Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

At the beginning of the 18th century, a modernization process characterized by the continuous refinement of vernacular forms and customs in matters of appearance can be observed in the main European capitals; understand these as the clothing apparatus, furniture and the different patterns of behavior. Paris, recognized as a reference point for good taste among European courts, exports its models since the end of the 17th century. However, it is from 1750 when a remarkable acceleration of the process of diffusion of French fashion is perceived through prints, drawings, treaties and the already popular poupé de mode1  [1] [2]. We observe, therefore, from the second half of the century, an outstanding tendency towards the homogenization of European fashion. In this sense, analyzing the costume and jewelry of the eighteenth century means assisting the process of acculturation of some groups whose behavior will set the tone for the rest of the population (Molina and Vega, 2004, p.10). The objective of this study is the presentation of the different sistems of current trends in women's jewelery, as well as the analysis of the different social and technical factors that intervene in their creative production.  

The main objective of this study is to analyse the changes that has taken the cinema to be transformed into hypercinema. We have attended to a transformation of the exclusive screen to the global screen, to a metaphorical death of cinema, taking part into the transformation process of hypermodernity, not even leaving alone the concepts of cinephilia and/or ciemania and arising the need of a new methodology that framework such approach.The concept of “hypercine” is born into the second modernity and it has affected the process of technification that society has overcome. We are going to take over an analysis of contemporary cinema as a form of art immersed in a spiral of marketing strategy predominantly ending with the study of the “hyperspectator” and the core idea as a base for “hypercine”. As a real witness of this theory we are going to use The Walt Disney Company because it offers us the point of view of “hypermodern” media enterprise, due to its style of leadership based on intermedial synergism as well as the creation of “transmedia storytelling” into the framework of cultural atmosphere and arts‟ world.    

It is well known that many poets tend to use popular beliefs when it comes to create their pieces of works about historical charaters. No wonder then Spanish poet Ana Rossetti has taken Gilles de Rais’ collective imaginary to write her poem in which she depictes the sexual activity and the homicides that have tipically been attached to the French noble throughout history. This paper aims to analyse how Rossetti manages to introduce De Rais’ figure into her poem, focusing on his vicious appetite for young boys, and how she, in closing, comes back to the literary topic of sex and death.    

En este artículo se presenta una breve reseña de la arqueología en el Ecuador con el fin de enmarcar las culturas originarias con respecto al tiempo; la descripción de las culturas de la región costa del Ecuador, de acuerdo a la periodización que propuso el arqueólogo autodidacta Emilio Estrada Ycaza y los arqueólogos Clifford Evans y Betty Meggers, con reajustes cronológicos propuestos por el arqueólogo Santiago Ontaneda y; por último una propuesta original de aplicación de la iconografía precolombina en obras de arte sobre materiales alternativos a partir del análisis geométrico de las imágenes de los objetos originales.    

The main objective of this project is to get to know the presence of the French car in our country. In Spain, there are a lot of museums focused on the automotive, which evaluate and choose the most important among them, being private, public or subsidized. This article is divided into three chapters, which are: a) a brief story, especially of the French car, b) the presence of the French car in Spanish collections and c) a detailed analysis of the French car specifically in the Museo del Automóvil de Málaga.     

In the city of Málaga there are several emblematic buildings, in which it can be observed many different architectural styles.This is caused by the crossin of cultures that have been happening over the centuries. Among them, is the Mercado de Salamanca, located in the neighborhood of Molinillo, built at the beginning of the 20th century in Neomudéjar style. In addition to its historical and social value, it has a great artistic value, although nowadays it can be seen a great deterioration caused by the passage of time. For this reason, a total remodeling is necessary to provide a new added value, combining the historic part of the building with the needs of the new times. Reinforcing simultaneously its civil functionality and tourist attraction.    

The escuela bolera is currently a style encompassed within the Spanish dance that emerged in the eighteenth century when Spanish popular dances began to professionalize due in part to the influence of classical ballet that had come to our country from Italy in that same century. This Spanish dance style had its culmination in the 19th century, when many plastic artists left their testimony in engravings and paintings, whether they were protraits of the most outstanding interpreters or scenes of customs. This work aims to collect a series of 19th century paintings, engravings and sculptures that reflect the escuela bolera, which has always gone unnoticed in the shadow of flamenco, ore ven has been confused with this style, much in vogue in the last time.    

The theory of the music of the spheres formulates a harmonic-musical organization of the universe. Initiated in Classical Antiquity, it remained in force during the Middle Ages, constituting a central axis in the transmission of Pythagorean-Platonic thought. It was reelected over time. In these new versions an attempt was made to respond to the early Aristotelian criticism. In this paper we propose a reconstruction of the arguments of Honorius of Autun in this regard, given that they are of capital importance, while trying to establish links between the theory of the music of the spheres and the conception of the so-called fifth element: the ether. With these articulations Honorio tried to save the doctrine of the cosmic music of the observations and even rejections, based on the inaudibility of this music of the stars.    

Assassin's Creed is one of the most successful franchises in recent years in the videogames sector. In the next lines we will analyze its relationship with the recreation of specific historical-artistic periods. In this specific case we look at the Italy of the Renaissance, specifically in Florence during the second half of the 15th century. We will make an analysis of the different artistic landmarks produced in the capital of Tuscany, the most relevant characters of the moment and the various political intrigues that occurred in Florence, cradle of the Renaissance.  

The external gallery in the Peinador de la Reina (Queen’s Dressing Room[1]) of the Alhambra, It was built at the top of the Tower Abu-l-Hayyay. It presents a fresco mural decoration of Italian Renaissance style, with a total of four Shrines between grotto motifs composition: two on the West wall and two on the East wall. Painted by Julio de Aquiles and Alexander Mayner, in these Shrines are represented the figures identified as Minerva, Jupiter, Abundance and Sacred Flame. The passing of time and other factors, explain the state of disrepair in which part of the frescoes in this room are. Thus, the present article discusses the study carried out around the Shrines, and the process of reconstruction through drawing with a view to reaching a visual hypothesis that can help us to understand what these figures may have looked like in their original state.