Figures 1, 6, 9, 11) Material examined. “ Guyane Française, Point/de vue du Bélvédère de/Saül, 0 9. IX. 2011, vitre,/ SEAG col. “Male” [white label]. “ HOLOTYPE / Menoscelis angeloi /Santos, Churata-Salcedo & Almeida, 2015 ” [red label]. [MNHN]. “ Guyane Française,/ 4 º 44 ’ 56 ”N 2 º 26 ’ 28 ”W,/Montagne des Chevaux, / 75 m, 17. III. 2012,/polytrap, SEAG col.” “ DZUP / 285311 ” [white label]. “ PARATYPE / Menoscelis angeloi /Santos, Almeida & Churata-Salcedo, 2015 ” [yellow label]. “ Guyane Française,/Montagne des Chevaux,/ 08. V. 2011,/vitre,/ SEAG col. ” “Female” “ DZUP / 289364 ” [white label]. “ PARATYPE / Menoscelis angeloi /Santos, Almeida & Churata-Salcedo, 2015 ” [yellow label]. Description (male). Length 5.01, width 4.42 mm. Body rounded, strongly convex (Fig. 1 B). Head yellowish with triangular black spot; clypeus with anterior margin brownish, labrum dark yellowish. Eyes finely faceted, not emarginate; interfacetal setae absent. Antennal insertion exposed. Antennae 10 -segmented; scape with convex external suface; pedicel distinctly narrower than scape; antepenultimate antennomere about 2.5 times longer than other segments. Clypeus short, transverse, anterior clypeal margin emarginate medially, with small blunt lateral projections. Labrum exposed. Mandibles bifid, with basal tooth. Maxillary palps securiform. Labial palps 3 - segmented. Mentum cordiform. Pronotum black with yellowish anterior and lateral margins; narrow basal pronotal line present; basomedian projection of pronotum truncate. Prosternal process with complete carinae, joined anteriorly forming a triangle, with stem varying in length, reaching anterior margin of prosternum (Fig. 9 D). Each elytron reddish yellow with narrow black lateral margin; three small black spots: first spot smallest, on humeral callus, second on elytral disc, third near lateral margin (Fig. 1 A). Epipleura yellowish, explanate, and excavated to receive femoral apices. Middle part of pro-, meso- and metasternum black. Legs black, except apices of femora yellowish. Protibia slightly angulate near base, with parallel sides. Abdomen yellowish with yellow pubescence. Abdominal postcoxal lines recurved and incomplete, joined from hind margin of ventrite, oblique line absent. Ventrite 5 in male without apparent sexual caracters (Fig. 1 F). Male genitalia with basal lobe asymmetrical, shorter than parameres, apex rounded; parameres symmetrical, straight, apex rounded with short setae (Figs 1 G–H); sipho slender, long, slightly curved; siphonal capsule with outer arm well developed; apex slightly sinuate and wide (Fig. 1 I). Female. Length 5.25, width 4.67 mm. Similar to male (Figs 1 E, 6 A–J, 9 C, E). Each elytron reddish yellow with narrow black lateral margin; four small black spots: first spot smallest, on humeral callus, second on elytral disc, third near lateral margin, and fourth apical, joined at suture (Figs 1 C–D). Genital plate transverse (Fig. 1 J). Spermatheca with rounded cornu and slender base with wide sinuate cornu projection (Fig. 1 J). Coxites with spoon–shaped setae and style with apical setae well developed; tergite with long setae curved at apex (Fig. 1 K). Etymology. This species is named in honor of the dedicated entomologist and specialist on Odonata, Dr. Angelo B. M. Machado. Geographical distribution. French Guiana (Point de vue du Bélvédère de Saül and Montagne des Chevaux) (Fig. 11). Remarks. Menoscelis angeloi sp. nov. differs from all other species of the genus, except M. cordata sp. nov., based on the indistinct, very short grayish-white semidecumbent pubescence and the tibia slightly angulate near the base, with parallel sides (Figs 6 F–G). This species differs from M. cordata sp. nov. in the color pattern and female genitalia. The elytral color pattern of M. angeloi sp. nov. resembles M. stephani and M. flava sp. nov., but differs from these species in the size of the discal and lateral spots, shape of the spermatheca, and location of the spermathecal gland.Published as part of Santos, Paula B., Churata-Salcedo, Julissa M. & Almeida, Lúcia M., 2016, New species and records of Menoscelis Mulsant (Coleoptera: Coccinellidae) from French Guiana, pp. 252-268 in Zootaxa 4078 (1) on page 254, DOI: 10.11646/zootaxa.4078.1.23, http://zenodo.org/record/26212
La Hispania bárbara y la Hispania civilizada: la imagen de un concepto
No full textRESUMEN: La intervención de F. Salcedo parte de una serie de emisiones monetales cuya tipología iconográfica es Hispània. A través de su estudio va exponiendo la serie de cambios que este tipo de representación sufrió, que reflejan cómo la concepción bárbara o civilizada de los pueblos hispánicos estuvo íntimamente vinculada a situaciones bélico-políticas.ABSTRACT: F. Salcedo examines coin emissiones with the iconographic type of Hispània. It is discussed the changes suffered by this types of representation which show how the barbarían or civilized image of Hispànic communities was directly connected with politics and warlike facts
La Hispania bárbara y la Hispania civilizada: la imagen de un concepto
No full textRESUMEN: La intervención de F. Salcedo parte de una serie de emisiones monetales cuya tipología iconográfica es Hispània. A través de su estudio va exponiendo la serie de cambios que este tipo de representación sufrió, que reflejan cómo la concepción bárbara o civilizada de los pueblos hispánicos estuvo íntimamente vinculada a situaciones bélico-políticas. ABSTRACT: F. Salcedo examines coin emissiones with the iconographic type of Hispània. It is discussed the changes suffered by this types of representation which show how the barbarían or civilized image of Hispànic communities was directly connected with politics and warlike facts
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