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This article aims to review the representations of the exceptional mosaic found in the vicinity of the Kornmarkt in Trier, which, since its discovery, has been subject to different interpretations.Undoubtedly, the unique character and the inexplicable, at least in appearance, conjugation of the two main scenes, with various inscriptions, in the two large concave octagons that stand out in the geometric scheme of the field, that is, a scene perhaps of sleight of hand and another of mythological inspiration with the birth of Helena, have given rise to theories, among others, as opposite as the representation of a mystery cult and, in the completely opposite sense, another that identifies it as an expression of the mockery of traditional cults from the most critical Christian sectors of Augusta Treverorum.In this paper, however, the analysis of the figures contained in the geometric compartments in the shape of a circle and a spindle, with servants and saltatrices, who are also identified by epigraphs with their own names, sheds light on the interpretation of the mosaic. In this regard, the consideration of some parallels for the figures of servants and saltatrices, as well as information from literary sources and the context of the ancient Augusta Treverorum in which the mosaic was commissioned are equally revealing when drawing our conclusions. on the identification of a banquet, including the entertainments of the comissatio.

This article is a result of the Project for the Museographic Renewal of the Rui Barbosa House Museum, in Rio de Janeiro. This approach discusses the introduction of non-original textiles in the museum, since previous research has demonstrated that its environment is partially featureless. From the theoretical point of view, the idea of renewal is supported by the assumption that decorative textiles are necessary to build the narrative in the museum. From this perspective, some reflections are presented here about the originality versus non-originality of the textile typologies inside historical houses. Received: 2018-6-16Revised: 2018-10-22Accepted: 2018-12-11Online: 2019-2-14Publication: 2019-4-30, Este artigo resulta do Projeto de Renovação Museográfica do Museu Casa de Rui Barbosa, no Rio de Janeiro. Nesta abordagem, discute-se a introdução de têxteis não-originais na museografia da instituição, uma vez que a pesquisa demonstrou a descaracterização parcial dos ambientes. Do ponto de vista teórico, a ideia é sustentada pela premissa que os têxteis decorativos são fundamentais para a narrativa museográfica. Desde essa perspectiva, são apresentadas algumas reflexões sobre a originalidade versus não-originalidade da tipologia têxtil dentro dos museuscasa. Recebido: 2018-6-16Revisto: 2018-10-22Aceite: 2018-12-11Online: 2019-2-14Publicação: 2019-4-30

Bu makale, Aventine’deki Santa Sabina bahçesinin arazisinde bulunan ve şu anda Vatikan Müzeleri’nde korunan mozaiklerden birinde betimlenen müzisyenler ve dansçıların olduğu figüratif bir sahneye odaklanmaktadır. Bu temsil, mim veya daha yakın zamanda bir ziyafet bağlamında farklı yorumların ve kronolojik analizlerin konusu olmuştur.Bu katkı, ikonografi ve edebi kaynakların analizine göre, bunların kalıplaşmış bir repertuvara yanıt veren görüntüler mi, yoksa o zamanın geleneksel uygulamalarını mı yansıttığını araştırmaktadır. Son olarak, olayın kahramanlarının temsilinin ne kadar güvenilir olduğu üzerinde de durulacaktır.Bu soruları ele almak için, mozaiğin geometrik desenini yakınlarda bulunan bir başka mozaik ile karşılaştırarak kronoloji oluşturulacak ve aynı zamanda İskenderiyeli Clement gibi çağdaşı yazarların açıklayıcı tanıklıklarını da göz önünde bulundurarak mozaiğin İS üçüncü yüzyılın başlarına tarihlendirilmesi gerekmektedir., This paper focuses on a figurative scene with musicians and dancers in one of the mosaics found in the grounds of Santa Sabina garden on the Aventine, currently preserved in the Vatican Museums. This representation has been the object of different interpretations and chronological analysis within the context of mime or, more recently, that of a banquet.This contribution delves into whether, judging by the analysis of the iconography and literary sources, these are images that respond to a stereotyped repertoire or they reflect customary practices of that time. Finally, we will also reflect upon to what extent the representation of the protagonists of the event is reliable.To address these questions, it has been necessary to date the mosaic to the beginning of the third century AD, establishing this chronology by comparing the geometric pattern of the mosaic with another found nearby, while also considering the revealing testimonies of contemporary authors, such as Clement of Alexandria.

Este trabajo aborda el análisis del programa iconográfico de los mosaicos que pavimentaban el edificio señorial de la villa de “El Alcaparral” (Casariche, Sevilla), un conjunto de 15 pavimentos descubiertos en las campañas de 1985 y 1986, entre los que, junto al célebre del “Juicio de Paris”, se cuentan un fragmentario mosaico de thiasos marino con nereidas, un mosaico con una representación alegórica y pavimentos de tema geométrico en diferente estado, algunos de los cuales se conservan en la Colección Museográfica del Mosaico Romano de Casariche. A partir de los informes de las campañas arqueológicas, el plano y las fotografías realizadas hace más de 30 años, el análisis del programa sigue el recorrido de las estancias conservadas, desde el ingreso, aportando al estudio de cada mosaico el conocimiento de los paralelos descubiertos en las últimas décadas, con el fin de obtener no sólo una imagen completa del programa musivo sino también del contexto arquitectónico de la villa de “El Alcaparral” y la mentalidad de su dominus. This work deals with the analysis of the iconographic program of the mosaics that paved the main building of the villa of “El Alcaparral” (Casariche, Seville). They are 15 pavements discovered in the archaeological excavations performed in the site in 1985 and 1986. Among the mosaics discussed, the mosaic of Paris, the fragmentary mosaic of the marine thiasos with nereids, a mosaic with an allegorical depiction and pavements with geometric schemes, some of the which are preserved in the Casariche Museum Colection. Based on the original archaeological reports, plan and photographs, recorded 30 years ago, the analysis of the program follows the same course of the preserved rooms, from the entrance, contributing to study of each mosaic the parallels discovered in the last years- in order to obtain not only a full picture of the mosaic program but also of the architectural context of the villa “El Alcaparral” and the mentality of its dominus.

The discovery in 2015 of the great mosaic so called of the Zeus’ Loves in Écija (Sevilla) comes to highlight again the quality of the mosaic heritage of the ancient Astigi, capital of the conventus astigitanus in Baetica. It is a large pavement, which contains several pictures, with geometric motifs, Bacchic themes and scenes from the Zeus Loves cycle, among which the legend of the Rape of Europe stands out, as well as one of the Dioscuri, Leda and the Swan, a satyr pursuing a young maiden, identified as Antiope, and by last the legend of Ganymede. The depiction of Ganymede in Roman mosaics is well documented, in particular the precise instant of the abduction with both already in flight. However the Ganymede’s legend in the Astigi pavement of the Zeus’ Loves found in the Plaza de Armas shows a not usual image. This article deals with the literary sources and possible parallels that would have served as a model for the representation from Astigi. Are analyzed several images in Attic red-figure vases, Roman paintings, reliefs and gems and particularly in two mosaic floors, the Antioch pavement of the so called domus of Buffet Supper and the Italica mosaic of the love stories of Zeus, preserved in the Lebrija Palace-Museum in Seville. 2015 yılında Écija’da (Sevilla) Zeus’un Aşkları adlı büyük mozaiğin bulunması, Baetica’daki conventus astigitanus’un başkenti olan antik Astigi’nin mozaik mirasının kalitesini tekrar göz önüne sermiştir. Bu mozaik, aralarında Europe’nin Kaçırılması efsanesinin yanı sıra Dioskur, Leda ve Kuğu, Antiope olarak tanımlanan genç bir bakireyi kovalayan satyr ve Ganymedes efsanesi olmak üzere Zeus’un aşk döngüsünden manzaralar, Bacchus temaları, geometrik motifler ve birtakım resimler içermektedir. Ganymedes’in Roma mozaikleri içindeki tasviri, özellikle her ikisi de uçuş halinde olan kanatları ile kız kaçırma anı olmak üzere kesin olarak belgelenmiştir. Ancak Ganymedes’in Plaza de Armas’ta bulunan Astigi döşemelerindeki Zeus’un Aşkı mozaiğinde tasvir edilen efsanesi olağan olmayan bir görüntü göstermektedir. Bu makale, Astigi’nin temsiline örnek teşkil edecek edebi kaynaklar ve olası paralelliklerle ilgilidir. Attika’daki kırmızı figürlü vazolar, Roma resimleri, rölyefleri ve yüzük taşları (gemler), özellikle Akşam Yemeği domusu olarak adlandırılan Antakya mozaik döşemesi ve Sevilla’daki Lebrija Sarayı Müzesi’nde korunan Zeus’un aşk hikâyelerini tasvir eden İtalyan mozaikleri olmak üzere iki mozaik zemin döşemesi analiz edilmiş

Diseñar una herramienta para la medición de indicadores de ausentismo laboral que dé cumplimiento al Sistema de Seguridad y Salud en el Trabajo, el marco normativo colombiano, las contingencias laborales y la eficiencia en el talento humano de las organizaciones. Este proyecto como opción de grado de la Especialización en Gerencia en Riesgos Laborales, Seguridad y Salud en el Trabajo de la Corporación Universitaria Minuto de Dios, presenta una herramienta que permite vincular los indicadores de ausentismo laboral expresados en el SST, como los que se encuentran en la normatividad legal vigente, para así obtener una medición real del ausentismo laboral en las empresas, dado los altos índices presentados por este fenómeno, que afecta de diversas formas en la productividad, rentabilidad y clima laboral entre otros factores. Existen varias herramientas tecnológicas diseñadas en forma de matrices que presentan indicadores de ausentismo en el mercado, entre ellas están la de la Universidad Santo Tomás, de la ARL Sura, y la construcción propia de la empresa Consorcio Express SAS, bases de análisis y evaluación para identificar los indicadores base para determinar el ausentismo laboral de las organizaciones. Estas herramientas son alimentadas con datos de trabajadores que generan ausentismo laboral y a su vez contienen indicadores normativos o creados por las compañías, y de los cuales se elaboran informes que no obedecen a las causas reales del fenómeno de ausentismo en la empresa. Por tanto, no todas las horas hombres trabajadas- pérdidas, se están midiendo lo cual conlleva a la toma de decisiones erróneas, toda vez que no son calculados de forma integral. Es decir, se mide las ausencias ya sea por enfermedad laboral o común y las incapacidades que estas generan, sin embargo, no se tiene la información real del ausentismo, al no incluir otros eventos tales como permisos, licencias e incapacidades, inasistencias no justificadas, momentos de coyuntura u otras novedades, que ocasionan una serie de deficiencias a nivel de la organización que influyen perjudicialmente en la planificación laboral. Con la realización de este proyecto, se propone una herramienta que permita obtener la información real y veraz que facilite la entrega de informes completos e integrales de la compañía, en relación con las diversas causas del ausentismo presentado en ella, durante un determinado periodo. This project as a degree option of the Specialization in Occupational Risk Management, Safety and Health at Work of the University Corporation Minuto de Dios, presents a tool that allows linking the indicators of absenteeism expressed in the SST, such as those found in the current regulations, in order to obtain a real measurement of absenteeism in companies, given the high rates presented by this phenomenon. There are several technological tools designed in the form of matrices that present indicators of absenteeism in the market, among them are that of the Santo Tomás University, of the ARL Sura, and the own construction of the company Consorcio Express SAS bases of analysis and evaluation to identify the base indicators to determine the absenteeism of the organizations. These tools are fed with data from workers that generate absenteeism and these, in turn, have regulatory indicators or those created by organizations, and of which reports are generated that do not obey the programa de telerrealidad of the organization as they present inconsistencies with reality. Therefore, not all male hours worked-losses are being measured, which leads to erroneous decision-making, since they are not measured comprehensively. In other words, absences are measured, either due to work or common illnesses and the disabilities they generate, however, there is no real information on absenteeism, as it does not include permits, absences, licenses and disabilities, unexcused absences, moments of conjuncture. or other novelties that stop the production of the organization. With the completion of this project, a tool is proposed that allows obtaining the information that allows the delivery of complete and comprehensive company reports on absenteeism presented in it.

Apresentando a trajetória dos têxteis da Casa ao Museu Casa de Rui Barbosa, este artigo procura demonstrar como o desaparecimento e desgaste dessa espécie é proporcional à perda de informação a ela associada. Aponta ainda que, se a renovação museográfica é uma ação legítima para aprimorar a experiência da visitação, apresenta desafios éticos e práticos a respeito da autenticidade dos objetos e, também, de sua natureza material, sobretudo em função do impacto das transformações tecnológicas nos aspectos físicos e estéticos dos têxteis.Palavras-chave: Têxteis decorativos. Cultura material têxtil. Renovação museográfica.Link do artigo: http://memoriaeinformacao.casaruibarbosa.gov.br/index.php/fcrb/article/view/10/32

This paper aims to investigate the new combination of two mythological legends with no apparent connection, the Judgement of Paris and Love of Selene and Endymion, listed as main scenes in a Hispanic mosaic found at Castulo in 2012. With this objective the peculiarities iconographic of both scenes, with an unpublished parallel Selene and Endymion, and their possible relation to different literary versions offered by ancient authors are analyzed, identifying the link between the protagonists of the two scenes on the Castulo mosaic in the works of Lucian, reflecting undoubtedly the semantic transformation of mythology and the influence of Written Culture in Visual Culture, in response to the extent of culture and the line of who commissioned the mosaic with critical ideas of Syrian author. Bu makale, 2012 yılında Castulo’da bulunmuş olan bir Hispanya mozaiği üzerinde yer alan ana sahnede; birbiriyle açık bir bağlantısı olmayan ‘’Paris’in Kararı, Selene ve Endymion Aşkı’’ gibi iki ayrı mitolojik öykünün birleştirilmesiyle oluşan yeni bir araştırmayı amaçlamaktadır. Bu amaçla, her iki sahnenin ikonografik benzerlikleri, Selene ve Endymion’un yayınlanmamış paralelleri ve onların antik yazarlar tarafından sunulan farklı edebi versiyonlarıyla muhtemel ilişkisi, Lucian’ın eserlerinde Castulo mozaiği üzerindeki iki sahnenin kahramanları arasındaki bağlantıyı belirleyerek, şüphesiz mitolojinin anlamsal dönüşüm ve görsel kültürdeki yazılı kültürün etkisini yansıtan özellikleriyle, kültürün kapsamı ile çizgisine ve mozaik hakkında çalışmayı yapan Suriyeli yazarın eleştirisel fikirlerine yanıt olarak analiz edilmiştir.

Cultura de moda na América Latina! É com grande satisfação que publicamos este dossiê que, há aproximadamente um ano, teve início com a chamada de artigos e colaborações para este número. A pretensão de fazer emergir pesquisas que problematizassem a moda no nosso continente era uma ideia que vinha sendo pensada a partir de algumas descobertas importantes até então desconectadas. [...]

This work is result of researchs in Project R&D&I “Patrimonio Arqueológico, Nuevas Tecnologías, Turismo, Educación y Rentabilización Social: un nexo necesario para el yacimiento rural” HAR2015-68059-C2-2-R (MINECO/FEDER,UE). This paper analyzes a representation of Pothos in a mosaic auctioned in the antiquities market, –from a private collection after being acquired at Asfar Brothers, Beirut, in the late 60's. -, today in J. Bagot ArchaeologyAncient Art in Barcelona. More specifically, we will discuss, its interpretation within a scene related to Pelops and Hippodameia. Even the three characters are represented, with an unusual iconography, their identification is undoubtedly established on the base of inscriptions in Greek. To proceed with this discussion, this study analyzes the ancient literary sources and the images of Pothos depicted in the other mosaics, among others, on a mosaic of Pelops and Hippodameia from London antique market in 1979, that had been part of a private collection of California until the 1990s, being auctioned at Christie's in New York on 2010, and in the mosaic of the Weddings of Dionysus and Ariadne from Philippopolis. In connection with the references of some literary sources, the representations of these two mosaics are very revealing to understand the mosaic scene currently conserved in J. Bagot. Bu makale, 60'ların sonunda Beyrut'tan Asfar Kardeşler (Asfar Brothers) özel koleksiyonunda yer alan, günümüzde ise Barselona'daki J. Bagot Arkeoloji ve Antik Sanat'ta bulunan, antika müzayedesinden bir mozaikteki Pothos betimini ele almaktadır. Özellikle de, Pelops ve Hippodameia ile ilgili bir sahnede Pothos'un yorumlanması tartışılacaktır. Üç karakterin de sıra dışı bir ikonografi ile betimlenmesine rağmen, karakterlerin teşhisi hiç kuşkusuz Yunanca yazıtlara dayanılarak yapılmıştır. Bu tartışmaya devam etmek için, bu çalışmada, antik yazılı kaynakların yanı sıra başka mozaiklerde betimlenen Pothos tasvirleri de ele alınacaktır. Ele alınacak mozaikler arasında 1979'da Londra Antika Müzayedesi'nde yer alan, 1990'lara kadar Kaliforniya'da özel bir koleksiyonun parçası olan ve 2010'da New York'ta Christie's'te açık artırmaya çıkarılan Pelops ve Hippodameia betimli bir mozaik ve Philippopolis'ten Dionysos ve Ariadne'nin evlenmesi sahnesinin görüldüğü bir mozaik de yer almaktadır. Günümüzde J. Bagot Arkeoloji ve Antik Sanat'ta korunan mozaik üzerindeki sahneyi anlayabilmek için bazı yazılı kaynaklardan alınacak referanslar ve bu iki mozaikteki tasvirleri yorumlamak gerekmektedir.

En el marco de las investigaciones sobre el yacimiento de Fuente Álamo (Puente Genil, Córdoba), cuyas excavaciones han puesto de manifiesto varias fases de ocupación y funcionalidad diferente desde la época altoimperial hasta la ocupación islámica, este artículo se inscribe en el análisis de los numerosos pavimentos musivos del asentamiento rural y aborda en concreto el estudio de dos mosaicos perdidos que fueron hallados en el siglo XIX, según consta en el informe de la Comisión de Antigüedades de la Real Academia de la Historia, que aportaba dibujos de los mismos. Dado que los resultados de las excavaciones llevadas a cabo en los últimos años en Fuente Álamo reflejan que no todos los pavimentos pertenecen a la misma etapa de la denominada en principio villa del siglo IV, este trabajo presenta un estudio inédito de la iconografía de uno de los mosaicos fragmentarios –con representaciones de un thiasos marino– y el esquema geométrico del segundo, así como su posible atribución a una de las fases documentadas. Among the researches on the archaeological site of Fuente Álamo (Puente Genil, Córdoba), whose excavations have revealed several phases of habitation with different functionality, from the imperial period of Rome to the Islamic occupation, this article is part of the study of the many mosaic floors of the rural settlement and addresses the analysis of two lost mosaics that were found in the 19th century, as recorded in the report of the Antiquities Commission of the Real Academia de la Historia, which provided some drawings. Since the results of the excavations carried out in recent years in Fuente Álamo reflect that not all the pavements belong to the same stage of the villa, which is thought to belong to the 4th century, this work presents an unpublished study of the iconography of one of the fragmentary mosaics –with depictions of a marine thiasos– and the geometric scheme of the second, as well as its possible attribution to one of the documented phases. Este trabajo se inscribe en el Proyecto de Investigación de I+D+i «Patrimonio Arqueológico, Nuevas Tecnologías, Turismo, Educación y Rentabilización Social: un nexo necesario para el yacimiento rural (PATTERN)» de la convocatoria Retos de la Sociedad 2015 – HAR2015-68059-C2-2-R, financiado por el Ministerio de Economía y Competitividad (MINECO, FEDER, UE) y del que soy IP en la Universidad Carlos III de Madrid.

When we speak of the role of the gaze in myth, Medusa & and the legend of her gaze, which changes the viewer into stone &- has a special significance among the various embodiments of the gaze in various mythological periods, for it expresses the view of the ancient Greeks and their regard of the "other" as a key to the mythological. In this way much is also unveiled through the episode about the transformation through the gaze, which transforms into stone, into a new, apotropaic gaze. Thereafter, given myth's symbolism, representations of Medusa resounded through the Roman world, in various media, and very significantly in mosaics. Thanks to the conditions of conservation of mosaics in their original context, the analysis of representations of Medusa on pavements &- in an exchange that today actualises the crossing of gazes which is thereby established between Medusa and the inhabitants of villas and their guests during the time of Antiquity &- shows that in this apotropaic gaze there was a clear conscience choice linked to beliefs in private and domestic domains, be it in context of the domus, be it in within the villa. Ko govorimo o vlogi pogleda v mitu, ima med različnimi utelešenji pogleda v različnih mitoloških obdobjih poseben pomen Meduza, legenda o njenem pogledu, ki spreminja v kamen, pa je odražala pogled starih Grkov, njihov pogled na »drugega« kot ključ do mitološkega. Na ta način veliko razkriva tudi epizoda o preoblikovanju pogleda, ki je spreminjal v kamen, v nov, apotropejski pogled. Kasneje je, zaradi simbolike tega mita, upodabljanje Meduze dobilo širok odmev v rimskem svetu, in sicer na različnih podlagah, na prav poseben način pa v mozaikih. Tako zaradi svojevrstnih okoliščin, v katerih so se mozaiki ohranili v svojem prvotnem kontekstu, analiza upodobitev Meduze na tlakovcih – gledamo jo in ona gleda nas, kakor je gledala, ko so njo gledali lastniki hiše, prebivalci in povabljeni, in skozi izmenjavo pogledov se v današnjem času izriše antika – priča o zavestni in želeni izbiri apotropejskega pogleda in o verovanjih v njegov pomen v domačem in zasebnem prostoru, bodisi v kontekstu domusa, bodisi znotraj ville.

This paper aims to investigate the new combination of two mythological legends with no apparent connection, the Judgement of Paris and Love of Selene and Endymion, listed as main scenes in a Hispanic mosaic found at Castulo in 2012. With this objective the peculiarities iconographic of both scenes, with an unpublished parallel Selene and Endymion, and their possible relation to different literary versions offered by ancient authors are analyzed, identifying the link between the protagonists of the two scenes on the Castulo mosaic in the works of Lucian, reflecting undoubtedly the semantic transformation of mythology and the influence of Written Culture in Visual Culture, in response to the extent of culture and the line of who commissioned the mosaic with critical ideas of Syrian author, Bu makale, 2012 yılında Castulo’da bulunmuş olan bir Hispanya mozaiği üzerinde yer alan ana sahnede; birbiriyle açık bir bağlantısı olmayan ‘’Paris’in Kararı, Selene ve Endymion Aşkı’’ gibi iki ayrı mitolojik öykünün birleştirilmesiyle oluşan yeni bir araştırmayı amaçlamaktadır. Bu amaçla, her iki sahnenin ikonogra­fik benzerlikleri, Selene ve Endymion’un yayınlanmamış paralelleri ve onların antik yazarlar tarafından sunulan farklı edebi versiyonlarıyla muhtemel ilişkisi, Lucian’ın eserlerinde Castulo mozaiği üzerindeki iki sahnenin kahramanları arasındaki bağlantıyı belirleyerek, şüphesiz mitolojinin anlamsal dönüşüm ve görsel kültürdeki yazılı kültürün etkisini yansıtan özellikleriyle, kültürün kapsamı ile çizgisine ve mozaik hakkında çalışmayı yapan Suriyeli yazarın eleştirisel fikirlerine yanıt olarak analiz edilmiştir

The effect of 8 factors [(with/without) daily mixing and moisture control, incubation time (t), temperature, ratio between dry substrate mass and bed’s cross section area (MA), inoculum size (spores/g), wheat germ content (WG), initial pH, and moisture content (M)] in the production of a prolyl endopeptidase (PEP) by Aspergillus niger ATCC 11414 in solid state fermentation (SSF) was tested. Contribution of all the factors was significant (p

This paper provides an overview of the “Proyecto de Renovation Museografica (Museographic Renovation Project)” of the textile collection currently underway at the Museu Casa Rui Barbosa (Rui Barbosa’s Home-Museum ), describing the project rationale and primary approaches of the research methodology, in order to demonstrate how decorative textiles can be articulated into the museography for the purpose of elucidating economic and social aspects of the historical context of these artefacts´ production.

Resenha de: DAVID, Alison Matthews. Fashion victims: the dangers of dress past and present, Londres, Nova Iorque: Bloomsbury Visual Arts, 2017, 220 páginas.

[EN]Based on the study of the horrea architectural remains, this paper analyses some possible horrea representations (barns and store storehouses) in Roman mosaics. Thanks to these mosaics we know how these buildings may have looked like. Our study analyses the different types of horrea represented in the Roman mosaics, some constructive techniques (cancelli) unknown to archaeology, and questions certain rooms located in the horrea that were considered to be sacred, suggesting they should more likely have been watchtowers., [ES]Partiendo del estudio de los restos arquitectónicos de horrea, este trabajo presenta el análisis de algunas representaciones de edificios en la musivaria romana que como novedad son identificados como pertenecientes a horrea (graneros y almacenes). A este respecto, su representación en los mosaicos contribuye al conocimiento del aspecto exterior de estos edificios, paliando en cierto modo los escasos datos proporcionados por los testimonios arqueológicos en precario estado de conservación. Asimismo, el estudio nos permite verificar la tipología de las construcciones figuradas en los mosaicos romanos, analizar técnicas constructivas concretas desconocidas a nivel arqueológico, como los cancelli, y cuestionar la supuesta representación de algunas estancias situadas en los horrea como los espacios sacros, que debieron corresponder realmente a torres defensivas.

This paper describes an experimental methodology to create a collection of printed fabrics following specific rules of Gestalt Theory concerning the formation of expressive units. During the design action,there was not a challenge of adapting the goods to any specific fashion market, therefore, the design methodology proved to be relevant at any level of skill in drawing tools (manual or digital),as well as the different themes or styles. Este trabalho descreve uma metodologia experimental para a criação de uma coleção de tecidos estampados, acompanhando preceitos pontuais da Teoria da Gestalt no que diz respeito à formação de unidades expressivas. Não houve, durante a ação projetual, o desafio de adequar os produtos finais a qualquer nicho de mercado, porém a metodologia projetual mostra-se pertinente em qualquer nível de domínio de ferramentas de desenho (manuais ou digitais) bem como as temáticas e os estilos diversos.

El presente artículo muestra los resultados de una investigación realizada que reflexiona sobre algunos aspectos del comportamiento sexual de los adolescentes, especialmente acerca de cifras que revelan la prevalencia de enfermedades de transmisión sexual, el incremento del embarazo adolescente y el inicio temprano de la actividad sexual. Se ratifica la considerable influencia de los medios de comunicación masiva, que afecta un aspecto central de la cotidianeidad e intimidad humana de los adolescentes: los medios tienen un papel dominante en el desarrollo de la socialidad. Con diferentes propósitos, su uso les da a los jóvenes acceso a temas de salud, de sexualidad, con un tratamiento en su abordaje que induce muchas dudas y sospechas sobre la presentación y calidad del mensaje, no así sobre su importancia. Desde esta perspectiva se analiza el papel que pueden desempeñar los medios en la promoción de la salud, puesto que las campañas a través de los medios masivos juegan un papel muy importante en la modificación de las conductas y estilos de vida relacionados con la salud, cuando son ideadas y ejecutadas de acuerdo con determinados principios, y cuando operan durante varios años. Desde este marco conceptual, se realizó un seguimiento a los contenidos de la programación de canales de televisión de cobertura nacional y regional de mayor audiencia en el estado Zulia, Venezuela, para analizar su programación en relación con los mensajes de salud sexual dirigidos especialmente a los adolescentes. Los resultados revelan que la televisión no dedica espacio en sus contenidos informativos, publicitarios y de entretenimiento, al estímulo de conductas sexuales saludables.Â

O amplo e variado repertório de cenas alusivas à vida cotidiana e à mitologia clássica entre representações figurativas nos mosaicos romanos em tessellatum opus constitui um corpus documental de primeira magnitude acerca do Império Romano. No entanto, estas representações, longe de serem interpretadas genericamente como meras ilustrações mais ou menos fidedignas de uma realidade social, econômica, cultural ou religiosa em virtude de outra temática, são, na realidade, o reflexo das pretensões da elite mais poderosa, cujo setor privilegiado aparece ligado a imagens, a julgar pelo contexto original de mosaicos, fundamentalmente ligado a espaços domésticos da esfera privada, que resulta da sua peculiares circunstâncias de conservação.PALAVRAS-CHAVE: Mosaicos Romanos. Imagem. Elites. Imperio Romano. Antiguidade., El amplio y variado repertorio de escenas alusivas a la vida cotidiana y a la mitología clásica entre las representaciones figuradas en los mosaicos romanos en opus tessellatum constituye un corpus documental de primera magnitud acerca del Imperio Romano. Sin embargo, estas representaciones, lejos de ser interpretadas de modo genérico tan sólo como meras ilustraciones más o menos fidedignas de una realidad social, económica, cultural o incluso religiosa en virtud de una u otra temática, son en realidad el reflejo de las pretensiones de la elite más poderosa, a cuyo sector privilegiado aparecen vinculadas las imágenes, a juzgar por el contexto original de los mosaicos, fundamentalmente ligado a espacios domésticos de la esfera privada, que se desprende de sus particulares circunstancias de conservación.PALABRAS-CLAVE: Mosaicos Romanos. Imagen. Elites. Imperio Romano. Antigüedad. RESUMO O amplo e variado repertório de cenas alusivas à vida cotidiana e à mitologia clássica entre representações figurativas nos mosaicos romanos em tessellatum opus constitui um corpus documental de primeira magnitude acerca do Império Romano. No entanto, estas representações, longe de serem interpretadas genericamente como meras ilustrações mais ou menos fidedignas de uma realidade social, econômica, cultural ou religiosa em virtude de outra temática, são, na realidade, o reflexo das pretensões da elite mais poderosa, cujo setor privilegiado aparece ligado a imagens, a julgar pelo contexto original de mosaicos, fundamentalmente ligado a espaços domésticos da esfera privada, que resulta da sua peculiares circunstâncias de conservação.PALAVRAS-CHAVE: Mosaicos Romanos. Imagem. Elites. Imperio Romano. Antiguidade.