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This article discusses the representation of the mythical, theological, and picaresque imaginary created around Diego Armando Maradona within different artistic expressions, including criticism, literature, and cinema. The aim is to understand how Maradona's image has been crafted as a footballing, mythical, and iconographic character, especially in the film Amando a Maradona (2005) by Javier Vázquez, which is here subjected to a close reading. We argue that part of Maradona's mythological construction in his sports performance, and his filmic and literary appearances, is generated by means of an iconographic imaginary of poetic, symbolic, material, and affective vindication of the moving picture. [ABSTRACT FROM AUTHOR]

This research to determine the pre-Hispanic context of the Dresden Codex argues that it is Late Postclassic (1250 ad-Spanish conquest) and that it is not necessarily from the area of Chichen Itza. The conclusions modify the view of J. Eric S. Thompson, still highly influential after nearly fifty years, that it was painted in or near the settlement between 1200 and 1250 ad. Because the manuscript is a copy from Classic period sources, it is necessary to establish its date according to the most recent revision. This can be determined from a group of objects in the illustrations that are closely linked with Late Postclassic art. The study further supports interpretation of the period in neutral terms, not decadence. [ABSTRACT FROM AUTHOR]

This article sees the light as the result of a research accomplished at the Xaverian Historic Archives, in Bogotá. The investigation allowed the author to have direct access to the documentary files gathered from different national and international archives, on the goods and chattels which made up the decoration of the church owned by the Society of Jesus in Santa Fe de Bogotá. The actual enclosure, in its decoration, has been modified over the years, having been adapted to the taste of the epoch and to the historic circumstances by which it has been marked, like the fact that it was converted into pro-Cathedral, after the expulsion of the Jesuits from the Kingdom of Spain, in the latter part of the 18th century. Thus, the claim of this article is to try to unveil the first level of the theological-spiritual and didactic reading of the original decorative ensemble of the temple that belonged and still belongs, to the Society of Jesus. Therefore, we will realize a reflection on how the image, the art, that was used always by the Catholic Church to transmit the faith, is a fundamental tool to express a theological content which could be understood by the persons who contemplated it; and we will propose the possible keys of reading, obviously, from the point of view of the Ignatian spirituality, so as to explain from it, the message that the Jesuits were sending to the Bogotanian people, or to any other faithful, who would enter into the sacred place. [ABSTRACT FROM AUTHOR]

The essay deals with the classic motif of the bivium in relation to the figure of Philip II and the literature of his time, sticking to the allegorical poem Triunfos morales by Francisco de Guzmán, published for the first time in 1557 in Antwerp and dedicated to the king. In particular, the lyrical expression of the bivium in Guzmán's work is examined in view of the literary and iconographic tradition, putting it in relation to that outlined by some of the many writers who dealt with this classic motif during the reign of Philip II. [ABSTRACT FROM AUTHOR]

This article studies the archetypes and the iconography in contemporary Mexican films that deal with drug trafficking in order to examine the evolution of the narco cinema subgenre and changes in the representation of the narcocultura. The corpus is constituted by the biggest box office hits each year between 2010 and 2017, which are analysed thematically. This study suggests that the characteristics of the narcocultura continue circulating within Mexican cinema, but it does not point to a subgenre's existence. The genres circumscribing the films analysed promote the narcos' heroism via archetypes and iconography, which symbolize how narcos overcome their modus vivendi to stand as a legitimate authority against a corrupt government. Alongside this representation of narcos, these films also present objectified women and promote values such as loyalty and family. The aforementioned archetypes and iconography offer a view of life in which violence is normalized, and crime is seen as a legitimate lifestyle. [ABSTRACT FROM AUTHOR]

The problem of the iconography of a unique image of a deity drawn on the Middle Kingdom rectangular coffin of Sepi III (Cairo CG 28083; B1C; Deir el-Bersha; CT VI, 386) is discussed in the article. It is possible that the god is the first known image of the syncretic double god Re-Osiris. The deity (with a head unusually for Egyptian iconography unfolded in full face) is shown sitting on a throne with the inscription “millions (of years)”. The image of this god could be a visual display of the eschatological plot described in Spell 1130 of the Coffin Texts (the union of Atum(-Re) and Osiris after destruction of the Universe) at the end in the Book of Two Ways, that is represented on the bottom of Sepi’s coffin. [ABSTRACT FROM AUTHOR]

This paper proposes the reconstruction of the Scythian eschatological concepts on the basis of semantics of the Sakhnivka plate composition (4th century BC, Museum of Historical Treasures of Ukraine, branch of the National Museum of History of Ukraine). Taking into account the ritual detour of the sacral center from left to right in the Indo-Iranian tradition, the plate plots show a consecutive visual statement of the episodes of the myth of Kolaxais’ destiny. The culmination scene of the plate includes three figures. The halfturned and full-face iconography of the Goddess shows her belonging to two figures, on her both sides: to a meeting of the bearded Scythian king on the right and a scene with a young Scythian on the left (an image of the young, “regenerated” king / Kolaxais). Only the last figure has a in caftan wrapped from right to left, i.e. the clasp of the “living person” (as opposed to other figures) that confirms his special status of ‘reborn’. Accordingly, scenes show the important episodes of the Scythian eschatological representations connected with posthumous fate, basis for the ideology of funerary rites. [ABSTRACT FROM AUTHOR]

This paper discusses the intense presence of Eros figures in funerary monuments from the region of Macedonia during the roman period, evolving around the perception of death, the familial bonds and social structure that these monuments reveal. Eros, depicted either leaning on or holding an inverted torch, or sleeping on a rock, when placed upon graves is perceived as Eros funéraire. The funerary connotations of Eros figures often assimilate them with Sleep, Death, and the eternal sadness of Death. Especially when used in the funerary monuments of children, these figures accentuate the parental grief for the loss of their children. On the other hand, the childlike representation of Eros symbolizes the eternal beauty of youth and the parental hope that their deceased children will continue enjoying a happy afterlife. [ABSTRACT FROM AUTHOR]

The formation of the first state system in Europe took place from the conclusion of the Peace of Westphalia in 1648, as a result of the Thirty Years’ War (1618-1648), to the Utrecht (1713), Rastatt-Baden (1714) and Nystad Congresses (1721) which finished the end of the war of the Spanish Succession and the Northern war. The legal fixation of the Westphallian system was accompanied by its public perception and acceptance. First of all, this was demonstrated by International Congresses, which were not only a common negotiation process, but also a place of representation of the significance and culture of each state. In fact, the European Congress was a carefully designed triumph of Рeace within the continent, which required considerable funds, was widely covered in the press and glorified in celebrations, paintings, plastic art, release of commemorative medals, poetry and even fashion. The article presents the most striking examples of iconography of Peace Congresses. The author believes that their performative nature and iconography, emphasizing the European character of Peace and the protopatriotic moods that it evoked, made a significant contribution to the civilization heritage of Europe. [ABSTRACT FROM AUTHOR]

Copyright of Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura 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 Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura 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 Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura 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 Revista Espanola de Antropologia Americana is the property of Universidad Complutense de Madrid 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 essay analyses a corpus of three jácaras by Quevedo: two of them are letters (numbers 849 and 851), where a burlesque language predominates, and a third text --without the form of an epistle-- which features vulgar and impudent expressions (number 864). There are few works known in Italy of this kind, with some gaps in their annotation, so their Italian translation appears to be a challenge, having no previous models to rely upon. The study reflects on the modalities for translating sentences or poetic fragments, suggesting the translation of culturally-marked images and terms, which are difficult to render in the target language. The aim of the work is to try to preserve the sharp humour, the burlesque charge and the iconographic focus of these Golden Age poems. [ABSTRACT FROM AUTHOR]

Copyright of Revista Espanola de Antropologia Americana is the property of Universidad Complutense de Madrid 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 Cuadernos de Prehistoria y Arqueologia is the property of Cuadernos de Prehistoria y Arqueologia 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.)

Extant portions of the Palacio de los Golfines de Abajo were built by the royal steward, Sancho de Paredes Golfín, a native of Cáceres who had served at the court of the Catholic Kings for three decades. The façade, part of the principal courtyard, and the Hall of Arms have interesting features that enable us to analyze the architecture of the Castilian aristocracy in the first half of the sixteenth century, a period in which late Gothic traditions survived alongside Renaissance innovations. In this article, we will examine the façade and study its iconographic programme, suggesting new ways to interpret it. [ABSTRACT FROM PUBLISHER]

Along the. Kingdom of the Minor Habsburgs, the wide shadow of King Philip II started its fading, together with the influences of both his panegyrists and the former iconography of the Monastery. They were essential tools for building up the idea of the Monastery as a symbol of the Counter-Reformation and the power of the Spanish Monarchy. The relationship established by the successors of King Philip II with the Monastery were varied due to their respective preferences about the seasonal stages or 'jornadas' in the Royal Sites, and about convenience and pleasure. As a consequence, along the 17th and 18th centuries the images of the Monastery were updated and completed with some new internal and external views. This research deals with all of them, as well as with their links with the aesthetic ideals and the available engraving techniques. [ABSTRACT FROM AUTHOR]

The palace of the Álvarez Pimentel family is the result of the reforms carried out in 1782 by its owner, the priest José Pablo Álvarez Pimentel, who, basing himself on other palaces erected at that time in Jerez, and using iconical models seen in them, elaborates an iconographic programme of huge moral content. These images, which are repeated in all of them, acquire in each of the palaces a different semantic content, which denote the mastery and understanding of an abstract iconic language, not always understood by the rest of society. [ABSTRACT FROM AUTHOR]

Copyright of Caracteres: Estudios Culturales y Criticos de la Esfera Digital is the property of Editorial Delirio 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.)

Numismatics is the hobby and art of collecting coins and banknotes from different eras and cultures. The reasons minted in various currencies allow us to know historical facts, empires, monarchs, evolution of art, customs and even allow us to display care related phenomena. This paper attempts to locate and identify world coins with images related to the practice of breastfeeding minted from 1900 to 2013 and its subsequent analysis using iconographic methodology. The currencies behave like an interesting and original source of study, yet to be discovered in its entirety, for the construction of the History of the Care and Nursing. [ABSTRACT FROM AUTHOR]

Copyright of Anales de la Academia de Geografía e Historia de Guatemala is the property of Academia de Geografia e Historia de Guatemala 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 Brocar: Cuadernos de Investigación Histórica is the property of Universidad de la Rioja, Servicio de Publicaciones 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 Revista Anuario de Historia Regional y de las Fronteras is the property of Universidad Industrial de Santander 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.)

This article investigates the mural paintings made by the PCTP/MRPP in the Lisbon Metropolitan Area, in the aftermath of the 1974 Portuguese revolution. Drawing on Erwin Panofsky's iconographic method of interpretation, murals are explored from an integrated landscape approach that combines two perspectives: landscapes as representations and landscapes as material artifacts. Findings suggest that the PCTP/MRPP mural paintings translated the visual ideology of social transformation and revolution underlying its politics. Furthermore, they also crystallized performative revolutionary landscapes, in the sense that they materialized acts of collective artistic citizenship, in which the social space of mural production played a fundamental role. [ABSTRACT FROM AUTHOR]

This study aims to describe the Egyptian representations of the afterlife as a path, a journey to rebirth. Although this journey has been described since the funerary texts of the Old Kingdom, is was only in the New Kingdom that its several stages were illustrated and codified in iconography. However, it is only among the pictorial decoration of the coffins of the 21st Dynasty that we find the full development of these themes. Our study focuses on the vignettes used in the decoration of the 21st Dynasty anthropomorphic coffins that illustrate the afterlife of the deceased. Some of this rich iconographic repertoire is only now beginning to be studied. We will focus our analysis on the coffins held at the Sociedade de Geografia de Lisboa. And highlight the narrative character of these representations, describing some of the most important vignettes as episodic allusions to the journey of the deceased in the Duat [ABSTRACT FROM AUTHOR]

In this article I present one possible reading of the spoken texts on Piedras Negras Panel 3. I suggest that these record a conversation between the young lords arriving from Yaxchilan and the Piedras Negras ruler about the banquet which was organized by an ancestor from Yaxchilan. Also, I propose that the BAT.T528 sign was read as ch'u in the Late Classic period which is productive in various contexts. [ABSTRACT FROM AUTHOR]

Copyright of Espacio, Tiempo y Forma: Serie I, Prehistoria y Arqueología is the property of Editorial UNED 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.)

This paper will present some conclusions of an evaluation of the physical, spatial, functional, and social aspects of Classic Maya royal palaces taking into account archaeological and iconographic evidence. For the iconographic evaluation, the analysis examined representations of palace-like ambience on 87 cylindrical ceramic vases, while the archaeological information includes data from the better documented palace groups of the Southern Maya Lowlands, including the Palace Group M7 of Aguateca, the Palace of Palenque, Los 27 Escalones of Kohunlich, Group 10L-2 of Copan, the Central Acropolis of Tikal and the Grand Acropolis Group of Calakmul. In comparing the iconographic corpus with the archaeological evidence, one of the general objectives of this presentation is to provide an example of how the information inherent in the palace scenes can be capitalized to propose more adjusted ideas about the physical, spatial, functional, and social aspects of Late Classic Maya palace groups. [ABSTRACT FROM AUTHOR]

Copyright of Espacio, Tiempo y Forma: Serie I, Prehistoria y Arqueología is the property of Editorial UNED 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.)