Articles de revues sur le sujet « Historiae Venetae »

“De Raphaeli: Venetian Double Entry Bookkeeping in 1475” de Alan Sangster (Aberdeen University, UK). Comentario realizado por: Esteban Hernández Esteve (Comisión de Historia de la Contabilidad de AECA).

El escritor marroquí Tahar Ben Jelloun reproduce en sus obras la estructura laberíntica de su medina. La circularidad que marca las historias de sus personajes constituye la muralla que protege los misterios, los secretos y los seres. La superposición de composiciones teje, en el interior de esta muralla, callejuelas obscuras que desembocan en la vida de seres cuyo destino fue alienado por los caprichos de la historia. Todo es sombrío: atmósfera, historias, personajes, y estos tan sombríos como la vida de los magrebís cuya identidad ha sido alienada y que están en búsqueda de sus raíces. Tahar Ben Jelloun est un écrivain marocain d’expression française, cependant son œuvre reste foncièrement arabe autant dans la forme que dans le fond. Chaque roman harmonise différentes compositions pour créer le labyrinthe de la culture arabo-musulmane. Son œuvre s’articule, tant au niveau macro que micro, comme une Médina qui est au cœur même de la culture arabe. Chaque histoire constitue une micro cellule (histoire dans l’histoire) qui se cache au fond de ses impasses. Elle suit l’itinéraire de ces ruelles étroites et sinueuses, pour déboucher sur d’autres histoires aussi sombres que certains espaces qu’on trouve au détour d’une venelle dans les souks. En fait, la médina est indissociable des récits et d’événements historiques comme le souligne Tahar Ben Jelloun.

Father Ghewond Alishan: Poet and Historian of Bright Armenia The article is an attempt to present the legacy of the Venetian Mechitarist, Father Ghewond Alishan (1820-1901) and show him as an armenologist, poet and propagator of Armenian patriotism. In addition, the author examines Alishan’s correspondence (the collection of letters is currently being prepared for print), which offers a special, more personal perspective on Alishan and the Venetian monastery on the island of San Lazzaro, where he spent most of his life.

AbstractThe 17th century poem called Historia della guerra del Monferrato is generally deemed to be written in a Piedmontese dialect (specifically, in a variety from Monferrat) and for this reason it is included in Piedmontese anthologies and treated as a Piedmontese text by scholars. This paper aims to show, by a comparative linguistic analysis, that this text it is not actually written in Piedmontese, adding evidence to some neglected suggestions by Carlo Salvioni in this regard. In fact, he believed that the Historia was a text from Bergamo, but even this claim is inaccurate, because the main linguistic features of this text can show that its place of origin is probably an area between eastern Lombardy, Emilia and Venetia, perhaps in the surroundings of Mantua.

In a context already established by Claudio Monteverdi's L'incoronazione di Poppea and other Venetian treatments of the Julio-Claudians, Giovanni A. Boretti and Aurelio Aureli's opera Claudio Cesare bears the heavy influence of the Roman historian Cornelius Tacitus. Aureli took extraordinary care to incorporate specific details from Book 12 of Tacitus' Annals into his libretto, deftly blending fact with fanciful supposition in a manner that echoes many of the concerns about women and monarchy explored in Monteverdi's opera. An aria sung by the young Nero to his mother Agrippina demonstrates the complex ways in which music could teach the lessons of history—both seducing the listener and providing a chilling lesson about the political and moral liabilities of empire.

Abstract The Venetian incunabula and post-incunabula traced in the library of the Nuremberg humanist Willibald Pirckheimer express the significant influence of the two cities’ relationship on shaping early modern culture in North-alpine Europe: The books, traded by Franconian merchants as luxury goods and, due to the miniatures added by Albrecht Dürer, examples of the influence of Italian Renaissance art north of the Alpes, also shaped the development of Greek humanism in the north and played an important role in constituting learned networks. The ambivalent and always shifting relation of their status as luxury goods or as objects of intellectual knowledge continued after Pirckheimer’s death as they became part of important English book collections and in the 1920 s precious pieces of the stocks of the famous Munich antiquarians Jacques and Erwin Rosenthal, the latter studying as an art historian the artistic importance of Dürer’s miniatures in Pirckheimer’s Venetian books.

O objetivo deste artigo é analisar a conjugação de preocupações espirituais e temporais nos escritos jesuíticos mexicanos referentes às missões da Baixa Califórnia em meados do século XVIII, período em que a Companhia de Jesus vinha se enfrentando com as reformas bourbônicas. Toma como exemplos os escritos de dois jesuítas: um missionário (Miguel Venegas) e um educador (F. X. Clavijero). Venegas foi missionário na Baixa Califórnia e autor de Notícia de la California y de su conquista temporal y espiritual hasta el tiempo presente (1739). Clavijero foi principalmente um educador, mas envolvido com o desempenho das missões, conforme pode ser visto na sua Historia de la Antigua o Baja California (1790). Ambos são aqui considerados como representantes da geração de jesuítas mexicanos que, poucas décadas antes da expulsão da Cia de Jesus da Nova Espanha, que combinaram trabalho espiritual com o temporal, dos quais resultou uma bem sucedida experiência missionária e uma rica produção intelectual.

RESUMEN En este artículo, realizamos un sobrevuelo sobre cuestiones sociales de las últimas décadas con respecto al lugar de la traducción de la lengua española en Brasil. Además, tratamos de presentar la relevancia de la traducción en el mercado editorial de las historietas, sobre todo de las latinoamericanas traducidas al portugués, con el objetivo de observar las regularidades del mercado editorial de las historietas traducidas. Al final, presentamos un estudio de caso de la traducción brasilera, intitulada Sendero Luminoso (Editorial Veneta, 2016), de las novelas gráficas peruanas Rupay. Historias gráficas de la violencia política en el Perú (1980-1984), de Luis Rossell, Alfredo Villar y Jesús Cossio (Editorial Contracultura, 2008), y Barbarie. Comics sobre Violencia Política en el Perú, 1985-1990, de Jesús Cossio (Editorial Contracultura, 2010).

Águeda Goretty Venegas de la Torre, Dra en Historia por el Instituto Mora y perteneciente al Grupo HICOES (Historia Cultural e Institucional del Constitucionalismo en España y América) -presidido por historiadores de la talla de Carlos Garriga-, pretende en esta obra estudiar las oscilaciones o avatares de la administración de justicia en el Estado de Zacatecas en una época de transición política, caracterizada por la connivencia de dos modelos como el propio del Estado jurisdiccional y el del Estado de Derecho. Dichos modelos figuraban como la representación de lo viejo y lo nuevo; lo tradicional y lo moderno; la justicia de jueces y la justicia de leyes; lo justo y lo legal, si bien lo que se presentó en los territorios independientes de la América hispánica fue una abigarrada mezcla de elementos que bebían de uno y otro orden político-jurídico.

The works of the sixteenth-century Venetian painter Jacopo Tintoretto (1518–94) present us with a radicalised idea of the cosmos that challenges both the humanist centring of the world on man and the hierarchy of divine authority that dominate the artistic traditions to which he is heir. In their place, Tintoretto confronts us with a ‘machinic’ staging of forces in which man, nature, religious figure and artificial element are integrated within an extended material plane. With this pictorial immanence, Tintoretto presents a ‘cosmic materialism’ unprecedented in Venetian painting. In this, his work gives provocative expression to Deleuze and Guattari's ontology of the artwork as ‘cosmic’ construction, and to their conception of the artist as ‘cosmic artisan’. Via readings of the art historical reception of Tintoretto's work by the art historian Arnold Hauser (1892–1978), and the artistic reception of Tintoretto's work by Paul Cézanne, I explore this expression, and attend to questions of modernity, temporality and art history as they are inflected in Deleuze and Guattari's thought.

BOOK REVIEWS / CRÍTICA DE LIBROS / CRÍTICA DE LIVROS Paul Warde: The Invention of Sustainability: Nature and Destiny, c. 1500-1870 Simone Gingrich & Juan Infante Amate Jesús Fernández Fernández and Margarita Fernández Mier (Eds.): The Archaeology of Medieval Villages Currently Inhabited in Europe Christopher Dyer Giacomo Bonan: The State in the Forest: Contested Commons in the Nineteenth Century Venetian Alps Iñaki Iriarte Goñi Rosa Congost, Jorge Gelman and Rui Santos (Eds.): Property Rights in Land: Issues in Social, Economic and Global History Francisco J. Beltrán Tapia Alessandro Carassale, Claudio Littardi and Irma Naso (Ed.): Fichi: Storia, economia, tradizioni / Figs: History, Economy, Traditions Claudio Lorenzini Sandra Kuntz-Ficker (Ed.): The First Export Era Revisited: Reassessing its Contributions to Latin American Economies Vicente Pinilla Laurent Herment (Dir.): Histoire rurale de l’Europe, XVIe-XXe siècle Juan Pan-Montojo Édouard Lynch: Insurrections paysannes: De la terre à la rue. Usages de la violence au XXe siècle Alba Díaz-Geada Stéphane Le Bras: Le négoce des vins en Languedoc: L’emprise du marché, 1900-1970 Llorenç Ferrer-Alòs José Ignacio Cubero: Historia general de la agricultura: De los pueblos nómadas a la biotecnología Maria Antònia Martí Escayol Dale Tomich: Espacios de esclavitud: Tiempo/tiempos del capital Antonio Santamaría

These stanzas are from an 1842 poem titled “Origin of the Bora,” which recounted the mythical genesis of the strong northeasterly winds that since time immemorial have plagued Adriatic sailors. In the poem, the Bora was no mere weather pattern, but instead the reincarnation of the Slavic nation searching for its slain heroes, the Uskoci pirates made famous in the writings of the seventeenth-century Venetian philosopher Paolo Sarpi and twenty-first-century historian Wendy Bracewell. In typical nineteenth-century Romantic style, the “Origin of the Bora” revealed how the winds (the soul of the sisters of the Uskoci, the Dalmatian womenfolk) blew upon the waters frantically searching for the corpses of their menfolk whom the Venetians and Germans had slain. These winds were relentless—they would never stop their frenzied quest—until the Uskoci heroes were returned home and their spirits were once again able to wield their swords along the “Illyrian contradas.” In the meantime, the poem warned, “Woe to any German or Venetian boat that advances … Their sails will fall in a heartbeat,/ And with the opposition of the wind they will be done for.”

The article discusses the image of the city presented in the novel Smutna Wenecja by Wacław Kubacki, an outstanding literary historian, and how the writer’s interests and experiences influenced the topic and the character of the work (he utilised his journals). The city depicted by Kubacki seems to possess a dichotomous nature. The Venetian garden of the arts and the mecca of academics was contrasted with the Venice of poor and foul recesses. The author contrasted the Venice of tourists’ “unbridled excess” with the reality of the life of Venice’s proletariat. The article indicates the linguistic and compositional means which the writer used to reflect that duality, beauty, and ugliness. The article also indicates the dominant features of the novel, i.e. intellectualism and sensoriness.

Late in the year 1028, Adémar de Chabannes embarked on an ambitious and audacious project to create a new liturgy for the Feast of Saint Martial that would venerate its honoree as an apostle. It is difficult to exaggerate the monstrous nature of the venture and the claim it supported. The historical Martial was well known from the works of Gregory of Tours, the sixth-century historian, as a third-century Roman missionary to Aquitaine and first bishop of Limoges. There his burial place became an important pilgrimage destination and the eventual site of a Benedictine monastery founded in Martial's memory. Adémar, with the full support of the abbot, Odolric, and monks of the abbey of Saint-Martial, and Bishop Jordan of Limoges, sought to transform the historical Martial into a first-century Jew, younger cousin of Simon Peter, an intimate of Jesus himself, whom he served at the Last Supper, Saint Peter's personal delegate to Gaul, and a saint of apostolic rank.

The illuminated Book of Hours dedicated to the Blessed Virgin Mary which was originally held in the former Paravia Library is today located at the Research Library in Zadar. Unfortunately, no information exists about this manuscript. It is bound between covers made of wood veneer and sheathed with black leather. It consists of 156 folios which contain the Office of the Blessed Virgin Mary, the book of hours dedicated to the Blessed Virgin Mary, the book of hours dedicated to the Holy Spirit, Holy Cross, a portion of the office for the dead, seven funerary psalms and various prayers for specific occasions. The text is written in a single column on folios made of vellum (8 x 11.4 cm). It is written in literary Latin, in the Italian-style Gothic script. The text is written in black ink which dominates the manuscript while the rubrics are in red. The text begins with a calendar of which only January, February, November and December remain. The painted decorations feature in the initials and in the margins; there are no stand-alone illustrations filling an entire text-free page. The manuscript has three types of illuminated initials: litterae historiate, litterae dominicalis and litterae ferialis. Of those, there are six litterae historiatae, the subjects of which follow the aforementioned offices contained in the text. Each decorated littera historiata is located within the text, which is framed by a wide border filled with a decorative rinceaux-type band, the main element of which is ivy enhanced with interwoven flower motifs. The Litterae dominicales were rendered so as to form stylized floral shapes and elements dominated by an intense blue, red, green and yellow colour. Initials which resemble stylized flowers are framed on both sides by an L-shaped vegetal scroll which is most commonly composed of multi-coloured blue and red flowers, leaves, and gold and black “fruits”, that is, the motif of a sun disc with rays. The Litterae ferialis were depicted in two ways, either in red and blue or in gold and blue. If the letter is blue, the decoration and the dense graphic ornament are in a contrasting colour such as red, and vice versa, the latter sometime accentuated with tiny gilt details. Each initial is accompanied by a littera arabescata with a small undulating graphic ornament descending from the litterae ferialis along the text. The Book of Hours contains only four Litterae dominicales (fols 15v, 28r, 31r and 38v). Most pages feature a littera dominicalis and a littera ferialis. Litterae arabescatae, which descend from the ornamental bases of the litterae ferialis, consist of three spiral scrolls with a necklace-like sequence of motifs such as birds, flowers, and peculiar huts with volute-like ornaments which resemble pagodas, and these are then interspersed with other, much smaller motifs, for example crosses, flowers and beads. Decorative margins found on the pages with the illuminated litterae historiatae display features of a sporadic Mannerist influence in the newly established refinement of the classical Renaissance, but also a solidity which is in contrast to the lush late Gothic drôleries which had dominated before. For example, on in the decorative margin on folio 59v there is a masked head. With regard to the painted initials inside the litterae historiatae, certain details, such as the rendering of volume with emphasized black outlines, the positioning of the bodies and similar designs, demonstrate compatibility with a number of contemporaneous examples of manuscript illumination which have been preserved in Croatia. In the first place are the illuminated manuscripts from the Treasury of Split Cathedral such as the image of king David in the initial B in the fifteenth-century Psalterium Romanum (ms 633, fol. 5, Cathedral Treasury, Split). Compared to the Renaissance manuscript illuminations at Zadar, it can be noted that the figural illuminations, the litterae historiate, in this Book of Hours are stylistically closest to the Missal of Abbot Deodato Venier. In her article Manoscritti miniati di area veneta e padana nelle biblioteche della Croazia: alcuni esempi dal XIII. al XVI. secolo, F. Toniolo linked the marginal decoration of the Zadar Book of Hours to the type used by the Venetian miniaturist Benedetto Bordone, to whom Susy Marcon too attributed the Zadar codex. However, F. Toniolo pointed out that she was not convinced that this miniaturist decorated it himself, stating that it is more likely that it was the work of a different illuminator from his workshop. She then compared the Zadar Book of Hours with a work of a miniaturist who has been named The Second Master of the Grifo Canzoniere (Il Secondo Maestro del Canzoniere Grifo) after a collection of poems composed by the court poet Antonio Grifo, in which he decorated several pages. She compared the Zadar Book of Hours with fol. 233 of the Grifo Canzoniere, which depicts the Triumph of Anteros and Venus Genetrix surrounded by a marginal decoration similar to the one at Zadar. The miniaturist who illuminated the Zadar Book of Hours must have interacted with or worked within the circle of artists whose works Toniolo identifies as the comparative material for the Zadar illuminations, which can be immediately observed at first sight. For example, the marginal decoration is typically Venetian, and similar to the type used by Julije Klović (Giulio Clovio), Girolamo da Cremona, Benedetto Bordone and other minaturists who worked in this circle. However, if one compares figural illuminations, only a number of differences can also be noted. Although the proposed definition of this circle of manuscript illuminators is highly likely, in my opinion, the issue of the miniaturist responsible for the Zadar codex remains open to debate. Since there is no information about the manuscript, and given that this is an easily portable object, it is difficult to say whether it was produced locally or brought to Zadar. Based on the stylistic and comparative analysis presented in this article, I suggest that this Book of Hours may have originated in the manuscript illumination circles of Ferrara or even Lombardy, and I argue that the workshop in question demonstrates either the strong influence of the Venetian school or the fact that some of its minaturists maintained connections with the Venetian lagoons.

Este artículo busca analizar los elementos a través de los cuales se construye la identidad del héroe en la figura del niño en el cómic El árabe del futuro de Riad Sattouf. Al explorar su propia infancia, itinerante y multicultural, Sattouf crea una imagen de su yo niño vista desde diferentes perspectivas. Para empezar, los viajes, que marcarán ese periodo de su vida y el de su familia, constituyen el hilo conductor de una historia atravesada tanto por los designios del padre como por la historia de diferentes países de Oriente Medio desde finales de los años setenta hasta mediados de los años noventa. Sumado a esto, la autoridad y las imposiciones del padre serán determinantes para el personaje de Riad niño, que lo admira y lo venera, pero que a medida que pasa el tiempo y avanza la narración se percata de que la imagen que había construido en torno a él estaba distorsionada o al menos incompleta. De esta manera, Sattouf nos ofrece un relato autobiográfico que a lo largo del cómic se sirve de aspectos como el uso del color para distinguir los espacios geográficos por los que transita y, a la vez, para establecer relaciones de afecto y cercanía con esos lugares que habitó durante su niñez. A lo largo de seis volúmenes, El árabe del futuro enfatiza el valor de la figura del niño como un héroe de lo cotidiano, de curiosidad e imaginación sin límites, de pequeñas hazañas y grandes descubrimientos.

The paper presents an Ottoman map, which in one part shows in more detail the area of the Bosnian eyalet with its surroundings, i.e. parts of the area of early modern Croatia and Bosnia and Herzegovina. Its author is Haji Khalifa or Katib Çelebi, an Ottoman historian and bibliographer from the mid-17th century. The map is in the autograph of the first version of his work Cosmography (Cihânnümâ) from 1648, preserved in the Austrian National Library in Vienna. The aim of the paper was to establish how the mentioned geographical area was observed by the Ottoman cartographer, what is the possible reason for the creation of the map and what were the sources of information contained in it. As the map was made during the Candian War, after the fall of Klis into Venetian hands in 1648, it is possible that the author himself made the map with the aim of visualizing the Ottoman border in the Dalmatian hinterland and explaining its significance in the Ottoman centre. Solid precision in positioning and listing local toponyms, the direction of providing road communications as well as the content of marginal notes on the map, indicate that the author probably consulted someone familiar with local circumstances.

De Computis presenta su Volumen 16, Número 1 (junio, 2019) incluyendo cinco trabajos doctrinales realizados por autores de Italia, Brasil, Portugal y España; y escritos en italiano (1), inglés (2) y español (2). En este Número también se han publicado dos comentarios bibliográficos. Uno realizado por Esteban Hernández Esteve (Comisión de Historia de la Contabilidad de AECA) del libro de Alan Sangster (Aberdeen University, UK): “De Raphaeli: Venetian Double Entry Bookkeeping in 1475”; y el otro por Julián Hernández Borreguero (Universidad de Sevilla) del libro de Susana Villaluenga (Universidad de Castilla-La Mancha) titulado: “Administración y Gestión Contable de un Patrimonio Eclesiástico en el Siglo XVI: El Cabildo Catedralicio de Toledo”. Además, se ha publicado una reseña de tesis doctoral realizada por Félix Núñez titulada “La gestión estratégica de los corrales de comedias de Madrid a través del análisis de los libros de cuentas (1700-1744)”. Los autores de este número han sido Stefano Coronella (Università Parthenope di Napoli); Giuseppe Galassi, (University of Parma); Álvaro Pereira (Universidad Federal de Pernambuco, Brasil), Ana Maria B. Sotomayor y Jorge José Martins (Instituto Superior de Contabilidad y Administración de Lisboa – ISCAL); Inmaculada Llibrer (Universidad Católica de Valencia) y Susana Villaluenga (Universidad de Castilla-La Mancha); y Ana María Coll Coll (Universitat de les Illes Balears). Agradecemos a los autores el haber confiado en De Computis para la difusión de sus trabajos. Hay que señalar que la publicación del trabajo de Stefano Coronella ha sido fruto del acuerdo de intercambio de artículos entre la Rivista Italiana di Ragioneria e di Economia Aziendale (RIREA) y De Computis.

Allen C. Guelzo, Abraham Lincoln: Redeemer President (Grand Rapids, MI: William B. Eerdmans, 1999)William Lee Miller, Lincoln's Virtues: An Ethical Biography (New York: Knopf, 2002)Stewart Winger, Lincoln, Religion, and Romantic Cultural Politics (Dekalb, IL: Northern Illinois University Press, 2003)Since Good Friday 1865 most Americans have adored their sixteenth president. They venerate him because he so vividly embodies their two most cherished cultural stories—the poor farmer's boy risen to the top, the preacher of charity martyred for his people—while so strikingly surpassing even those mythic achievements. For the masses Lincoln lives on as the visionary emancipator, forgiving warrior, self-taught wordsmith, contemplative sage, and (most miraculous oxymoron of all) honest politician. For intellectuals Lincoln commands allegiance for his reasoned argument, his practical political judgment, his commitment to the principles underlying republican communities, and his tradition-rich eloquence (Shakespeare and the King James Version vying for prominence in his speech with authentic backwoods witticisms). How strange, then, that until Allen Guelzo's Abraham Lincoln: Redeemer President appeared in 1999 no historian had written his intellectual biography. Many important studies of Lincoln's thought have been produced, going back to Harry V. Jaffa's 1959 classic Crisis of the House Divided: An Interpretation of the Issues of the Lincoln–Douglas Debates (Guelzo calls it (p. 469) “incontestably the greatest Lincoln book of the [twentieth] century”) and beyond that to William E. Barton's now forgotten The Soul of Abraham Lincoln (1920), a trenchant study of Lincoln's religious thinking. But Guelzo is the first to produce an intellectually disposed life of Lincoln, one that follows the lead of Daniel Walker Howe (most recently expounded in Making the American Self: Jonathan Edwards to Abraham Lincoln, 1997) by putting Lincoln's “Whig culture” and his distinctive theological musings at the heart of his personal and political story.

The article considers the features of the chronicle by Gian Giacomo Caroldo and its place in the historiography of Venice. Caroldo was a Venetian politician, diplomat and historian who lived in the 16th century. His work covers the historical period from 421 to 1382. Caroldo’s chronicle reflects the diversity and complexity of the political life of Venice. In Venice, according to J. C. Hocquet, there were two directions of historical thought since the 14th century onwards. The first group expressed support for the active military policy of the Republic. The second proposed the development of trade advancement instead of a military-political expansion. The influence of the above trends on the work of Caroldo has not been raised in historiography. For that reason, there is a research task (goal) to determine the place of Caroldo’s chronicle in the historiography of Venice. In order to achieve it, a number of intermediate tasks were solved. It was demonstrated how the social, political and cultural features of the Venice history in the late 15th and early 16th centuries influenced the views of the author. The manuscript tradition of the Caroldo chronicle and its widespread distribution in the Veneto region was also investigated. The article considers specifics of Caroldo’s views on history as an educational tool in the formation of the competencies of statesmen. The analysis of the previous traditions of historical thought (the chronicles of Andrea Dandolo, Caresini, Enrico Dandolo, Morosini, Lorenzo de Monacis and Sabellico), on which the chronicler could rely in his work, was conducted. The author comes to the conclusion that Caroldo, like his famous contemporaries Machiavelli and Guicciardini, made a significant step in the formation of scientific principles of historical knowledge. Caroldo’s rationalism, consistency and rigour in the selection of facts contributed to the creation of many copies of his chronicle.

Este quinto número de Contrapulso está dividido en tres secciones: el dossier anual, la sección de artículos libres, y la sección de reseñas de libros, que ahora suma documentales. El dossier, “Voces y vocalidades en música popular” fue convocado por el historiador Javier Osorio, miembro del equipo editorial de Contrapulso, y la musicóloga Laura Jordán, de la Pontificia Universidad Católica de Valparaíso. El propósito de estos dossiers es estimular y aglutinar investigación en temas relevantes o de punta en los estudios de música popular en la región, algo que en este número cumplimos con creces, puesto que recibimos el triple de los artículos esperados. Es por eso que hemos decidido dividir el dossier en dos partes, realizando una primera entrega de cuatro artículos en este número y una segunda en el sexto número de enero de 2022. Esta primera entrega del dossier es presentada por sus editores en las páginas siguientes. La sección de artículos libres ofrece dos textos sobre casos de México y Chile, abordados desde la historia y la etnografía, respectivamente. El primero es de Liliana Toledo Guzmán y se refiere a las canciones prostibularias en el cine mexicano de la primera mitad del siglo XX, cuando la capital de México experimentaba un crecimiento demográfico inusitado, surgiendo preocupaciones morales respecto a la transformación del espacio urbano y el surgimiento de la mujer moderna. Este estado de cosas contribuyó al aumento de la prostitución, que empezó a aparecer como tema en el cine de cabaret y en géneros como el bolero, el danzón y el fox-trot, aunque desde la mirada del hombre, no desde la prostituta. Al mismo tiempo, el cine enviaba mensajes moralizantes que reforzaban la noción de familia patriarcal y la preservación de la virginidad femenina. El cine y la música de temática prostibularia dejó escaso espacio para abordar tramas distintas a las del amor romántico, expresado habitualmente por protagonistas masculinos enamorados de prostitutas, quienes terminaban siendo los verdaderos protagonistas de estas historias. El artículo aborda uno de los ejemplos más representativos de este tipo de filmes, Santa (1931), con música de Agustín Lara. El segundo texto, “Alegría a contracorriente: Los muchos carnavales de Santiago como espacios de reconstrucción comunitaria” de Lorena Ardito y César Puentes, dialoga con la temática del dossier anterior “Música, sonido y movimientos sociales” (Contrapulso 2/2, agosto 2020), que convocaba artículos que abordaran las formas en que la música popular ha acompañado históricamente estos procesos en la región. “Alegría a contracorriente” reflexiona sobre el devenir histórico de “tensiones y mixturas, anhelos y olvidos” de expresiones carnavalescas en el espacio público chileno. Sus autore/as proponen el recorrido de un proceso que se ha ido nutriendo de múltiples expresiones de baile carnavalesco y de distinta procedencia, que a su vez mezcla, operando como espacio de reconstrucción social, política y cultural de lazos comunitarios. Las expresiones carnavalescas articuladas con movimientos sociales contemporáneos abordadas, son reconstruidas “desde dentro” por Ardito y Puentes en este artículo. Este quinto número culmina con tres reseñas críticas de libros y documentales de reciente aparición en la región. La primera de ellas, de Marisol García, aborda el documental de Picky Talarico Rompan todo: La historia del rock en América Latina (2020), una historia contada desde los propios protagonistas. Luego continúa la reseña de Ricardo Salton sobre el libro de Cecilia Arellano y Mario Martínez La voz popular. Caminos posibles del canto (2018), texto en sintonía con la temática del dossier. Para terminar se incluye la reseña de Nelson Rodríguez sobre el libro de Gastón Gabarró, Un hijo de la rosa de los vientos (2019) sobre hip-hop y el grupo Makiza. Junto con agradecer a lo/as autore/as que han depositado su confianza en Contrapulso, queremos agradecer muy especialmente a quienes han realizado las acuciosas evaluaciones del material recibido: Alejandro Gana, Carolina Santa María, Enrique Cámara, Fernanda Vera, Javier Silva, Jordi Tercero Bustamante, Juan Carlos Poveda, Julio Arce, Leonardo Díaz, Lizette Alegre, Natalia Bieletto, Nayive Ananías, Omar García Brunelli, Pablo Alabarces, Paloma Martin, Sebastián Muñoz, Silvia Martínez y Soledad Venegas. Finalmente, cabe destacar que en esta edición de la revista continúa el aumento de paridad de género entre autore/as de artículos y de obras reseñadas. El contenido de Contrapulso 3/2 (8/2021) es el siguiente: Dossier Voces y vocalidades Javier Osorio y Laura Jordán y eds.Luis Pérez Valero. “El sonido de la voz femenina en las primeras producciones discográficas (1933-1940) de Xavier Cugat” Juan Diego Parra, Mónica Herrera y Juan Francisco Sans. “Metal medallo: el estertor como estética de la violencia en Medellín de los años ochenta” Ana María Díaz y Macarena Robledo. “’Voy conociendo mi voz, me voy encontrando mi flow’: performance vocal y musical en el reggaetón y trap latino a través del caso de Bryant Myers” Paula Vilas, María Pía Latorre, Gabriela Castelli, Virginia Zangroniz y Marcelo Martínez. “Sinuosidades sonoras: los kenkos en el Canto con Caja del noroeste argentino” Artículos libresLiliana Toledo. “De ‘doncella olvidadiza’ a musa: las canciones prostibularias en el cine mexicano y las políticas sanitarias de la primera mitad del siglo XX” Lorena Ardito y César Puentes “Alegría a contracorriente. Los muchos carnavales de Santiago como espacios de reconstrucción comunitaria” ReseñasMarisol García: Picky Talarico dir. 2020. Rompan todo: La historia del rock en América Latina. Buenos Aires/Nueva York: Red Creek Productions, 6 episodios Ricardo Salton: Cecilia Arellano y Mario Martínez. 2018. La voz popular: caminos posibles del canto. Buenos Aires: Música Nuestra. Nelson Rodríguez: Gastón Gabarró. 2019. Un hijo de la rosa de los vientos. Santiago: Autoedición.

The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.

The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.

Desautorización / Retraction El Consejo de Redacción del Anuario de Estudios Americanos, en aplicación de las directrices marcadas por la Guía de Buenas Prácticas de la Editorial CSIC y las recomendaciones de los comités internacionales de ética editorial, ha decidido proceder a la desautorización formal del siguiente artículo: Aguilera Manzano, José María: “La Revolución cubana y la historiografía”, Anuario de Estudios Americanos, vol. 65, núm. 1, Sevilla, enero-junio 2008, pp. 297-320, DOI: http://doi.org/10.3989/aeamer.2008.v65.i1.106 Dicho artículo contiene numerosos párrafos que son reproducción literal (con leves cambios de redacción en algunas pocas ocasiones), sin entrecomillar ni citar, del siguiente texto: Piqueras Arenas, José Antonio: “Introducción: Ensayo de contextualización de la última historiografía cubana”, en Piqueras Arenas, José A. (ed.), Diez nuevas miradas de Historia de Cuba, Castelló de la Plana, Publicaciones de la Universitat Jaume I, 1998, pp. 9-39. (Los párrafos reproducidos, que suman no menos de catorce páginas del artículo desautorizado, corresponden a pp. 10-24 y 28-32 de este texto). Asimismo, se ha detectado la existencia de párrafos que son reproducción literal, sin entrecomillar ni citar, de otros autores. Entre ellos (sin descartar que pueda haber más casos) los siguientes: Hernán Venegas (“América en la historiografía cubana, 1832-1940”, Islas, 132, 2002, 69-79; textos de páginas 74-75 reproducidos en p. 297-298 del artículo desautorizado); Elíades Acosta (“¿Qué aportan los estudios biográficos a la historiografía cubana actual?”, en Hibay, Denise A. (ed.), Trends and Traditions in Latin American and Caribbean History, Papers of the Forty-Seventh Annual Meeting of the Seminar on the Acquisition of Latin American Library Materials, SALALM Secretariat, USA, 2005, 77-84; textos de p. 81-82 reproducidos en p. 317-318) y Mildred de la Torre Molina (“La nueva mirada de la historiografía cubana”, http://www.archivocubano.org/delatorre.html [consulta 6 de febrero 2017], párrafos reproducidos en p. 317-318). El Anuario de Estudios Americanos pide disculpas a sus lectores y a los autores cuyas obras se han utilizado indebidamente y hará lo posible por evitar que se repitan situaciones similares en el futuro. El Consejo de Redacción no tendrá en consideración las posibles réplicas, contrarréplicas o comentarios a esta decisión editorial. Esta nota editorial se incorpora a la versión electrónica del artículo desautorizado y se publicará en el próximo número impreso de la revista (Anuario de Estudios Americanos, 74, 1, ene.-jun. 2017). Sevilla, 6 de febrero de 2017

After the Kosovo battle in the year of 1389 and the new Ottomans' breach into the Serbian lands, the positions of the Serbian provinces founded on the territory of the disintegrated Serbian empire underwent certain geopolitical changes. Unlike prince Lazar's direct successors, the Serbian regional landlord Vuk Brankovic, Lazar's son-in-law, continued to resist the Ottomans strongly opposing resuming the vassal deployment towards sultan Bayezid I. Only after his town of Skopje's fall late in the 1391, or early in 1392 did Vuk start losing his strategic control over the territory being in that way exposed to an even greater Ottoman pressure. Such Balkans' situation denouement forced Vuk Brankovic until the November 1392 to recognize the Ottoman sovereignty that was justified in one charter for monastery Hilandar. By the end of that year, sultan Bayezid I moved from the empire's Anatolian to the European part in order to consolidate his authority and firm the rule. The Byzantine historian Laonikos Chalcocondyles testifies on the measures taken by the sultan regarding subordinating the new Christian vassals and the conquered territories' colonization. These measures might refer to Vuk Brankovic and his province. There is no direct news considering Vuk Brankovic's political steps during the period from the end of 1392 to the spring of 1394. A dramatic meeting of sultan Bayezid I with his Christian vassals in the town of Serres in the fall-winter of 1393/1394 remained noted in the Byzantine sources. The remnant sources unequivocally of the Serbian meeting members mention only Stefan Lazarevic, the later Byzantine despot and Constantin Dragas, the Byzantine emperor Manuel II Palaeologus' father-in-law, though by being imprecise they leave an open space for the probable participation of some other renowned persons from Serbian side. The hitherto Serbian historiography predominant opinion was that Vuk Brankovic did not respond to the invitation addressed to the vassals concerning the Serres meeting. Apart from Vuk, the sources do not name as the meeting participants neither king Marko, nor his brothers Andreas and Dmitar, who may have been present as well. The sultans' resolution to execute the Christian vassals in Serres, withdrawn at the last moment, caused the split of the vassal relations of some Christian aristocracy to Bayezid I. Vuk's activity from the year 1394, and 1395 connected with gaining Venetian citizenship and moving the treasury in Dubrovnik in accordance with the politics of those Christian vassals who denied their obedience to the sultan after the meeting at Serres. Because of Vuks' conduct from the year of 1394 and the provenance of the preserved Byzantine sources asserting the events at Serres, a possibility of Vuk Brankovic's presence a the Ottomans's vassal by the side of the king Vukasin's sons, remains in spite of silence evident in relevant sources.

Simónides de Ceos, que definió la poesía una pintura que habla y la pintura una poesía muda, contribuyó al origen de la filosofía del arte, base de la moderna estética occidental. Para el filósofo italiano Benedetto Croce el arte es la síntesis estética de la intuición y la expresión a través del lenguaje lírico. Encarna las representaciones de la belleza, un evento universal, ajeno a la Historia y a la crítica de arte. De manera más radical, Ramón Gaya rechazó este mismo saber de una manera más radical desde que era un jovencísimo pintor, decepcionado por las vanguardias. Su planteamiento de la obra de arte se aproxima a una actitud mística. Emerge cuando se enfrenta a la pintura de Velázquez en España, antes de exiliarse en México. Este sentimiento trascendente se agudiza cuando visita Venecia por primera vez, en 1952, y asocia la pintura con el agua que fluye. Es el primer paso de su identificación sagrada de las artes –pintura, poesía, escultura y música– con la Naturaleza y sus elementos cosmológicos. La experiencia veneciana posibilita una nueva creatividad icónica y verbal. La pintura conlleva siempre una enigmática dualidad, manteniendo rasgos de su procedencia misteriosa. Los poemas que Ramón Gaya le dedica al Crepúsculo de Miguel Ángel son una muestra de su intermedialidad heterodoxa, donde a la técnica de lo diáfano en pintura corresponde el uso de la negación lógica por escrito. Esta estrategia lingüística es afín a la de los ensayos que tratan del mismo tema. Simonides of Ceos, who defined poetry as a speaking picture and painting a mute poetry, contributed to the rise of philosophy of art, the basis of modern Western aesthetics. For the Italian philosopher Benedetto Croce art is the aesthetic synthesis of intuition and expression through lyrical language. It embodies the representations of beauty, a universal event that doesn’t concern History nor art criticism. In a more radical way, Ramón Gaya refused this same knowledge since he was a very young painter, disappointed by avant-garde. His approach to works of art is close to a mystic attitude. It emerges when he faces Velázquez’s painting in Spain, before going into exile in Mexico. His transcendental feeling increases when he visits Venice for the first time, in 1952, and he associates painting with water flow. It is the first step of a sacred identification of arts –painting, poetry, sculpture and music– with nature and its cosmological elements. The Venetian experience gives birth to a new iconic and verbal creativity. Painting always involves an enigmatic duality, keeping features of its mysterious source. The poems that Ramón Gaya dedicated to Michelangelo's Dusk are a specimen of his unconventional intertermediality, where the diaphanous technique in painting corresponds to the use of logical negation in the verbal language. This linguistic strategy is in line with the essays dealing on the same topic.

- Wouter E.A. van Beek, Henri Maurier, Philosophie de L’Afrique Noire (2ème éd.), St. Augustin: Anthropos Institut, 1985. - Wouter E.A. van Beek, A.M. Hocart, Imagination and proof. Selected essays of A.M. Hocart, Edited and with an introduction by Rodney Needham, Tucson: University of Arizona Press, 1987. 130 pp. - Martin van Bruinessen, B.B. Hering, Studies on Indonesian Islam, Occasional Paper no. 19, Centre for Southeast Asian Studies, James Cook University of North Queensland, Townsville (Australia), 1986, 50 pp. - Martin van Bruinessen, B.B. Hering, Studies on Islam, Occasional Paper no. 22, Centre for Southeast Asian Studies, James Cook University of North Queensland, Townsville (Australia), 1987, 94 pp. - Martin van Bruinessen, L.B. Venema, Islam en macht: Een historisch-anthropolische perspectief, Assen/Maastricht: Van Gorcum, 1987. - H.J.M. Claessen, Colin Renfrew, Peer polity interaction and socio-political change, Cambridge: Cambridge University Press, 1986. 179 pp., maps, ills., index, bibl., John F. Cerry (eds.) - H. Dagmar, Fred R. Myers, Pintupi country, Pintupi self; Sentiment, place and politics among Western Desert aborigines, Washington etc.: Smithsonian Institution Press, Australian Institute of Aboriginal Studies. - Mies Grijns, Rosanne Rutten, Women workers of Hacienda Milagros; Wage labor and household subsistence on a Philippine sugar cane plantation. Publikatieserie Zuid- en Zuidoost-Azie no. 30, Amsterdam: Anthropologisch-Sociologisch Centrum, Universiteit van Amsterdam, 1982, x + 187 pp. - Mies Grijns, Ann Laura Stoler, Capitalism and confrontation in Sumatra’s plantation belt, 1870-1979, Newhaven: Yale University Press, 1985, xii + 244 pp. - Nico de Jonge, Rodney Needham, Mamboru. History and structure in a domain of Northwestern Sumba. Oxford: Clarendon Press, 1987, 202 pp. - Anton Ploeg, Kenneth E. Read, Return to the high valley. Coming full circle. Berkeley: University of California Press, 1986. xxi + 269 pp. - Rien Ploeg, Tom R. Zuidema, La Civilisation Inca au Cuzco, Collège de France, Essais et Conférences, Paris: Presses Universitaires de France, 1986. - Harry A. Poeze, E.E. van Delden, Klein repertorium; Index op tijdschriftartikelen met betrekking tot voormalig Nederlands-Indië, samengesteld door E. E. van Delden. Amsterdam: Koninklijk Instituut voor de Tropen. Deel 1, Tijdschrift voor het Binnenlandsch Bestuur 1887-1900, 1986, 79 pp. Deel 2, Tijdschrift voor het Binnenlandsch Bestuur 1900-1909, 1986 80 pp. Deel 3, Tijdschrift voor het Binnenlandsch Bestuur 1910-1917, 1987, 80 pp. - Harry A. Poeze, J.J.P. de Jong, Diplomatie of strijd; Een analyse van het Nederlands beleid tegenover de Indonesische revolutie 1945-1947. Amsterdam: Boom, 531 pp. - Harry A. Poeze, D.C.L. Schoonoord, De Mariniersbrigade 1943-1949; Wording en inzet in Indonesië. ‘s-Gravenhage: Afdeling Maritieme Historie van de Marinestaf. - R. de Ridder, Edmundo Magaña, Myth and the imaginary in the new world, Amsterdam: CEDLA, Latin America Studies no. 34, 1986. 500 pp. 64 ills., Peter Mason (eds.) - P.G. Rivière, Edmundo Magaña, Contribuciones al estudio de la mitología y astronomía de los indios de las Guayanas, Dordrecht-Providence: Foris Publications. 1987. - A. de Ruijter, P.E. de Josselin de Jong, Generalisatie in de culturele antropologie (Afscheidscollege ter gelegenheid van het neerleggen van het ambt van hoogleraar in de sociale wetenschappen aan de Rijksuniversiteit van Leiden op 12 juni 1987), 1987, Leiden: E.K. Brill. - Mary F. Somers Heidhues, Yoe-Sioe Liem, Überseechinesen - eine minderheit: Zur erforschung interethnischer vorurteile in Indonesien, Aachen: Edition Herodot im Rader-Verlag, 1986. - N.J.M. Zorgdrager, H. Beach, Contributions to circumpolar studies. Uppsala Research Reports in Cultural Anthropology no. 7, 1986. 181 pages.

The Franciscan Monastery of St Domnius at Kraj on the island of Pašman houses an incunable edition of Augustine’s The City of God (De Civitate Dei) which was printed in Venice by Nicolas Jenson in 1475. The incunable features beautiful Renaissance multi-coloured illuminations painted in tempera, sepia, ink and water colours while gold foils and gold dust were used on fol. 17 (the page number is not original but was subsequently added in pencil; this folio contains the beginning of Book 1) and a number of other folios. The illumination on fol. 17 consists of two phytomorphic initials, a decorative border and independent figural scenes while a number of other folios are decorated with phytomorphic initials of the littera notabilior type, the height of which corresponds to two lines, painted in red or blue. The top and left margin of the first page of Book 1 are filled with a decorative border terminating in trilobes on each end. The ornamental scheme of the border consists of a band made up of five thin lines which undulates in a spiral and thus forms circles. These are filled with flowers, leaves and berries painted in blue, green and cyclamen purple but also with gold stylized burdock flowers (Lat. Arctium lappa; some scholars call them gold dots, that is, bottoni dorati). The remaining fields are filled with bent scrolls. In the upper left corner of the frame is a goldfinch. The initial I, composed of phytomorphic motifs in blue, green and cyclamen purple and their shades, is painted against a gold background of the rectangular field situated at the beginning of the text column on the left-hand side. Inside the decorative border, placed at the height which corresponds to the centre of the initial, is a medallion with the bust of St Augustine depicted in the open sky with elongated white clouds and no other details. The illusion of the spatial depth was achieved through the use of tonal gradations: the shades of blue are darker at the top and lighter in the lower half of the sky. St Augustine is dressed in a white robe and a red cloak with a black hood. He is wearing a white mitre with a horizontal and perpendicular band highlighted with gold dust. The shadows and folds of his clothes were articulated with black and white lines. His right hand is pointing to the open book which was painted at the height of his chest. The fingers on his right hand are elongated and thin. St Augustine’s gold nimbus was painted as a full circle the left half of which was outlined in white and the right half in black. St Augustine is directing his gentle and sad gaze upwards. His head is slightly bent. His round and bony head is marked by the large round eyes with prominent sclera and dark circles underneath while the arched eyebrows are thinner at their ends. The nose is small and the mouth is turned downwards. The plasticity of the face and its complexion were articulated with white and pink shades. The trimmed dark beard is depicted with short lines in lighter and darker shades. The ornamental frame which fills the top margin corresponds to the one in the left margin but was decorated more modestly because the miniaturist placed the scroll bearing the printer’s name and the scroll identifying the text as belonging to Book 1 at the centre of the frame which left only the beginning and the end of the frame to be decorated. The scroll with the printer’s name is emphasized by a golden burdock flower at the top of the frame and a golden teasel flower (Lat. Dipsacus fullonum) at the bottom. The lower margin features two symmetrical angels, rendered in a somewhat imprecise drawing, who kneel on the ground painted in the shades of green and brown. The physiognomy of the angels is similar to that of St Augustine. Their round heads have small eyes and noses, shaded circles under the eyes and arched eyebrows. The mouths are depicted as thin lines with pronounced ends and are further accentuated by a dot beneath the lower lip. The plasticity of their faces was achieved through the tonal gradation of pink and white. The angels’ hair, ochre in colour and highlighted with gold dust, is thick and short and covers the tops of their heads like a helmet. The outspread wings were painted in dark and light shades of blue. Two wide red scrolls with white highlights emerge symmetrically from behind the angels at their waist height. Wavy tendrils and gold stylized teasel flowers extend from the red scroll. The angels hold a laurel wreath between them. The colour of the circular field inside the wreath is cyclamen purple. The wreath is formed by three rows of leaves which are bound by four regularly spaced ties. The leaves’ edges and tips were painted in light and dark shades of green. Inside the wreath is a Renaissance crest surrounded by thin white wiggly tendrils with sprouting leaves. The shield, in the shape of a horse’s head, is divided horizontally into the dark blue upper half and the red lower half. It features a gold lion with his mouth wide open who is facing right and holding a tree with his front paws. The tree’s pyramidal top is decorated with small dots indicating leaves and fruit. The shield’s right half is outlined in white and the left one in black. The second text column on the first page of Book 1 is decorated with the painted initial letter G. It consists of phytomorphic motifs in blue, red, yellow and cyclamen purple and their shades. Two small leaves are attached to the initial on its left-hand side. As is the case with the crest, the initial was additionally decorated with elegant white tendrils sprouting leaves and highlighted with gold dust. The background is also gold while the rectangular field around the initial is outlined in a thin black line. Two wavy tendrils and two gold stylized teasel flowers emerge from the corners of the frame on the left-hand side while a green leaf appears at the centre. Apart from these illuminations and initials on fol. 17, the incunable contains other initials, one for the beginning of each of the remaining twenty one book, and all of them consist of blue, green and cyclamen pink phytomorphic motifs painted against a gold background inside a black rectangular frame. The plasticity of these initials was achieved through tonal gradation and the use of yellow while thin white undulating tendrils with variations in width and highlights in gold dust enriched the decoration. Some sentences in the text were emphasized by numerous initials in red or blue of the littera notabilior type the height of which corresponds to two lines of the text. The illuminations of this incunable edition of the De Civitate Dei belong to north Italian or Venetian Renaissance painting and they demonstrate numerous significant similarities with the works of the well-known Venetian miniaturist whom the scholarly literature identified as Maestro del Plinio di Giovanni Pico della Mirandola (Maestro del Plinio di Pico or, more commonly, Maestro di Pico). The attribution of the illuminations in this incunable to Maestro di Pico, who may have been helped by his workshop and assistants especially during the painting of the decorative frame and initials, is based on the figure of St Augustine and the angels who support the crest. Their features display the same typology which characterizes the works of Maestro di Pico. Identical angels appear in the bottom margin of Brunetto Latini’s Il Tesoro (Gerardus de Lisa, Treviso, 1474; Cambridge, Mass., Harvard, Houghton Library, Inc. 6459, c. 7). The figure of St Augustine shows pronounced similarities with the figure of a Dominican monk, set inside the initial O of the littera historiata type, in Nicolaus de Auximo’s Supplementum (Franciscus Renner et Nicolaus de Frankofordia, Venice, 1474; Biblioteca Marciana, Inc. Ven. 494, c.2). Identical angels and putti can be found in the bottom margins of Strabo’s Geographica (Minneapolis, Univ. of Minnesotta Library, Ms. 1460/f St., c.1), and in two copies of Pliny’s Historia Naturalis (Venice, N. Jenson, 1472, Paris, Bibliothèque Nationale, Vèlins 498 and Venice, N. Jenson, 1472, San Marino, CA, Huntington Library, n. 2289). A beautiful comparative example is the Biblia Latina (Franciscus Renner & Nicolaus de Frankfordia, 1475, Dallas, Texas, Southern Methodist University, Bridwell Library) and its first page which has a similar composition to that in the incunable from Kraj. The figure of St Jerome, depicted inside a littera historiata provides a plethora of specific Morellian details which are essential for the attribution of the illuminations in the incunable from Kraj to Maestro di Pico. Striking similarities in the depictions of saints, phytomorphic initials and decorative frames can also be found in two psalters (one in Venice, Biblioteca Querini Stampaglia, Inc. 6, the other in Siena, Biblioteca S. Bernardino del Convento dell’Osservanza) and in the first page of the Psalms in a breviary from Paris (Bibliothèque Ste-Geneviève, OE XV 147 Rés). Similar saints and angels all of which belong to the same figural typology were used to decorate three copies from the Commissioni series made for Doge Agostino Barbarigo (Commissione del doge Agostino Barbarigo a Girolamo Capello, 1487, Venice, Bib. Del Museo Correr, MS Cl. III. 33 (fig. 15); Commissione del doge Agostino Barbarigo a Paolo di Canale, 1489, Paris, Bibliothèque Nationale, Lat. 4729, c.2, and Commissione del doge Agostino Barbarigo a Tommaso Loredano, 1490, Paris, Bibliothèque Nationale, Lat. 4730, c.1). Further parallels can be found in the illuminations of a breviary from Augsburg (c. 1480, Universitätsbibl., Cod. I.2.2o 35) the first page of which has a lettera istoriata with the figure of St Paul whose physiognomy closely resembles that of St Augustine in the incunabule from Kraj, while the bottom margin features centrally placed angels which are identical to those at Kraj. Equally important comparative material is found in three Paduan incunables (Biblioteca del Seminario Vescovile) which contain illuminations attributed to Maestro di Pico. The distinctive features of the angels, putti and saints as well as the type of decoration used in the margins of these incunables also demonstrate striking similarities with the illuminations from Kraj. Other examples include Lattanzi’s Opera (Giovanni da Colonia and Johannes Manthen, Venice, 1478; Forc. M. 3.2), Jacopo da Varagine’s Legenda aurea (Gabriele di Pietro, Venice, 1477, with a likely contribution of his workshop; Forc. M. 2.22) and Cipriano’s Opera (Vindelino da Spira, Venice, 1471; Forc. K. 2.12). On the basis of the comparative analyses outlined above and the similarities which have been noted, it can be concluded that the illuminations in the incunable of St Augustine’s De Civitate Dei (Nicolas Jenson, Venice, 1475), housed in the Monastery of St Domnius at Kraj, were painted by the well-known Venetian Renaissance miniaturist Maestro di Pico. Regardless of the possible input of his workshop and assistants during the painting process of the decorative frame and initials, these illuminations help expand the catalogue of Maestro di Pico’s works and represent valuable contribution to the painting in Renaissance Dalmatia.

Nastupajući s kursom historije ruskog jezika, moram kao prvo pitanje postaviti: od kojega momenta počinje ta historija? Kojim se momentom ruski jezik izdvaja kao specifična jezička kategorija iz općih normi staroslavenskog jezika? Poznata je stvar koju ne treba ponavljati: da staroslavenski jezik nije jedan općeslavenski jezik, jednak kod svih slavenskih naroda. Takav bi mogao biti tzv. pra- slavenski, koji stavljamo u epohu prije raseljavanja slavenskih plemena iz pradomovine, iako se i u ono vrijeme u sastavu Slavenstva naslućuju dvije zasebne grupe. Već u doba slavenske seobe zapadni i bizantski suvremenici, kao Jordan, konstatiraju da slavenski narod ima dvije velike grane: Venete — sjeveroistočnu, i Ante — jugozapadnu. U svakoj od tih grana već su postojale mnogobrojne dijalekatske skupine i svaka je od njih na svojim međama stajala u kulturnim vezama sa susjedima različitog etničkog porijekla i s različitim kulturnim tradicijama.

In February of 2016 a book by a historian and university professor Slaven Bertoša, PhD, Barban i mletački Loredani: život u pokretu, ljudi i događaji (Barban and the Venetian Loredan family: life in motion, people and events) was published by Katedra Čakavskog sabora in Pazin and University of Juraj Dobrila in Pula as publishers and State Archives in Pazin and Municipality of Barban as co-publishers. Central theme of the monograph is the area of the fief of Barban and Rakalj during the Venetian administration, from the 16th century to 1797, and later in the 19th century. This edition on 319 pages definitely merits attention of the scholarly public due to thorough approach to archival sources and also factualistic aspect of the author’s research. The book contains fourteen chapters and a number of supplements as well as about ninety photographs complementing the textual part. Although the author published a number of books and works analyzing historical themes, this is the first one to deal with the regions of Barban and Rakalj. It is the result of the author’s research in the State Archives in Venice, State Archives in Pazin and Archives of the Croatian Academy of Sciences and Arts in Zagreb where abundant archival documents were preserved dealing with the themes of research. Prof Slaven Bertoša, PhD, is one of the leading representatives of the Istrian and Croatian historiography of the Modern Period.

El presente trabajo consiste en un análisis historiográfico sobre el protagonismo que tuvieron los distintos grupos étnicos en la Guerra de Independencia del Ecuador según los textos escolares de Historia publicados entre 1915 y 2015. Se han utilizado como fuentes historiográficas los textos escolares de Historia, debido a que desde el siglo XX las políticas educativas ecuatorianas los han utilizado como instrumentos ideológicos para llevar a cabo la construcción de una identidad nacional común cimentada a partir de los presupuestos de la Historia Patria del siglo XIX. El empleo de la enseñanza de la Historia a través de los textos escolares para consolidar esa identidad nacional del siglo XIX se hace patente en el análisis sobre el protagonismo étnico en la Independencia, donde dichos textos explican este acontecimiento como un proyecto de construcción nacional dirigido por las élites criollas cuyo supuesto objetivo principal era liberar a todos los “ecuatorianos” de una presunta opresión monárquica ejercida por un enemigo extranjero: el “español”. Pese a que hay autores que han manifestado que indígenas, negros, mestizos, zambos, pardos, mulatos, cholos, obtuvieron pocos beneficios de la Independencia, todos los textos escolares no dudan en confirmar que gracias a los esfuerzos de las élites criollas, héroes de la Patria a los que hay que venerar y ensalzar, la República del Ecuador pudo ser libre. The present work consists of a historiographic analysis of the protagonism that the different ethnic groups had in Ecuador's War of Independence according to the history textbooks published between 1915 and 2015. History school textbooks have been used as historiographic sources, because since the 20th century Ecuadorian educational policies have used them as ideological instruments to carry out the construction of a common national identity based on the assumptions of the 19th century Patriotic History. The use of the teaching of history through school texts to consolidate this 19th century national identity is evident in the analysis of the ethnic protagonism in the Independence, where these texts explain this event as a project of national construction directed by the Creole elites whose supposed main objective was to free all “Ecuadorians” from an alleged monarchical oppression exercised by a foreign enemy: the “Spanish”. Although some authors have stated that indigenous people, blacks, mestizos, zambos, pardos, mulatos and cholos obtained few benefits from Independence, all the school texts do not hesitate to confirm that thanks to the efforts of the Creole elites, heroes of the country who are to be venerated and praised, the Republic of Ecuador was able to be free.

En un entorno global dominado por la inmediatez y la hipernovedad, donde domina el dataísmo que no venera dioses ni humanos sino sólo datos, esta publicación propone una mirada profunda, interpretativa y de larga duración, hacia las raíces del concepto y prácticas que han construido lo que hoy denominamos participación de la niñez. Los autores y las autoras de los siete capítulos del libro que edita Graciela Tonon, hurgan en el concepto y sus redefiniciones desde el ámbito teórico y desde las prácticas enraizadas en contextos locales. Y lo hacen con un ojo puesto en el retrovisor de la historia, para otear e identificar experiencias de ‘tokenismo’, o sea, prácticas de efectuar pequeñas concesiones superficiales hacia un colectivo discriminado en su participación en la toma de decisiones que afectan sus vidas, como lo han sido y siguen siendo niñas, niños y adolescentes. La influencia de la niñez y la adolescencia en los procesos de toma de decisiones, tanto en ámbitos íntimos, privados, públicos, comunitarios y sociales, muestra una fuerte relación con el ámbito geográfico y cultural en el que viven sus vidas. Por ello es muy acertada la oportunidad de redefinir y resituar su participación en el Sur.

The article examines Genoese responses to plague during the old regime. Much like the Venetian, the Genoese ruling class understood the nexus between plague, poverty, and famine, and how these, in turn, tied in with political unrest. Some of the Republic’s main political and diplomatic crises were indeed followed by severe outbreaks of plague. Thus, the 1528 plague marked the proclamation of the oligarchic Republic, as a Spanish protectorate, masterminded by Andrea Doria, whereas the 1579-1580 plague closed the civil wars (a struggle of the old patriciate against an alliance of the new patriciate with the popular faction, 1575-1576). While the plague that swept through northern Italy in 1628-1630 narrowly missed Genoa, it became a metaphor with Genoese political thinkers for the narrowly escaped annexation of the Republic by Charles Emmanuel I of Savoy (who died of plague in his encampment, together with scores of the heretics on his payroll). The 1656-1657 epidemic was the most severe in the Genoese old regime, capping an acute political and jurisdictional crisis with Rome and with archbishop Stefano Durazzo. Remarkable documents of this enduring state of conflict are the prayer composed by Paolo Foglietta (poet and brother to Oberto, who was a leader in the civil wars and later a historian of the Republic) invoking an end to the 1579-1580 epidemic, and the anonymous preghiera repubblicana (held at the Vatican Apostolic Archive) which the government of the Republic included in the official religious liturgy in response to a heated jurisdictional crisis with the Holy See (1605-1607). Rome ordered archbishop Orazio Spinola to have the prayer banned, but the ‘Collegi’ of the Republic attempted to have it reinstated following the 1656-1657 plague. D. Fiasella, La peste a Genova, Courtesy of Archivio Fotografico Fondazione Franzoni, ETS – Genova

Luis Pérez Valero es doctorando en música por la Pontificia Universidad Católica Argentina “Santa María de los Buenos Aires”; Máster universitario en música española e hispanoamericana (Universidad Complutense de Madrid, 2012); Magister en música (Universidad Simón Bolívar, 2009); Licenciado en música mención composición (Instituto Universitario de Estudios Musicales-UNEARTE, 2005). Sus investigaciones giran en torno al análisis de la música popular, la producción musical, estética de la grabación, entre otros. Ha publicado en diversas revistas académicas artículos de investigación en musicología para la producción musical y en artes. Ha publicado los libros El discurso tropical. Producción musical e industrias culturales (2018) y coautor de Producción musical. Pedagogía e investigación en artes (2020). Es compositor asociado a Cayambis Music Press. Actualmente se desempeña como docente, investigador y coordinador de la Unidad de Titulación en la Escuela de Artes Sonoras de la Universidad de las Artes, Carrera de Producción Musical. Juan Diego Parra Valencia tiene un PhD en Filosofía, especialista en literatura y músico. Docente-Investigador de la Facultad de Artes y Humanidades del Instituto Tecnológico Metropolitano de Medellín. Ensayista y escritor con diversos artículos en áreas de filosofía, estética, arte, filosofía de la técnica, semiótica, cine y música. Ganador del Premio Nacional de Periodismo Simón Bolívar por el trabajo investigativo en el reportaje documental Cuando el chucu-chucu se vistió de frac (2014). Director y coguionista del documental Paparí. El pionero del rock tropical (2018). Publicaciones sobre música: El libro de la Cumbia. Resonancias, transferencias y transplantes de las cumbias latinoamericanas (2019-autor/compilador); Deconstruyendo el chucu-chucu. Auges, declives y resurrecciones de la música tropical colombiana (2017); Arqueología del chucu-chucu. La revolución sonora tropical urbana antioqueña. Medellín, años 60 y 70 (2014), Afrosound acústico para dúo de guitarras. Tramas y urdimbres de la interpretación clásica en el rock tropical colombiano (2020-coautor) Mónica Alexandra Herrera Colorado es Magíster en Artes Digitales del Instituto Tecnológico Metropolitano, Licenciada en Música de la Universidad de Antioquia. Músico y cantante desde hace más de 20 años en diferentes agrupaciones musicales, además tiene estudios técnicos en música, Tecnóloga en Informática Musical de Instituto Tecnológico Metropolitano de Medellín y Administradora de empresas Agropecuarias. Nacida en Caldas Antioquia, Colombia. Ha participado en diferentes seminarios y asociaciones como ponente de investigaciones en temas relacionados con el análisis expresivo de la voz de la mujer y el canto de la música tropical colombiana. Actualmente es docente en el área de música del Instituto Tecnológico Metropolitano. Juan Francisco Sans es Doctor en Humanidades, Magister Scientiarum en Musicología Latinoamericana y Licenciado en Artes de la Universidad Central de Venezuela, Profesor Ejecutante de Piano de la Escuela de Música Juan Manuel Olivares, y Maestro Compositor del Conservatorio Nacional de Música Juan José Landaeta en Caracas. Ha publicado cuatro libros, 60 artículos en revistas especializadas y capítulos en libros monográficos, 35 ediciones críticas de partituras, 13 discos compactos como productor, pianista y compositor. Ha ganado diversos premios y reconocimientos como compositor, ejecutante y musicólogo. Es profesor titular de la Universidad Central de Venezuela. Desde hace dos años y medio se desempeña como profesor-investigador en el Instituto Tecnológico Metropolitano de Medellín. Ana María Díaz-Pinto es doctoranda en Etnomusicología por la Universidad de California, Davis y Licenciada en Música mención Musicología por la Pontificia Universidad Católica de Chile. Ha sido merecedora de la Beca del Rector en Artes, Humanidades y Ciencias Sociales para estudios doctorales de su casa de estudios y ha presentado sus trabajos académicos en conferencias organizadas por sociedades como IASPM-AL, Sociedad Chilena de Musicología y Asociación Latinoamericana de Antropología, entre otras. Sus intereses de investigación se relacionan con la música popular latinoamericana, cultura juvenil, performance y movimiento. Macarena Robledo-Thompson cursa el Magíster en Artes mención Música por la Pontificia Universidad Católica de Chile y Licenciada en Música mención Musicología por la misma casa de estudios. Es becaria ANID para Magíster Nacional y se ha desempeñado como asistente de investigación en proyectos FONDECYT y como ayudante de cátedra en el Instituto de Música de la PUC, de forma paralela a su trabajo como anotadora de programas en instituciones culturales. Sus principales intereses de investigación tienen relación con la música en Chile y Latinoamérica, específicamente los ámbitos relativos a la música y género y los estudios sobre ópera y voz. Paula Cristina Vilas es cantora, trabajadora vocal e investigadora. Profesora de la Universidad Nacional de Avellaneda, Departamento de Humanidades y Artes, y Maestría en Estéticas Latinoamericanas Contemporáneas. Es docente de Canto Colectivo I y II Escuela de Música Popular de Avellaneda y Escuela de Arte de Florencio Varela, provincia de Buenos Aires. Es Doctora en Artes Escénicas por la Universidad Federal de Bahía, Brasil con tesis y realización escénica centradas en la voz entre la etnografía y el trabajo vocal en escena. Realizó estudios en el Departamento de Etnomusicología de la Escuela de Antropología e Historia, México DF. Ha sido profesora visitante del Instituto de Arte de la Universidad de Brasilia y ha dictado seminarios en la Maestría en Arte Latinoamericano de Universidad Nacional de Cuyo. Coordinó el grupo de investigación Voces y Vocalidades del Instituto de Investigación en Etnomusicología de la ciudad de Buenos Aires. Ha publicado artículos, capítulos de libros y libros en coautoría; realizó conciertos, registros fonográficos y algunas producciones audiovisuales. María Pía Latorre es musicoterapeuta egresada de la Universidad del Salvador, Buenos Aires, y docente en el Instituto Vocacional de Arte “José Manuel de Labardén”, dependiente del Ministerio de Cultura de la Ciudad de Buenos Aires. Coordina talleres de Canto y Técnica Vocal para estudiantes de música y teatro. Se ha desempeñado como adjunta en el grupo de Investigación Voces y Vocalidades del Instituto de Investigación en Etnomusicología, del Ministerio de Cultura de la Ciudad de Buenos Aires y en los en seminarios: Voces y Vocalidades, Voces y técnicas en perspectiva de la vocalidad (2011- 2016) y proyectos de Investigación (2013-2016) coordinados por la Dra. Paula Vilas, con quien también ha presentado ponencias y talleres en congresos (UNNE, EMPA). Como cantante ha realizado diversas presentaciones y grabaciones y actualmente es integrante de Comando Pampero, trío de estilos pampeanos y milongas. Gabriela Mariana Castelli es Directora del Centro Fonoaudiológico Fonoar de la ciudad de La Plata y docente de la Tecnicatura en Fonoaudiología ISFDyT9 Es Doctoranda de la Universidad del Museo Social Argentino, UMSA y licenciada en Fonoaudiología por la Universidad Nacional de La Plata, entrenada en Voz, con formación de postgrado en Análisis Acústico de la Voz. Es cantante y compositora de canciones. Maria Virginia Zangroniz es Licenciada en Fonoaudiología por la Universidad Nacional de La Plata, entrenada en Voz y actriz de la Escuela de Teatro de La Plata. Integró la comisión de Voz del Colegio de Fonoaudiólogos de Buenos Aires, La Plata, y fue profesora de su posgrado en Voz profesional. Fue profesora titular de Eufonía y Educación vocal en la Licenciatura en Fonoaudiología, UCALP. Es docente a cargo de materias de Voz y Trabajo vocal, profesora del curso Una voz libre, formación de posgrado para docentes universitarios de la UNAJ, Florencio Varela. Profesora invitada de la Facultad de Medicina y Ciencias de la Salud de la Universidad de Barcelona; la Facultad de Trabajo Social, Universidad Nacional de La Plata; la Diplomatura en Salud Sexual y Reproductiva, Universidad Nacional de San Martín; y del proyecto de extensión “Más y más voces trans”, Universidad Nacional de San Luis. Es concurrente ad honorem desde el 2013 al Hospital “Dr. Ricardo Gutiérrez” de La Plata, integra el Equipo de atención de la Salud Integral de la Diversidad Sexual. Trabaja en el acompañamiento en la transición vocal de personas trans. Marcelo Fabián Martínez es músico, compositor y artista sonoro. Licenciado en Composición con Medios Electroacústicos por la Universidad Nacional de Quilmes, UNQ, es también clarinetista por el Conservatorio Nacional de Música “Carlos López Buchardo” y técnico en electrónica. Desde el año 2001 se dedica a realizar música original, diseño sonoro y puesta sonora para espectáculos escénicos y audiovisuales en festivales de arte de diversos países: Chile, Uruguay, Brasil, Colombia, México, Cuba, Canadá, Polonia, Holanda, Francia, España, Bélgica, Alemania y Argentina.Como docente, se desarrolla en el Área Transdepartamental de Artes Multimediales, y en la Especialización en Teatro de Objetos de la Universidad Nacional de las Artes; en el Conservatorio Superior de Música de la Ciudad de Buenos Aires y en la Maestría en Arte Sonoro, (UNQ). Como docente investigador integra proyectos en la UNQ y en la UNA. Actualmente es director y profesor de la carrera “Producción Musical y Nuevas Tecnologías” de la UNQ. Liliana Toledo es doctoranda en Historia y Etnomusicología por la Universidad de Arizona, Maestra en Historia especializada en la historia cultural del México posrevolucionario y licenciada en Música. En sus tesis de maestría estudió el proyecto de educación musical rural de las Misiones Culturales. De 2010 a 2017 fue investigadora del CENIDIM, donde clasificó, describió y organizó el Archivo Histórico. Sus artículos han sido publicados en dos ocasiones en la Oxford Research Encyclopedia of Latin American History. Entre 2016-2020 fue parte del proyecto del CIESAS La razón cultural en el capitalismo contemporáneo. Un análisis comparativo sobre las representaciones y los estereotipos culturales en México y América Latina, auspiciado por el CONACYT. Los trabajos derivados de este proyecto fueron publicados en 2019 y 2020 en los volúmenes Cultura en venta 1 y 2, publicados por Random House. Se interesa en temas de género, migración y nacionalismo. Lorena Ardito Aldana es doctoranda en Estudios Latinoamericanos por la Universidad de Chile y Docente asociada de la Universidad Academia de Humanismo Cristiano. Es música y tiene un magíster en Estudios Latinoamericanos de la UNAM. Ha desarrollado investigaciones y proyectos culturales sobre música, carnavales, afrodescendencia, género y derechos colectivos, e integrado diversas agrupaciones musicales y carnavaleras, así como colectivos de investigación interdisciplinaria. Actualmente es parte de la Escuela de Artes Comunitarias y Carnavaleras “La Remolino”, la Colectiva Tiesos pero Cumbiancheros, la Cooperativa T´ikana Ediciones, el Núcleo Kuriche, la Red Chilena de Estudios Afrodescendientes y el Festival de Marimbas Tradicionales Chile. Coordina junto a Mauricio Fidel Camacho el proyecto web La Caracola, dedicado a compilar y divulgar el legado de la maestra, intelectual, activista y folclorista afrocolombiana Alicia Camacho Garcés, y produce el Programa radial comunitario online Cultoras, junto a la percusionista chilena Karen Gómez. César Puentes Arcos es sociólogo de la Universidad de Chile y Magíster en Educación en la Universidad Academia de Humanismo Cristiano. Desarrolló tareas de asesor para la Agencia de Calidad de la Educación y el Programa Interdisciplinario de Investigación en Educación. Desarrolla asesorías organizacionales con visión sistémica de integralidad. Además se desempeña como gestor cultural en el área del carnaval y la música popular. Actualmente trabaja como asesor educacional en innovación para la calidad y mediación de conflictos además de realizar gestión territorial desde una concepción participativa. Marisol García es periodista independiente, Premio Pulsar 2019 al Fomento de la Música y el Patrimonio. Cursa un magíster en Arte, Pensamiento y Cultura Latinoamericanos en el instituto IDEA-USACh. Mantiene desde 1995 un constante trabajo de colaboración en diarios, revistas y radios en escritura, entrevistas e investigación sobre canción popular, y ha desarrollado el mismo tema en encargos para documentales, libros y exposiciones en museos y bibliotecas. Consultora de bandas sonoras de cine chileno –Una mujer fantástica y Gloria, entre otras–. Es coeditora del sitio enciclopédico MusicaPopular.cl y parte del equipo que anualmente organiza el Festival IN-EDIT Chile, dedicado al cine y documental musical mundial. Es autora de los libros Canción valiente. 1960-1989. Tres décadas de canto social y político en Chile (Premio Municipal 2014 a la Mejor Investigación Periodística), Llora, corazón. El latido de la canción cebolla (Premio Pulsar 2018 a la Mejor Publicación Musical Literaria), Claudio Arrau (Finalista Premio Municipal 2020, en Género Referencial) y Lucho Gatica (2019). Además, ha editado libros sobre Violeta Parra, Los Jaivas, Osvaldo Gitano Rodríguez y Panteras Negras. Ricardo Salton ejerce la crítica y el periodismo musical en la ciudad de Buenos Aires; actualmente en la revista Noticias, el diario La Nación y Radio Nacional Clásica. Por décadas, fue el redactor sobre música popular del diario Ámbito Financiero. Además, trabaja en gestión cultural y, actualmente, en el Ministerio de Cultura nacional, como productor artístico y programador de elencos nacionales. Recibió los premios Konex y José Arverás por su labor periodística. Es Licenciado en Musicología por la Universidad Católica Argentina. Su área es la música popular y, en especial, el tango. Fue investigador del Instituto Nacional de Musicología Carlos Vega. Ejerció la docencia en distintas universidades del país. Publicó artículos en revistas académicas y presentó artículos en congresos y conferencias de musicología. Fue uno de los redactores sobre música popular argentina para el Diccionario de la Música Española e Hispanoamericana. Nelson Rodríguez Vega es doctorando en Artes mención Música –modalidad investigación– por la Pontificia Universidad Católica de Chile. Es Profesor de Música y Licenciado en Educación por la Universidad de Concepción de Chile. Es Magíster en Artes mención Musicología por la Universidad de Chile. Actualmente. Es Becario de la Agencia Nacional de Investigación y Desarrollo/Programa de Becas/Beca de Doctorado Nacional 21200805. También posee un diplomado en Estética y Filosofía por la Pontificia Universidad Católica de Chile. Se especializa en el estudio del rap/hip-hop chileno atendiendo problemáticas relativas a la identidad, práctica musical, influencia de la industria cultural y autenticidad. Su actual tesis de doctorado se centra en la emergencia del freestyle o batallas de gallos en Chile, una performance del hip-hop que basa en los duelos de improvisación. Ha publicado artículos y reseñas de libros, preferentemente sobre hip-hop, en revistas académicas chilenas y extranjeras. Este número fue arbitrado por Alejandro Gana, Carolina Santa María, Enrique Cámara, Fernanda Vera, Javier Silva, Jordi Tercero Bustamante, Juan Carlos Poveda, Julio Arce, Leonardo Díaz, Lizette Alegre, Natalia Bieletto, Nayive Ananías, Omar García Brunelli, Pablo Alabarces, Paloma Martin, Sebastián Muñoz, Silvia Martínez y Soledad Venegas.