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Copyright of Cuadernos de Arte de la Universidad de Granada is the property of Universidad de Granada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Goya is the property of Fundacion Lazaro Galdiano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The importance of drawings made by Jan Cornelisz Vermeyen in the Battle of Tunisia of 1535 is unquestionable in the becoming of the paintings of battles, but also, in the painting of maps, since then, cartographic devices became key elements for the exaltation of monarchs and rulers. However, so far it has gone unnoticed that the first cycles were these strategies were used were the mural paintings of the Tunis Campaign made between 1536 and 1546. Throughout this article are presented Tunisian Hall of the palace of Marmirolo in Mantua, the lodge of the Orsini palace in Anguillara and the Tunisian Hall of the Alhambra of Granada, sets, so far not studied in their context, which present a propaganda use of landscape painting and the war representations of the territory. [ABSTRACT FROM AUTHOR]

In this article, based on ethnographic fieldwork, I intend to discuss how in San Lorenzo, Costa Chica of Oaxaca, so both space and time are determined by gender, i.e. how it produces space-time imaginaries full of symbolisms, power and generically distinct meanings. These differences make it possible for men to control the productive sector, through symbolic domination. I am interested in how, despite the existing ideology in Morelos that assigns women to domestic spaces in spite of the existing ideology in Morelos. They hijack public spaces and turn them into domestic ones, feminizing the spaces through their practices. [ABSTRACT FROM AUTHOR]

Copyright of Siglo Cero is the property of Siglo Cero and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)