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

The paper analyzes the set of mosaic floors built in the traditional houses of the Roncal Valley using river pebbles. Fieldwork has been carried out structured in a methodology of survey and registration of both the pavements themselves and the traditional knowledge that supports their making process. The study of each piece involved taking images, measurements and obtaining data about materials and manufacture. For this purpose, Initially, non-experimental research has been conducted consisting of a descriptive study through an analytical questionnaire focused on the type of the flooring, its arrangement model, and the ornamental and significant elements of its decoration. After the correlational analysis of the results, the technological component provided by the graphic discourse within the community and in the domestic nucleus that hosts it was evaluated.

In the National Museum of the Viceroyalty in Mexico, a "folding screen" of The Conquest of Mexico was installed as a simulation since the 1980s, unconnected with its material nature and history. The four paintings, made up of two boards each, never had the function of self-support and articulation characteristic of these pieces of furniture, nor did they acquire it when their assembly was simulated. This text presents the historical research and the contribution of unpublished documentary information regarding their location and arrangement in the Infantado Palace in Madrid, at the end of the 18th century. The analysis of its structure contributes to understand the intentionality of its authors, the different uses it has had throughout its history and the comparison with other similar sets of the same subject, in order to support the proposal to exhibit them as separate hanging paintings in the museum.

Numerous investigations have been carried out on the Bauhaus that have demonstrated the repercussion that the work developed by the German school through some of its members has had on the history of design and architecture; however, few of them have deepened the knowledge that Spanish architects had about their advances in furniture in the interwar period. The present research seeks, through the analysis of the contents of the periodical Spanish architecture publications published between 1918 and 1936, to identify the references that the Spanish architects of the moment were able to know about the theory and work of the directors, teachers, and students of the Bauhaus in relation to the furniture and the interior. As a conclusion to this study, the aim is to define the penetration process of these proposals in Spain.

The Exhibition of A Coruña it was celebrated in August 1919. Organized by the Provincial Council of Agriculture and Farming and promoted by the Chief Mining Engineer Ramón del Cueto y Noval to show the production generated by the industries and businesses of Galicia. Due to the scarce documentary sources that are preserved on this event, specially at the photografic catalog, the production of the most important industries of A Coruña in the first decades of the 20th century can be located. As a result, the companies are announce and some specific examples of the artistic production and disappeared material culture that was created in these moment, such as the scenography by José deSouza Losada, the Wonenburger foundry, the glassworks by Narciso Pereira or the marbles by Hijos de Baltasar Escudero, among many others.

The institutionalization process of the decorative arts in Spain, which began in 1897 with the inclusion of a section of this specialty within the framework of the national exhibitions of Fine Arts, culminated in 1910 when the national exhibitions of Decorative Arts were created that would be held in 1911 and 1913. While, in 1920, it appears again as one more section of the contests. In 1935 they were re-established as monographic exhibitions, without any being held until 1947, already in a different political, social and artistic context. The objective of this work is to carry out an overall assessment of the regulations of the national Decorative Arts exhibitions of 1911 and 1913, the aesthetic criteria of its bases, juries and prizes, as well as a monographic study of the same, authors, most representative works and critical evaluation.

In 1988 Massimo Scolari began his collaboration with the company Giorgetti S.p.A. in Meda, in the province of Brianza, Lombardy, transforming his furniture catalogue with pieces that dialogued with tradition, combining modernity and classicism in their forms and craftsmanship and technology in their production. His furniture refers to past manners and spaces, establishing a displacement of his paintings and installations in which antiquity and its archetypal signs interpret the present. This study articulates the motivations of his furniture, the materials, the citation to sources and systems of art history and concludes that his designs responded to the establishment of models that represent the idiosyncrasies of the firm through a postmodern re-reading that he implemented through his work and that of other designers in codes of representation that define Giorgetti today.

Reseña de la exposición "Piccola storia di cucine tra primo e secondo dopoguerra", que se celebra en el Archivio del' 900 del Museo de Arte moderno y contemporáneo de Trento y Roverto (Mart).

This article shows an empirical research situated in the field of musical performance. Its aim is to find out musicians’ thoughts about musical expressiveness and its teaching, in order to deepen and advance in their knowledge and didactic approach. The study, which follows a descriptive method, was carried out with 219 subjects, including teachers and students from a conservatory. The methodological approach applied is quantitative, based on the calculation of basic descriptive statistics, and focused on administering to the participants a questionnaire prepared specifically for the research. The results show that the level of comprehension and emotional intelligence are factors that influence expressiveness, and that this is the most valued characteristic by a performer. On the other hand, it is verified that the work of expressiveness within the performance creation process does not follow standardized guidelines and is taught with different didactic strategies, which normally attend to the student's academic level, although models based on the use of metaphors and technical instructions prevail. Finally, it is concluded that the teaching of expressiveness should be standardized.

The study of factual narratives is in full development at the international level and represents a growing object of interest for post-classical narratology. The aim of this paper is to account for the usefulness of the gradualist notion of “narrativity” for the study of the similarities and differences between three genres of journalistic praxis (news, serial news and a sub-type of journalistic narrative that we will call “overcoming story”) and the way they are received by the reader. Accordingly, firstly, the usefulness of two variables (completeness/incompleteness and presence/absence of narrative tension) is explored in order to make a first series of typological distinctions. Secondly, the result of this enquiry is reconsidered from the perspective of “degrees of narrativity”. Finally, the article proposes some conclusions aimed at showing the productivity of applying this focus to an approach to narrative in journalism as a particular field within the broad spectrum of factual discursivity.

For many heterosexual men, the sexual market, in addition to offering sex, has offered spaces for homosocial exchanges, and as such suspected of reproducing gender asymmetries. However, in the last decade these spaces have been transformed in their forms of visibility and accessibility. In this period online sites emerged and consolidated as places where men who pay for sex exchange experiences and socialize. Based on a virtual ethnography carried out in the two most important online forums in Argentina, this article analyzes forms of homosociality in these virtual spaces, and their links and tensions with different forms of masculinity. The analysis articulates the dynamics of homosocial sharing and its transformations in online forums, taking into account the role of the sexual market economy itself. The aim is to understand the links between these forms of homosociality, the reproduction (or not) of the patterns that sustain gender asymmetries and the specific characteristics of the interaction between men in the online world.