Suchergebnisse

Correspondence regarding the commemoration of the anniversary of the death of Gen. Alvaro Obregón. Correspondence from the Gen. Alvaro Obregón Civic Association whose President is B.A. Aarón Sáenz and Chief Clerk is Engr. Luis G. Franco. Invitation to the literary and musical night event dedicated to Gen. Alvaro Obregón and organized by the Executive Regional Committee of the Institutional Revolutionary Party. Invitation to attend the tribute at the monument to Gen. Alvaro Obregón. Invitation to the dedication of an obelisk in Teoloyucan, State of Mexico, organized by the Bloque of Intellectual Laborers, presided over by Engr. Juan de Dios Bojórquez. / Correspondencia relativa a la conmemoración del aniversario de la muerte del Gral. Alvaro Obregón. Correspondencia de la Asociación Cívica Gral. Alvaro Obregón cuyo Presidente es el Lic. Aarón Sáenz y cuyo Oficial Mayor es el Ing. Luis G. Franco. Invitación a la velada literario-musical dedicada al Gral. Alvaro Obregón y organizada por el Comité Ejecutivo Regional del Partido Revolucionario Institucional. Invitación para asistir al homenaje en el monumento al Gral. Alvaro Obregón. Invitación a la inauguración de un obelisco en Teoloyucan, Estado de México, organizada por el Bloque de Obreros Intelectuales, presidido por el Ing. Juan de Dios Bojórquez.

Correspondence exchanged among Mr. Fernando Torreblanca, B.A. Arturo H. Orcí, B.A. Aarón Sáenz, Sub Lieutenant Carlos Contreras Herrera and Mrs. María Tapia-Obregón, regarding the commemoration of the thirteenth anniversary of the death of Gen. Alvaro Obregón. A poem is attached in honor of Gen. Obregón, authored by B.A. Enrique Pérez Arce. Speech given by B.A. Antonio Romandía Ferreira at the tribute to Gen. Alvaro Obregón. "Great praise for General Obregón, he was honored yesterday", EXCELSIOR, Mexico City, July 18th, 1941. "Romandía Ferreira attacks the demagogues that speak to the lesser passions of the people", EXCELSIOR, Mexico City, July 18th, 1941. "B.A. Romandía Ferreira vigorously defended the memory of Gen. Obregón", EL UNIVERSAL, Mexico City, July 18th, 1941. Balance sheets of the tribute costs. / Correspondencia entre los Srs. Fernando Torreblanca, Lic. Arturo H. Orcí, Lic. Aarón Sáenz, Subtte. Carlos Contreras Herrera y María Tapia Vda. de Obregón, relativa a la conmemoración del décimo tercer aniversario de la muerte del Gral. Alvaro Obregón. Se anexa el poema en honor al Gral. Obregón cuyo autor es el Lic. Enrique Pérez Arce. Discurso pronunciado por el Lic. Antonio Romandía Ferreira en el homenaje al Gral. Alvaro Obregón. "Grandes elogios para el General Obregón, se le tributaron ayer", EXCELSIOR, México, D.F., Julio 18, 1941. "Romandía Ferreira ataca a los demagogos que halagan bajas pasiones del pueblo", EXCELSIOR, México, D.F., Julio 18, 1941. "El Lic. Romandía Ferreira defendió vigorosamente la memoria del Gral. Obregón", EL UNIVERSAL, México, D.F., Julio 18, 1941. Notas de remisión de gastos del homenaje.

Letters, reports, invoices, and shipping receipts related to the purchase of books that the Torreblanca family made during their stay in Europe. Miss Antonia Fustagueras at the Mexican Consulate in Barcelona, Spain is in charge of shipping said books to Mexico. / Cartas, relaciones, facturas y pólizas de envío, relacionadas con los libros que la familia Torreblanca compró durante su estancia en Europa. La Srita. Antonia Fustagueras desde el Consulado de México en Barcelona, España les remite a México estos libros.

EL UNIVERSAL ILUSTRADO. Mexico, D.F. July 26, 1928. Articles about the assassination of Gen. Alvaro Obregón and his life: Photographs of Gen. Obregón. GUZMAN, Martín Luis. "Notes on the Mexican Revolution: the vision of Venustiano Carranza and Alvaro Obregón"; "Gen. Obregón and the popular rhapsodies"; "Tragic death of Gen. Alvaro Obregón" (popular songs); "Some 'sketches' of the President Elect." NORIEGA HOPE, Carlos. "The mortuary chamber on Avenida Jalisco number 185." LE BLANC, Oscar. "Obregón through anecdote." SANTACRUZ, Carlos. " "Alvaro Obregon from the outside. Soldier and poet." / EL UNIVERSAL ILUSTRADO. México, D.F. Julio 26, 1928. Artículos relativos al asesinato del Gral. Alvaro Obregón y a su vida: Fotografías del Gral. Obregón. GUZMAN, Martín Luis. "Apuntes de la Revolución Mexicana: una visión de Venustiano Carranza y Alvaro Obregón"; "El Gral. Obregón y las Rapsodias Populares"; "Trágica muerte del Gral. Alvaro Obregón" (cantos populares); "Algunos 'sketchs' del Presidente Electo." NORIEGA HOPE, Carlos. "La Cámara Mortuoria en la Avenida Jalisco número 185". LE BLANC, Oscar. "Obregón a través de la anécdota". SANTACRUZ, Carlos. "Al margen de la vida de Alvaro Obregón. Soldado y poeta".

Gen. Alvaro Obregón's statements to the press regarding his possible re-election. Certificate of withdrawal of two polychrome cartoons of Gen. Alvaro Obregón, drawn by Mr. A. Audiffred. At the bottom of one of the drawings is a reference to the statements that Gen. Obregón had just given against the Justice Administration of Mexico. / Declaraciones a la prensa del Gral. Alvaro Obregón relativas a su posible reelección. Constancia de retiro de dos caricaturas policromas del Gral. Alvaro Obregón, realizadas por el Sr. A. Audiffred. Una de ellas tiene al pie una referencia a las declaraciones que acaba de lanzar el Gral. Obregón contra la Administración de Justicia de México.

Mr. Fernando López, Superintendent General of the National Railways of Mexico, sends Gen. Alvaro Obregón a letter from Julio Jiménez. Mr. Jiménez requests a scholarship to study singing in Italy, as payment for services rendered in the Revolution. / El Sr. Fernando López, Superintendente General de los Ferrocarriles Nacionales de México, hace llegar al Gral. Alvaro Obregón carta de Julio Jiménez solicitando le dé una beca para estudiar canto en Italia, en pago de los servicios prestados a la Revolución.

European countries, including the Netherlands, are increasingly more willing to return looted art to their former colonies. In doing so, however, they are confronted with hard choices. In "The Empty Showcase Syndrome", Jos van Beurden explores three of the toughest questions that countries and governments face. First, former colonial powers often hesitate to relinquish control over the provenance research into the looted items to their former colonies. Secondly, most private owners keep quiet about their collections, while these collections should also be included in the restitution debates. Finally, many former colonies struggle with the question of where exactly the returned collections should go: to their national museums or to the old royal houses or indigenous communities from which these collections were stolen. In this book, Jos van Beurden uses many examples from the Netherlands, which has recently returned stolen art to Indonesia and Sri Lanka

This is the first work to consider the Japanese warriors from the "intangible culture" perspective. The critical analysis of this intangible culture is applied primarily to the hereditary warrior houses of the pre-Tokugawa ages and to those of the Tokugawa era (1600-1868). Particular attention is paid to the forms of organization and styles of curriculum in warrior training entities and schools of military arts. In addition, a swordsman, Yamaoka Tesshū (1836-1888), is used as a case study to show that in the Bakumatsu period, there were men who strove to resurrect pre-Tokugawa practices and values in response to what they saw as a warrior culture that no longer had any utility in real-life combat and, instead, had been degraded into a form of sport or empty display. The study of Tenshinshō-den Katori Shintō-ryū, the oldest school of military arts in Japan, along with a detailed analysis of the life and thought of Yamaoka (especially in terms of his hitherto unrecognized but pivotal role in the bloodless surrender of Edo castle during the Boshin war of 1868-69) allows us to see warriors committed to intense physical and mental training in the art of killing but whose primary goal was to preserve human life and avoid unnecessary violence (a concept known as "the life-giving sword"). By this, the thesis attempts to overturn the domination in Japanese history and popular culture of the image of "the bellicose warrior" represented by such figures as Miyamoto Musashi. It also looks closely at several groups of commoners such as Rōshigumi who in the 1860s were sanctioned by the Bakufu to wear weapons and participate in armed conflicts; the thesis argues that the co-existence of the two-sworded warriors and the two-sworded commoners late in the Tokugawa era is directly responsible for our distorted historical understanding of the bushi and its exaggerated link with violence. The thesis also explores the present-day use of what Japanese government, businesses, and educators claim to be the values and practices of the ...

In the context of expanding competition, the desire of manufacturers and sellers to attract potential consumers to their goods and keep their emotional attachment is increasing. The use of works of art in their activities has a special effect on consumers, guaranteeing an instant response due to the effect of recognizing a famous masterpiece. Approaching the issue of using images of museum objects for commercial purposes and from a legal point of view, in practice, many controversial issues often arise, since the special imperative norms of museum legislation on granting the right to use images of museum objects in commercial activities with the consent of the museum largely coincide with the content of the rights of the owner exclusive right to an object of intellectual property. In this regard, this article aims to analyze whether there is a dualism of the legal nature of museum rights and determine ways to resolve it. In this work, methods of analysis, comparison and generalization are used. It is concluded that the museum object is not an object of intellectual property, but the result of its reproduction can be considered within the framework of legislation in the field of intellectual property. The results of this study can be used to conduct further scientific research on this and related issues, including as a theoretical basis for studying the problem of the misuse of images of works of art from museum collections, and can also become a starting point for research in the development of legal aspects of the museum legislation and legislation in the field of intellectual property. ; В условиях расширения масштабов конкуренции повышается стремление производителей и продавцов привлекать к своим товарам потенциальных потребителей и поддерживать их эмоциональную привязанность. Использование предметов искусства производителями и продавцами оказывает на потребителей особое воздействие, гарантирующее мгновенный отклик за счет срабатывания эффекта узнаваемости известного шедевра. При использовании изображений ...

The article examines and scientifically analyzes the works of the famous Bukhara miniaturist Sadriddin Pochchayev, covering the history of the last period of the Bukhara Emirate and the former Soviet government. In particular, the study of the Middle Ages, the emirate, historical events of the former Soviet Union, miniatures, portraits, jewelry depicting subjects. The article also recommends visiting the Bukhara Museum of Fine Arts for an exhibition of works by the famous Bukhara miniaturist Sadriddin Pochchayev.

Zn(OAc)2.2H2O (5 mol%)-catalyzed one-pot multicomponent reaction of β-napthol, aldehydes and amide/thioamides to produce corresponding amidobenzylnaphthols in shorter reaction times (20 min-2 h) under neat conditions at 70 oC, is reported in good to excellent yields (58-95%).

Exile and migration played a critical role in the diffusion and development of modernism around the globe, yet have remained largely understudied phenomena within art historiography. Focusing on the intersections of exile, artistic practice, and urban space, this volume brings together contributions by international researchers committed to revising the historiography of modern art. It pays particular attention to metropolitan areas that were settled by migrant artists in the first half of the 20th century. These arrival cities became hubs of artistic activities and transcultural contact zones where ideas circulated, collaborations emerged, and concepts developed. Taking six major cities as a starting point — Bombay (now Mumbai), Buenos Aires, Istanbul, London, New York, and Shanghai — the authors explore how urban topographies and landscapes were modified by exiled artists re-establishing their practices in these and other metropolises across the world. Questioning the established canon of Western modernism, Arrival Cities investigates how the migration of artists to different urban spaces impacted their work and the historiography of art. In doing so, it aims to encourage the discussion between scholars from different research fields, such as exile studies, art history, architectural history, design history, urban studies, and history.

Since the 21st century, the development of digital technologies, the accessibility and democratisation of new technologies through their free redistribution at open source have made it possible to bring creativity, science and technology together. The relationship between arts and science, particularly in the field of plastic performance, is putting into practice a new form of interdisciplinarity that music brought into play at an early stage in the 1950s. The aim of this article is threefold: (1) consider the complexity of the musical object, a basis for musical investigation, (2) enhance the "Intersciences" model developed by the Axois Bernard Vecchione musicologue at the end of the 20th century and (3) use the epistemological routes opened up by the latter, proposing a metamusicological reflection here. ; International audience ; Since the 21st century, the development of digital technologies, the accessibility and democratisation of new technologies through their free redistribution at open source have made it possible to bring creativity, science and technology together. The relationship between arts and science, particularly in the field of plastic performance, is putting into practice a new form of interdisciplinarity that music brought into play at an early stage in the 1950s. The aim of this article is threefold: (1) consider the complexity of the musical object, a basis for musical investigation, (2) enhance the "Intersciences" model developed by the Axois Bernard Vecchione musicologue at the end of the 20th century and (3) use the epistemological routes opened up by the latter, proposing a metamusicological reflection here. ; Depuis le XXIe siècle, le développement des techniques numériques, l'accessibilité et la démocratisation des nouvelles technologies via leur libre redistribution en open source ont permis un rapprochement inédit entre création, sciences et technologies. Les relations entre arts et sciences, notamment dans le domaine des performances plastiques mettent en pratique une nouvelle ...