Artigos de revistas sobre o tema "Batavia Manuscripts"

As a note written directly by the copyist/owner of the manuscript outside the text of the manuscript, the colophon can serve as a source of information about the history of its manuscript. Not only that, colophons can also function as a source of past knowledge outside the manuscript’s tradition. This is as shown by the colophons contained in the Malay manuscripts collection of A.B. Cohen Stuart stored in the National Library of Indonesia. This research on colophon manuscripts was carried out using descriptive methods and philological work steps to analyze data sources in the form of colophons. The results of the analysis, it can be concluded that 38 Malay manuscripts from the collection of Cohen Stuart are estimated to have been collected during his duty as conservator at Bataviaasch Genootschap, Batavia (Jakarta) in 1862-1871. These manuscripts were copied and/or owned by as many as 22 copyists/owners who lived in 16 villages in Jakarta in the period 1863-1869, except for two manuscripts which are estimated to be dated to the 1840s. Most of the manuscripts were copied for commercial purposes, i.e. for rent or sale. In addition, this colophon analysis also reveals some of the history of the city of Jakarta in the 19th century, including the structure of government, the villages in Batavia, as well as the formation of the Betawi ethnicity and the livelihoods of its people.

In West Sumatra in general, people know that Minangkabo's traditional form of government is Nagari. In historical chronology, the social structure of pre-colonial society is rarely revealed. This is because the composition of pre-colonial society and government is not widely sourced and written down in modern historical narratives. Therefore, not many people know how the social life before the colonial sat and changed the shape of Minangkabo's social structure. By using manuscripts and literacy sources from rare books using the methodology of Historiography, Historiarchaeology, Manuscript Transliteration and Ancient Map Analysis in this paper, the author tries to reveal things that are rarely the concern of many people. The findings of the information reveal other aspects and are different from what is generally known by people in the present. The Minangkabo people and the existing Traditional Government had a great influence when the trade office and representative Gurbernur in Batavia, the Government of the Republic of Batavia in Eastern Europe, was just pioneering its position which eventually controlled the entire archipelago which is currently known as Indonesia.

Georg Josef Camel (1661–1706) went to the Spanish colony of the Philippine Islands as a Jesuit lay brother in 1687, and he remained there until his death. Throughout his time in the Philippines, Camel collected examples of the flora and fauna, which he drew and described in detail. This paper offers an overview of his life, his publications and the Camel manuscripts, drawings and specimens that are preserved among the Sloane Manuscripts in the British Library and in the Sloane Herbarium at the Natural History Museum, London. It also discusses Camel's links and exchanges with scientifically minded plant collectors and botanists in London, Madras and Batavia. Among those with whom Camel corresponded were John Ray, James Petiver, and the Dutch physician Willem Ten Rhijne.

This article reviews the printers listed in the archives left by Sultan Syarif Kasim II (SSK II). SSK II has many archives that are currently stored in the palace of the Siak Sultanate. Part of the archive is handwritten, typed and printed. Types of printed manuscripts are quite interesting to discuss because there are names of printing companies. In the 19-20 centuries, the Colonial Government controlled the printing sector. They dominated the development of the print world and exercised strict supervision. The research results showed that there were seven printers in the archives of Sultan Syarif Kasim II, including Batavia Landsdrukkerij, De unie Weltevreden, Stoomsnelpersdrukkerij van H. M. Van Dorp & Co. Batavia, Typ. Courant Deli, Typ. Drukkerij Batak, Typ. Limbago Pajakoemboeh, and Typ. Varekamp & Co., Medan. The link between the Siak Sultanate and all publications and contents of documents shows that all government activities must be under supervision and permits are required in the implementation process.

Sejak abad 18 Orang Arab telah berbondong-bondong mendatangi tanah Batavia karena dianggap tempat yang memesona dan menjanjikan. Sejak itu pula orang Arab telah menjadi salah satu bagian multikulturalisme di Jakarta. Mereka berkecimpung dalam berbagai aspek kehidupan dan mencoba berbaur dengan orang Pribumi. Penelitian ini bertujuan untuk menganalisis peran komunitas Arab di Jakarta dalam modernisasi Pendidikan Islam di awal abad XX di Jakarta. Metode yang digunakan dalam penelitian ini adalah kualitatif dengan melakukan wawancara, observasi dan dokumentasi. Wawancara dilakukan kepada tokoh-tokoh-tokoh Jami’at Kheir dan Al-Irsyad; Observasi, dengan mengunjungi langsung sekolah-sekolah yang dimiliki oleh organisasi Jami’at Kheir dan Al-Irsyad; Dokumentasi dengan mengamati naskah-naskah pendirian awal sekolah Jami’at Kheir dan Al-Irsyad. Hasil penelitian menunjukkan bahwa orang-orang Arab telah memainkan peran yang cukup penting dalam pendidikan Islam di Jakarta. Mereka bersumbangsih besar dalam modernisasi pendidikan Islam di Jakarta pada awal abad 20, melalui dua organisasi yang didirikannya di Jakarta, Jami’at Kheir dan Al-Irsyad. Mereka mengabdikan diri dalam pendidikan Islam dan mencetuskan konsep baru sistem pendidikan Islam di Jakarta. Since the 18th century Arab People had come to the land of Batavia because it was considered a charming and promising place. Since then, Arab People have become a part of multiculturalism in Jakarta. They are involved in various aspects of life and try to blend in with the Indigenous people. This study aims to analyze the role of the Arab community in Jakarta in the modernization of Islamic Education in the early XX century in Jakarta. The method used in this study was qualitative by conducting interviews, observation and documentation. Interviews were conducted with prominent figures of Jami'at Kheir and Al-Irshad; observation, by visiting schools directly owned by the Jami'at Kheir and Al-Irshad organizations; documentation by observing manuscripts of the early establishment of the Jami'at Kheir and Al-Irshad schools. The Arab People had also played a significant role in Islamic education in Jakarta. They contributed greatly to the modernization of Islamic education in Jakarta in the early 20th century, through the two organizations was founded in Jakarta, Jami'at Kheir and Al-Irshad. They devoted themselves to Islamic education and sparked a new concept of the Islamic education system in Jakarta.

Abstract, Piyagem Sukapura (1641 Ad): Geopolitics of Islamic Mataram Kingdom in Priangan, Piyagem is epigraphic evidence of the hegemony establishment of the Islamic Mataram Kingdom in the Priangan area. The period of the Islamic Mataram Kingdom’s power began with the suwer of the King of Sumedang, Raden Suriadiwangsa, to Sultan Agung in 1620. One of the piyagem issued by Sultan Agung while reigning in Priangan was Piyagem Sukapura. This metal inscription with the New Javanese script outlines the information on the three regencies’ establishment in Priangan in 1641 AD. This research further seeks to answer the problem regarding the relationship between the establishment of the three regencies in Priangan and geopolitical phenomena in the Islamic Mataram Kingdom. The research steps taken included data collection and analysis, in which the primary data source of this study was the transliteration of Piyagem Sukapura, while the secondary sources used as comparisons included the Sajarah Sukapura and Sajarah Cikundul manuscripts. In the end, this research concludes that Piyagem Sukapura is closely related to Sultan Agung’s geopolitical strategy after the rebellion of Dipati Ukur and the failure of the conquest of Batavia. Keyword: Geopolitic, Piyagem Sukapura; Priangan; Sultan Agung Abstrak, Piyagem merupakan bukti epigrafis dari berdirinya hegemoni kuasa Kerajaan Mataram Islam di daerah Priangan, Rentang waktu kekuasaan Kerajaan Mataram Islam dimulai sejak menyerahnya Raja Sumedang, Raden Suriadiwangsa, kepada Sultan Agung di tahun 1620. Salah satu piyagem yang dikeluarkan Sultan Agung selama memerintah di Priangan adalah Piyagem Sukapura. Prasasti logam beraksara dan berbahasa Jawa Baru ini, menguraikan keterangan pendirian tiga kabupaten di Priangan pada tahun 1641 M. Penelitian ini lebih lanjut berusaha untuk menjawab permasalahan soal kaitan antara pendirian tiga kabupaten di Priangan tersebut dan fenomena geopolitik di Kerajaan Mataram Islam. Adapun langkah-langkah penelitian yang diambil meliputi pengumpulan data dan analisis. Sumber data primer penelitian ini adalah transliterasi Piyagem Sukapura, sedangkan sumber sekunder yang dijadikan pembanding di antaranya manuskrip Sajarah Sukapura dan Sajarah Cikundul. Penelitian ini di akhir menghasilkan simpulan bahwa Piyagem Sukapura berkaitan erat dengan strategi geopolitik Sultan Agung pasca pemberontakan Dipati Ukur dan kegagalan penaklukan Batavia. Kata Kunci: Geopolitik; Piyagem Sukapura; Priangan; Sultan Agung.

During the 76 years of Indonesia's independence, public knew that the traditional Minangkabo form of government was Nagari. The form of government of Nagari is the smallest form of government, so what is the traditional form of government structure above the Nagari in Minangkabo. This study will answer the form of government and how to make decisions based on existing historical data, it can help answer conflicts that have sprung up in the Minang community. Minangkabo are considered as one of the ethnic groups, but historical documents say it is different. At the time of the Government of the Batavian Republic in Eastern Europe through the independent government of the Governor in Batavia and his trading partners saw Minangkabau as a traditional government that had great influence at that time. For this reason, it is necessary to search for historical information historiography and transliterate the manuscript equipped with archaeological history sources in the form of old and new maps. Based on these methods and theories, it is known that the conditions regarding Minangkabo from the view of the government of the Batavian Republic are true, Minangkabo has a government structure and a way of making decisions.

This study is aimed at sketching out one of the outstanding influence from Dutch to Nusantara. It was the forming of the maritime law which known as scheepvaart aangelegenheden in Batavia that becomes the focus of this study. By doing this, the Dutch government had its own regulation to control each port centralizing in Batavia. With this regulation, the Dutch government could deal with the busy ports in Nederlandsch Indie much easier than before. This study is applying a qualitative method which involves documents and law manuscript discussion. The result shows that although a number of articles in the law had strongly influenced by Nusantara’s local kingdoms, there were still many various important things. Keywords: dutch government, maritime law, local kingdom, Batavia

Ley de Murphy: Si algo puede salir mal, saldrá malDos corolarios de la Ley de Murphy:Nada es tan fácil como parece. Todo lleva más tiempo del que usted piensa En este universo probabilístico, es prácticamente una certeza que todos nosotros en algún momento de nuestra vida hayamos sido víctimas de la Ley de Murphy, y que nos hayamos topado con alguno de sus corolarios. ¿Recuerda cuando se prometió a sí mismo, como uno de los propósitos de año nuevo, que terminaría de escribir el manuscrito para enviar a una revista antes de aceptar otro encargo académico?, ¿a cuántos de nosotros (me incluyo explícitamente) nos han ganado los múltiples compromisos, “emergencias” y “pendientes” (como los que ingeniosamente nos narran en los anuncios recientes del Instituto Federal Electoral), que forman parte de esa confabulación cósmica que evita que terminemos de escribir, revisar y enviar oportunamente a publicación los manuscritos que tenemos en el “tintero mental” de nuestras cabezas?

In medieval Arabic literature a taqr³§ is a written endorsement of a certain text, which a prestigious scholar provides at the request of another scholar to support the latter’s new writing. In this sense it can be compared to the contemporary “blurb”, to advertise a new book. The taqr³§ is important because it connects and offers insights into active networks of like-minded scholars. Unfortunately this topic is still insufficiently studied and the present paper aims to make a contribution to this subject. The research examines an original taqr³§ from the nineteenth century which a scholar in Batavia obtained from his former teacher in Mecca. The paper shows that the taqr³§ is also in existence in more modern times and even beyond the Arab world.

In this article, I will discuss one important aspect of historical encounters between Western colonial scientists and Japanese nature. In order to do so, I will shed new light on how geo-sciences became an object of scientific research of Japan, in the framework of Dutch colonial sciences. I will also show that Western interests in Japanese geo-sciences were primarily stimulated by economic motivations, and that, at the same time, it accompanied the process of the introduction of modern Western sciences into Japan. It is well-known that Philipp Franz von Siebold (1796-1866) studied Japanese natural history widely, and wrote two standard works, Flora Japonica and Fauna Japonica. This paper examines a newly found unpublished manuscript Geologica Japonica by von Siebold, which discusses Japanese geology and mineralogy, and reports on copper mining and smelting. Mineralogical and geological collections have also been discovered in museums at Leiden, the Netherlands. These collections are now identified as the research materials used in the preparation of this manuscript, and found to be the first systematic European geo-scientific collections from Japan. The collection of rocks and minerals from Japan has been proved as mostly collected and identified by Heinrich Burger (1806-1858), a pharmacist and assistant to von Siebold. Burger classified the collection using two nomenclature systems, those of A. G. Werner and R. Hauy. We further point out that the Dutch were interested in the useful natural resources of their trading partner, carrying out a survey of coal mines in Japan, and the trial of tea transplantation from Japan to Java. In my research on the newly found manuscripts and collections of geology and mineralogy, I clarify that von Siebold and Burger intensively investigated Japanese copper mining and smelting. They reported their visit to the Sumitomo copper refinery at Osaka, and Burger wrote an article on Japanese copper in the journal of the Batavian Society for Arts and Sciences. In conclusion, based on close study of newly examined manuscripts and detailed identification of geological collections, a network of interest in Japan’s geology and mineralogy by Dutch colonial scientist is illustrated, and its hybrid character is demonstrated against the background of Dutch- Japan cultural exchange.

RESUMODase noticia da recuperacion do volume manuscrito Ocios poéticos… do padre Feijoo, desvelado por Justo E. Areal en 1901 e logo desaparecido. Conten tres poemas en galego sen mencion de autoria, entre eles o ≪Pranto da frota≫. O obxectivo deste artigo e a edicion e estudo deste poema a partir das duas versions, longa e abreviada, presentes no volume e doutra, ata agora desconecida, atopada no Museo de Pontevedra. Analizanse as caracteristicas formais e argumentais do texto, faise o cotexo de variantes entre as distintas versions e ponense de relevo as caracteristicas linguisticas mais interesantes desde o punto de vista da dialectoloxia e da gramatica historicas. Concluese verbo da cronoloxia relativa entre as versions e discutese o asunto da autoria, do padre Feijoo ou da sua contorna ourensa mais inmediata. Ofrecese a edicion do poema, xunto cun apendice coa lectura das tres versions e unha mostra facsimilar.PALABRAS CLAVEFeijoo, poesia do seculo XVIII, galego medio, seculos escuros, batalla de Rande. TÍTULOEl ≪Pranto da frota, por unha ninfa galega≫ (c. 1702). Tradición manuscrita, autoría, edición y estudioRESUMENSe da noticia de la recuperacion del volumen manuscrito Ocios poéticos… del padre Feijoo, descubierto por Justo E. Areal en 1901 y despues desaparecido. Contiene tres poemas en gallego sin mencion de autoria, entre ellos el ≪Pranto da frota≫. El objetivo de este articulo es la edicion y estudio de este poema a partir de las dos versiones, larga y abreviada, presentes en el volumen y de otra, hasta hoy desconocida, encontrada en el Museo de Pontevedra. Se analizan las caracteristicas formales y argumentales del texto, se comparan las variantes entre versiones y se resaltan las caracteristicas linguisticas mas interesantes para la dialectologia y la gramatica historicas. Se concluye sobre la cronologia relativa entre versiones y se discute el asunto de la autoria, del padre Feijoo o de su entorno orensano mas inmediato. Se ofrece la edicion del poema, y un apendice con la lectura de las tres versiones y una muestra facsimilar.PALABRAS CLAVEFeijoo, poesia del siglo XVIII, gallego medio, Edad Moderna, batalla de Rande.

RESUMENPresentamos, a partir de los dos testimonios manuscritos conservados, la edición crítica de «Los hombres grandes del tiempo», sainete costumbrista inédito compuesto por Gabriel de Terralla para Juana Garro en 1765 y estrenado aquel mismo año. Es obra menor, y la única conocida de un autor de quien nada más sabemos, pero da buena muestra de cómo el costrumbrismo castizo de raíz barroca asume el proyecto renovador ilustrado, se propone como medio para educar al pueblo y presenta batalla estética e ideológica contra los vicios que aquejan a la sociedad.PALABRAS CLAVESainete, costumbrismo, Gabriel de Terralla, Juana Garro, petimetre, Cádiz, didactismo, moda francesa. TITLE«Los hombres grandes del tiempo», by Gabriel de Terralla: critical edition and commentaryABSTRACTWe present, from the two manuscripts preserved, the critical edition of «Los hombres grandes del tiempo», unpublished sainete composed by Gabriel de Terralla for Juana Garro in 1765 and premiered that same year. It is a minor play, and the only one known by an author of whom nothing else we know, but it gives a good example of how the traditional theater of Baroque roots assumes the enlightened project to educate the people from the stage and and presents an ideological alternative against the vices that afflict society.KEY WORDSSainete, costumbrismo, Gabriel de Terralla, Juana Garro, fop, Cádiz, didacticism, French fashion.

This article examines how the Dutch colonial government in the Netherland East Indies attempted to civilize its colony through the work on etiquette. It focuses its analysis on the Malay manuscript of Haji Hasan Mustapa on the code of polite behavior for Acehnese in dealing with the Dutch people, Kehormatan kepada Orang Belanda (Cod. Or. 18.097 S9). Hasan Mustapa wrote his work when he served as Chief-Penghulu of Kutaraja, Aceh (1893-1895) and sent it to C. Snouck Hurgronje in Batavia. He wrote the book at the request of Teuku Umar, an Acehnese patriot who used to collaborate with the Dutch authorities. Using a philological analysis, this study suggests that the Dutch authority utilized the native officials to write the etiquette guidebook on speaking and behavior to civilize Acehnese people. Hasan Mustapa’s work on etiquette shows that he played an important role in maintaining the Dutch honor and bridging the interests of the Dutch colonial government in its colony, the Netherland East Indies.

Abstract In 1643, a manuscript was sent from Batavia to Amsterdam. It described in vivid detail a world virtually unknown to the West, that of South-Indian Hinduism, taken from the words of local Brahmins and drawn up by VOC minister Abraham Rogerius. It was not until 1651 that De Open-Deure tot het Verborgen Heydendom appeared from the presses of the Leiden printing house of François Hackius. By then, its author had died, and circumstances regarding the actual publication are shrouded in mystery. This is also true about the life of Abraham Rogerius and the identity of the Open-Deure’s anonymous editor, A.W. JCtus. Traditionally associated with the Polish Socinian theologian Andreas Wissowatius, A.W’s annotations added a wealth of scholarly detail to Rogerius plain narrative. In this paper, I greatly expand upon the existing biographies of Rogerius and draw lines between the various actors involved with the eventual publication of his writings. I provide a fresh insight into the editorial history and afterlife of the Open-Deure, showing that there are in fact two different editions that diverge at key points. Moreover, I demonstrate that the elusive A.W. JCtus is most certainly not Wissowatius, but instead the Leiden lawyer and politician Arnoldus Wittens.

En el presente artículo acometemos el estudio de una comedia inédita tradicionalmente atribuida al célebre dramaturgo barroco español Luis Vélez de Guevara y titulada El renegado de Jerusalén, poco conocida debido a su conservación en un manuscrito de difícil lectura. Este drama histórico escenifica la batalla de Hattin (3-4 de julio de 1187), predecesora de la Tercera Cruzada (1187-1192), destacando el pacto que el conde Raimundo III de Trípoli contrajo con el sultán Saladino contra Guido de Lusignan, rey de Jerusalén junto a su esposa Sibila. En las próximas páginas, documentaremos la presencia del texto en catálogos y obras de referencia, ofreceremos una descripción física del manuscrito que la contiene y resumiremos su argumento. Además, analizaremos sus fuentes literarias e históricas, propondremos un período temporal probable para su escritura y estudiaremos sus peculiaridades genéricas con la finalidad de ofrecer una apropiada interpretación de su sentido histórico-político, vinculado a su elaborada capacidad referencial y propagandística.

El ms. 154 de El Burgo de Osma, el primero conocido del Fortalitium fidei de Alonso de Espina, contiene una serie de representaciones relacionadas con distintas guerras libradas entre cristianos y musulmanes a lo largo de la Historia, en su mayoría desconocidas hasta ahora. Este artículo propone el análisis iconográfico de esa iluminación, y su encuadre en el estudio de la iconografía bélica desarrollada al final de la Edad Media en la península ibérica. El interés preferente de este trabajo se centra en las escenas de batalla, así como en la complementaria relación entre textos e imágenes que originan las narraciones plásticas del conflicto, y que, en su caso, nos ayudan a su identificación y contextualización historiográfica.

La pérdida de don Beltrán es uno de los romances más emblemáticos del corpus carolingio. Identificado por gran parte de la crítica como un episodio relativo a la Batalla de Roncesvalles, posiblemente derivado por vía tradicional de un cantar de gesta, narra los esfuerzos de un viejo caballero por encontrar en el campo de batalla el cuerpo de su hijo. El romance tuvo una extraordinaria difusión, oral, manuscrita e impresa, en los siglos XVI y XVII y numerosos escritores del momento lo recrearon o se hicieron eco de él en sus obras literarias. El objetivo de este artículo es, precisamente, analizar la recepción del romance de La Pérdida de don Beltrán por parte de los poetas, dramaturgos y narradores del Siglo de Oro. En primer lugar, se presentan las versiones antiguas del romance, conservadas en su mayoría gracias a adaptaciones musicales y a glosas de poetas del siglo XVI. En segundo lugar, se estudian las adaptaciones y parodias. En tercer lugar, se realiza un recorrido por las citas y alusiones al romance incluidas en obras literarias de los siglos XVI y XVII. Este panorama de escrituras y reescrituras podrá́ dar una idea muy precisa de la popularidad que alcanzó La pérdida de don Beltrán durante Siglo de Oro.

Kesultanan Buton yang terletak di jazirah tenggara Pulau Sulawesi adalah sebuah kerajaan Islam bercorak kepulauan yang sudah wujud lama sebelum kedatangan kuasa Eropah di Dunia Melayu-Nusantara. Secara politik, Kesultanan Buton selalu berasa terancam kerana persaingan dan peluasan wilayah dan politik antara dua kerajaan tetangganya yang besar dan kuat, iaitu Gowa dan Ternate. Oleh itu, Sultan Buton ke-4 Dayanu Ikhsanuddin atau La Elangi (1578 – 1615) mengikrarkan “persekutuan abadi” dengan Vereenigde Oostindische Compagnie (VOC) pada 5 Januari 1613. Inti perjanjian itu adalah bahawa VOC akan membantu Buton apabila diserang oleh musuh- musuhnya tapi dengan beberapa syarat yang harus dipenuhi oleh Buton. Perjanjian itu telah ‟mengikat” sultan Buton berikutnya. Makalah ini membahaskan sepucuk warkah sepanjang 13 halaman daripada Gabenor VOC di Makassar, mewakili Gabenor Jeneral VOC di Batavia, yang dikirimkan kepada Sultan Buton ke-25, Azimuddin atau La Masalumu (1788 – 1791), bertarikh 25 Februari 1791 yang versi digitalnya dimiliki oleh The British Library dengan kod EAP212/6/3 dan naskhah aslinya tersimpan di Buton, yang berada dalam koleksi Abdul Mulku Zahari di Baubau. Makalah ini membahaskan isinya dan menghubungkaitkan dengan latar sejarah sosiopolitik Kesultanan Buton. Kata kunci: Buton, warkah, EAP212/7/3, The British Library, VOC, kontrak politik, Sultan Azimuddin, kolonialisme Abstract The Sultanate of Buton, situated in the south-eastern peninsula of Sulawesi Island, was an archipelagic Islamic kingdom that has long been existed before the arrival of European power in the Malay- Nusantara world. Politically, the Sultanate of Buton, that was relatively small, always feels threatened because of the territorial expansion and political rivalry between its large and powerful neighboring kingdoms: Gowa and Ternate. Therefore, the 4th Butonese sultan Dayanu Ikhsanuddin or La Elangi (1578 – 1615) pledged “everlasting alliance” with the Vereenigde Oostindische Compagnie (VOC) on 5 January 1613. The essence of the treaty was that the VOC would help Buton if attacked by the enemies, but with some requirements that must be met by Buton. The treaty had “bundled” the next Buton sultans. This paper discusses a 13-pages letter sent by the VOC’s Governor in Makassar, represented the VOC’s Governor General in Batavia, to the 25th Butonese sultan Azimuddin or La Masalumu (1788 – 1791), dated on 25 February 1791,which its digital version owned by The British Library under code EAP212/6/3 and its original manuscript hold in Abdul Mulku Zahari’s collection in Baubau, Buton. This paper provides the Roman transliteration of the letter, discusses its contents and relates them to the socio-political historical background of the sultanate of Buton of that period. Keywords: Buton, letter, EAP212/7/3, The British Library, VOC, political contract, Sultan Azimuddin, colonialism

H. F. Batalina's monograph is devoted to the problem of creating the image of a child as the embodiment of evil in horror films of the second half of the 20th - beginning of the 20th century. The topic formulates an important problem, primarily of a moral and psychological nature. The relevance of the work lies in the fact that "a certain niche, currently unfilled in the Ukrainian cultural space, is being explored in a situation where Ukrainian cinema is beginning to take steps to meet the audience and enter wide distribution with genre films" [p. 22 of the manuscript]. H.F. Batalina points out that "the study of the problem of the child as a cinematographic object, except for a few exceptions, is not developed in the scientific film literature, although such a need is increasingly expressed as one of its important tasks" [p. 22 of the manuscript]. It should be added to the above that the research is also relevant because the image of a child in horror films is not a norm for post-Soviet society, is not inherent in the culture of modern Ukraine, but is planted by cultural traditions of Western countries (for example, the planting of the Halloween holiday). Therefore, the research of H.F. Batalina allows us to understand where and why other traditions appear in the culture of Ukrainians. We are convinced that the degree of validity of scientific statements, conclusions and prospects for solving the problem of finding archetypal and semiotic during the creation of the image of children in films of the horror genre, which is reflected in the monograph, has a sufficient level to recommend the above-mentioned scientific work for publication. We consider the specification of the categorical and terminological apparatus of film horror based on the philosophical and aesthetic aspects of the problem to be an important achievement of H. F. Batalina's research. We respect H. F. Batalina's confident attempt to offer the scientific community an author's vision of the paradigm of genre features of horror films. Time will demonstrate the functionality of the proposed features, and reveal the shortcomings and dominant advantages of such a paradigm. Since we are followers of the principle of Karl Popper's fallibilism (in the understanding of the concept of "fallibilism" by Charles Peirce), which implies the axiom that any scientific knowledge is fundamentally not final, but only an intermediate interpretation of the truth, which involves the subsequent replacement by a better interpretation, we assert: the author's vision of the paradigm of genre features of the horror film has the right to exist and needs further practical verification, which, in our opinion, is already a victory for scientists. F. Batalina and the victory of scientific thought in the field. The monograph is made at a sufficient scientific level, contains important theoretical provisions and has practical significance. We have an individual, theoretically and operationally supported research position that contributes to the formation of modern theory.

Cattle carcasses of ritual slaughter (Halal) from the lateral and medial side were investigated in order to identify the indigenous strains of lactic acid microorganisms capable of producing bacteriocins. Only 14 strains, from 36 strains of microorganisms isolated from washings taken from carcasses, were used for further research and identified as lactabacilus. In the study of their bacteriocinogenicity by the method of two-layer agars of modified composition, high inhibitory efficiency was proved with respect to the growth of the pathogen Salmonella typhimurium, only 6 isolated strains of lactabacilus. The use of this method of evaluation will not only reveal the presence of the ability of the lactabacilus to produce bacteriocins, but also to study their antagonistic activity against many of the studied microorganisms, which are indicators of compliance with various modes of technological processes. The presence of such microorganisms in the meat will increase the shelf life of meat, due to the suppression of the growth of closely related lactabacilus, some of which are spoilage microorganisms, as well as the growth of opportunistic and pathogenic microflora. In addition, the use of lactabacilus with bacteriocinogenicity in the production technology of raw sausages will reduce the risk of production of unsafe products. Thus, the presence of indigenous lactabacilus in meat is an additional factor that ensures the flow of desired biochemical processes and the safety of raw smoked sausages.ContributionAll authors bear responsibility for the work and presented data. All authors made an equal contribution to the work. Dagmara S. Bataeva developed scientific and methodological approaches to work, determined the scope of research, analyzed the data obtained, performed the narrative and corrected it after submitting to the editorial office. Olga V. Sokolova conducted a review and analysis of the literature, carried out the descriptive part Elena V. Zaiko selected research objects, carried out microbiological analysis. Victoria V. Pashkova carried out preparatory work and microbiological analysis. The authors were equally involved in writing the manuscript and bear the equal responsibility for plagiarism.Conflict of interestThe authors declare no conflict of interest.

AbstractThe nucleus of the collection of paintings in the Mauritshuis around 130 pictures - came from the hereditary stadholder Prince William v. It is widely believed to have become, the property of the State at the beginning of the 19th century, but how this happened is still. unclear. A hand-written notebook on this subject, compiled in 1876 by - the director Jonkheer J. K. L. de Jonge is in the archives of the Mauritshuis Note 4). On this basis a clnsor systematic and chronological investigation has been carried out into the stadholder's. property rights in respect of his collectcons and the changes these underwent between 1795 and 1816. Royal decrees and other documents of the period 1814- 16 in particular giae a clearer picture of whal look place. 0n 18 January 1795 William V (Fig. 2) left the Netherlands and fled to England. On 22 January the Dutch Republic was occupied by French armies. Since France had declared war on the stadholder, the ownership of all his propergy in the Netherlands, passed to France, in accordance with the laws of war of the time. His famous art collections on the Builerth of in. The Hague were taken to Paris, but the remaining art objects, distributed over his various houses, remained in the Netherlands. On 16 May 1795 the French concluded a treaty with the Batavian Republic, recognizing it as an independent power. All the properties of William v in the Netehrlands but not those taken to France, were made over to the Republic (Note 14), which proceeded to sell objects from the collections, at least seven sales taking place until 1798 (Note 15). A plan was then evolved to bring the remaining treasures together in a museum in emulation of the French. On the initiative of J. A. Gogel, the Nationale Konst-Galerij', the first national museum in the .Netherlands, was estahlished in The Hague and opened to the public on ,31 May 1800. Nothing was ever sold from lhe former stadholder's library and in 1798 a Nationale Bibliotheek was founded as well. In 1796, quite soon after the French had carried off the Stadholder, possessions to Paris or made them over to the Batavian Republic, indemnification was already mentioned (Note 19). However, only in the Trealy of Amiens of 180 and a subaequent agreement, between France ararl Prussia of 1 802, in which the Prince of Orarage renounced his and his heirs' rights in the Netherlands, did Prussia provide a certain compensation in the form of l.artds in Weslphalia and Swabia (Note 24) - William v left the management of these areas to the hereditary prince , who had already been involved in the problems oncerning his father's former possessions. In 1804 the Balavian Republic offered a sum of five million guilders 10 plenipotentiaries of the prince as compensation for the sequestrated titles and goods, including furniture, paintings, books and rarities'. This was accepted (Notes 27, 28), but the agreement was never carried out as the Batavian Republic failed to ratify the payment. In the meantime the Nationale Bibliolkeek and the Nationale Konst-Galerij had begun to develop, albeit at first on a small scale. The advent of Louis Napoleon as King of Hollarad in 1806 brought great changes. He made a start on a structured art policy. In 1806 the library, now called `Royal', was moved to the Mauritshuis and in 1808 the collectiorts in The Hague were transferred to Amsterdam, where a Koninklijk Museum was founded, which was housed in the former town hall. This collection was subsequertly to remain in Amsterdam, forming the nucleus of the later Rijksmuseum. The library too was intended to be transferred to Amsterdam, but this never happened and it remained in the Mauritshuis until 1819. Both institutions underwent a great expansion in the period 1806-10, the library's holdings increasing from around 10,000 to over 45,000 books and objects, while the museum acquired a number of paintings, the most important being Rembrandt's Night Watch and Syndics, which were placed in the new museum by the City of Amsterdam in 1808 (Note 44). In 1810 the Netherlands was incorporated into France. In the art field there was now a complete standstill and in 1812 books and in particular prints (around 11,000 of them) were again taken from The Hague to Paris. In November 1813 the French dominion was ended and on 2 December the hereditary prince, William Frederick, was declared sovereign ruler. He was inaugurated as constitutional monarch on 30 March 1814. On January 3rd the provisional council of The Hague had already declared that the city was in (unlawful' possession of a library, a collection of paintings, prints and other objects of art and science and requested the king tot take them back. The war was over and what had been confiscated from William under the laws of war could now be given back, but this never happened. By Royal Decree of 14 January 1814 Mr. ( later Baron) A. J. C. Lampsins (Fig. I ) was commissioned to come to an understanding with the burgomaster of The Hague over this transfer, to bring out a report on the condition of the objects and to formulate a proposal on the measures to be taken (Note 48). On 17 January Lampsins submitted a memorandum on the taking over of the Library as the private property of His Royal Highness the Sovereign of the United Netherlartds'. Although Lampsins was granted the right to bear the title 'Interim Director of the Royal Library' by a Royal Decree of 9 February 1814, William I did not propose to pay The costs himself ; they were to be carried by the Home Office (Note 52). Thus he left the question of ownership undecided. On 18 April Lampsins brought out a detailed report on all the measures to be taken (Appendix IIa ) . His suggestion was that the objects, formerly belonging to the stadholder should be removed from the former royal museum, now the Rijksmuseum, in Amsterdam and to return the 'Library', as the collectiort of books, paintings and prints in The Hague was called, to the place where they had been in 1795. Once again the king's reaction was not very clear. Among other things, he said that he wanted to wait until it was known how extensive the restitution of objects from Paris would be and to consider in zvhich scholarly context the collections would best, fit (Note 54) . While the ownership of the former collections of Prince William I was thus left undecided, a ruling had already been enacted in respect of the immovable property. By the Constitution of 1814, which came into effect on 30 March, the king was granted a high income, partly to make up for the losses he had sulfered. A Royal Decree of 22 January 1815 does, however, imply that William had renounced the right to his, father's collections, for he let it be known that he had not only accepted the situation that had developed in the Netherlands since 1795, but also wished it to be continued (Note 62). The restitution of the collections carried off to France could only be considered in its entirety after the defeat of Napoleon at the Battle of Waterloo on 18 June 1815- This was no simple matter, but in the end most, though not all, of the former possessions of William V were returned to the Netherlands. What was not or could not be recovered then (inc.uding 66 paintings, for example) is still in France today (Note 71)- On 20 November 1815 127 paintings, including Paulus Potter's Young Bull (Fig. 15), made a ceremonial entry into The Hague. But on 6 October, before anything had actually been returned, it had already been stipulated by Royal Decree that the control of the objects would hence forlh be in the hands of the State (Note 72). Thus William I no longer regarded his father's collections as the private property of the House of Orange, but he did retain the right to decide on the fulure destiny of the... painting.s and objects of art and science'. For the time being the paintings were replaced in the Gallery on the Buitenhof, from which they had been removed in 1795 (Note 73). In November 1815 the natural history collection was made the property of Leiden University (Note 74), becoming the basis for the Rijksmuseum voor Natuurlijke Historie, The print collection, part of the Royal Library in The Hague, was exchanged in May 1816 for the national collectiort of coins and medals, part of the Rijksmuseum. As of 1 Jufy 1816 directors were appointed for four different institutions in The Hague, the Koninklijke Bibliotheek (with the Koninklijk Penningkabinet ) , the Koninklijk Kabinet van Schilderijen and the Yoninklijk Kabinet van Zeldzaamheden (Note 80) . From that time these institutions led independenl lives. The king continued to lake a keen interest in them and not merely in respect of collecting Their accommodation in The Hague was already too cramped in 1816. By a Royal Decree of 18 May 1819 the Hotel Huguetan, the former palace of the. crown prince on Lange Voorhout, was earmarked for the Koninklijke Bibliotheek and the Koninklijk Penningkabinet (Note 87) . while at the king's behest the Mauritshuis, which had been rented up to then, was bought by the State on 27 March 1820 and on IO July allotted to the Koninklijk Kabinet van Schilderijen and the Koninklijk Kabinet van Zeldzaamheden (Note 88). Only the Koninklijk Kabinet van Schilderijen is still in the place assigned to it by William and the collection has meanwhile become so identified with its home that it is generally known as the Mauritshui.s'. William i's most important gift was made in July 1816,just after the foundation of the four royal institutions, when he had deposited most of the objects that his father had taken first to England and later to Oranienstein in the Koninklijk Kabinet van Zeldzaamheden. The rarities (Fig. 17), curios (Fig. 18) and paintings (Fig. 19), remained there (Note 84), while the other art objects were sorted and divided between the Koninklijke Bibliotheek (the manuscripts and books) and the koninklijk Penningkabinet (the cameos and gems) (Note 85). In 1819 and 182 the king also gave the Koninklijke Bibliotheek an important part of the Nassau Library from the castle at Dillenburg. Clearly he is one of the European monarchs who in the second half of the 18th and the 19th century made their collectiorts accessible to the public, and thus laid the foundatinns of many of today's museums. But William 1 also made purchases on behalf of the institutions he had created. For the Koninklijke Bibliotheek, for example, he had the 'Tweede Historiebijbel', made in Utrecht around 1430, bought in Louvain in 1829 for 1, 134 guilders (Pigs.30,3 I, Note 92). For the Koninkijk Penningkabinet he bought a collection of 62 gems and four cameos , for ,50,000 guilders in 1819. This had belonged to the philosopher Frans Hemsterhuis, the keeper of his father's cabinet of antiquities (Note 95) . The most spectacular acquisition. for the Penninukabinet., however, was a cameo carved in onyx, a late Roman work with the Triumph of Claudius, which the king bought in 1823 for 50,000 guilders, an enormous sum in those days. The Koninklijk Kabinet van Zeldzaamhedert also received princely gifts. In 1821- the so-called doll's house of Tzar Peter was bought out of the king's special funds for 2.800 guilders (Figs.33, 34, ,Note 97) , while even in 1838, when no more money was available for art, unnecessary expenditure on luxury' the Von Siebold ethnographical collection was bought at the king's behest for over 55,000 guilders (Note 98). The Koninklijk Kabinel van Schilderyen must have been close to the hearl of the king, who regarded it as an extension of the palace (Notes 99, 100) . The old master paintings he acquzred for it are among the most important in the collection (the modern pictures, not dealt with here, were transferred to the Paviljoen Welgelegen in Haarlem in 1838, Note 104). For instance, in 1820 he bought a portrait of Johan Maurice of Nassau (Fig.35)., while in 1822, against the advice of the then director, he bought Vermeer' s View of Delft for 2,900 guilders (Fig.36, Note 105) and in 1827 it was made known, from Brussels that His Majesty had recommended the purchase of Rogier van der Weyden's Lamentation (Fig.37) . The most spectacular example of the king's love for 'his' museum, however, is the purchase in 1828 of Rembrandt's Anatomy Lesson of Dr. Nicolaes Tulp for 32,000 guilders. The director of the Rijksmuseum, C. Apostool, cortsidered this Rembrandt'sfinest painting and had already drawn attention to it in 1817, At the king'.s behest the picture, the purchase of which had been financed in part by the sale of a number of painlings from. the Rijksmuseum, was placed in the Koninklijk Kabinet van Schilderijen in The Hague. On his accession King William I had left the art objects which had become state propery after being ceded by the French to the Batavian Republic in 1795 as they were. He reclaimed the collections carried off to France as his own property, but it can be deduced from the Royal Decrees of 1815 and 1816 that it Was his wish that they should be made over to the State, including those paintings that form the nucleus of the collection in the Mauritshuis. In addition, in 1816 he handed over many art objects which his father had taken with him into exile. His son, William II, later accepted this, after having the matter investigated (Note 107 and Appendix IV). Thus William I'S munificence proves to have been much more extensive than has ever been realized.

Con este número inauguramos una nueva indexación de Contrapulso que se suma a las ya existentes de Latindex y Rilm. Se trata del Hispanic American Periodicals Index (HAPI), un índice y base de datos en línea de publicaciones en ciencias sociales y humanidades sobre América Latina, el Caribe y el mundo latino en general. Publicado desde 1976, HAPI incluye más de trescientos mil registros y tiene indexadas cerca de cuatrocientas revistas. De este modo seguimos creciendo en indexaciones y lo seguiremos haciendo en los números por venir. En este primer número del sexto volumen de Contrapulso hemos logrado entrar un poco más en el enorme campo brasileño de los estudios en música popular, que era una aspiración de esta revista abocada al estudio de la música popular en Iberoamérica y la esfera latina. Es así como incluimos dos artículos en portugués y un dosier convocado por académica/os brasileña/os. Además, en los referatos ciegos han colaborado varia/os autora/es brasileña/os. El dosier “Álbumes del exilio: música popular, política y experiencias”, fue convocado por Sheyla Diniz del Departamento de Historia de la Universidad de San Pablo, USP, Rodrigo Pezzonia del Departamento de Sociología de la Universidad Estadual de Campinas, UNICAMP, y Márcia Fráguas del Instituto de Letras de la Universidad Federal de Río de Janeiro, UFRJ. Este dosier es presentado por sus editores en las siguientes páginas. Junto a los cuatro artículos que lo integran, que abordan exilios musicales cubanos, brasileños y chilenos, hemos incluido un testimonio del proceso de producción de los recitales que ofreció Quilapayún en Barcelona en septiembre de 1974, a un año del golpe de estado en Chile y del consiguiente exilio del grupo y en las postrimerías del régimen de Franco. Este primer testimonio que publica Contrapulso, en sintonía con el dosier, deja abierta la puerta para futuras colaboraciones en esta línea testimonial. En la sección de artículos libres, incluimos un texto sobre el tango actual en París, tal como lo desarrollan las orquestas Fleurs Noires con su tendencia post-piazzolleana y TAXXI Tango XXI, continuadora del rescate del estilo de Osvaldo Pugliese iniciado por la Orquesta Típica Fernández Fierro en Buenos Aires, pero agregando una fuerte intensidad, propia de la música de rock. El artículo aborda el modo en que ambas orquestas parisinas ofrecen propuestas creativas e innovadoras que las han llevado a desarrollar diferentes estilos y subgéneros del tango dentro de una escena translocal. Como el auge tanguero contemporáneo en París también ha sido consecuencia del exilio de músicos argentinos luego del golpe militar de marzo de 1976, este artículo además dialoga con el dosier de la revista. El número culmina con tres reseñas de publicaciones aparecidas en Santiago y Madrid entre 2022 y 2023. La primera aborda el libro de Ricardo Álvarez Bulacio (Santiago: Ril Editores) referido a la banda de bronces Wiracocha de la ciudad de Iquique, y está a cargo de Jean Franco Daponte. La segunda es sobre un libro de César Albornoz (Santiago: Fondo de Cultura Económica) que aborda la “prehistoria” del rock chileno (1945-1967), y fue escrita por Cristofer Rodríguez. Finalmente, la tercera reseña, a cargo de Ximena Soto Lagos y Juan Sebastián Cayo, aborda un texto de Juan Pablo González sobre el estudio intermedial de la canción popular autoral de fines del siglo XX (Santiago: Ediciones Universidad Alberto Hurtado / Madrid: Instituto Complutense de Ciencias Musicales). Junto con agradecer a las y los autores de este númeo que han depositado su confianza en Contrapulso enviándonos sus manuscritos según las normas de la revista y luego haciendo correcciones y modificaciones según lo hemos solicitado, debemos reconocer a quienes han realizado los acuciosos referatos ciegos del material recibido, contribuyendo a mantener el nivel de la revista y sirviendo como instancia de perfeccionamiento para las y los propios autores. Estos fueron: Emanuel Ramírez, Ênio Bernardes, Javier Rodríguez, Leonardo Davino, María de los Ángeles Montes, Mariana Arantes, Mariana Martins Villaça, Omar García Brunelli, Raphael Ferreira y Rodrigo Pezzonia. El contenido de Contrapulso 6/1 (2024) es el siguiente: Dosier “Álbumes del exilio: música popular, política y experiencias”, Sheyla Diniz, Rodrigo Pezzonia y Márcia Fráguas editores. Igor Lemus Moreira. “Exílio, cubanidades inventadas e anticastrismo em Gloria Estefan: apontamentos sobre o álbum Mi Tierra” Imilka Fernandez. “Imaginarios e hibridaciones en Paquito D’ Rivera” Aldo Luiz Leoni, Fernando Tavares, Diósnio Machado Neto. “De outras terras e outras línguas te acordar: Taiguara, a música como campo de batalha” Candelaria María Luque. “`Porque mañana se abrirán las alamedas´. La experiencia exiliar de los músicos chilenos en México: un espacio de resistencia político-musical de la Nueva Canción Chilena” Testimonios José Luis Vergara. “Concierto de Quilapayún en el Palau Blaugrana de Barcelona, organizado por Agermanament el 20 y 21 septiembre de 1974” Artículos libres Paloma Martin. “Paris à nouveau! La escena musical contemporánea del tango en orquestas argentino-parisinas del siglo XXI” Reseñas Jean Franco Daponte: Ricardo Álvarez Bulacio. 2022. La Música de la Banda Wiracocha. Composiciones de Guillermo Contreras Maldonado. Santiago: Ril Editores Cristofer Rodríguez: César Albornoz. 2023. Prehistoria del rock chileno, 1945-1967. Santiago: Fondo de Cultura Económica Juan Sebastián Cayo y Ximena Soto Lagos: Juan Pablo González. 2023. Música Popular Autoral de Fines del Siglo XX; Estudios Intermediales. Santiago: Ediciones Universidad Alberto Hurtado / Madrid: Instituto Complutense de Ciencias Musicales

The present article deals with Malay letters and documents from the archives of the Dutch East India Company (Verenigde Oost-Indische Compagnie – VOC), dating to the seventeenth and eighteenth centuries. The documents belong to the collection of the Russian scholar and collectioner N.P. Likhachev (1862-1936) and have been kept in the Institute of Oriental Manuscripts in St. Petersburg since 1938. The collection of VOC diplomatic letters that was in a possession of to Governor-General Johan van Hoorn (1653-1711), travelled from old Batavia, to Amsterdam and then to St. Petersburg. Fifty-six letters were written in different languages: Malay in Arabic and Javanese scripts, Dutch, Persian, Arabic, Spanish and Chinese. Mostly addressed to Johan van Hoorn the Dutch Governor-General in 1704-1709, they are not only exemplary of the fine art of Malay letter-writing, but also original diplomatic documents and historical sources on Dutch early colonial policy in Malay Archipelago.

Durante la presencia española en el sudeste asiático se mantuvieron contactos con otros países de su entorno. Uno de ellos fue Japón. El archipiélago nipón cambió de dirigente tras la batalla de Sekigahara (1600), estableciéndose tras ella una nueva dinastía que dirigiría al país hasta 1868, la familia Tokugawa. En los primeros años de este gobierno las relaciones con los españoles (y con los extranjeros en general) fueron cambiantes, pasando de una situación favorable a terminar rompiéndose. Es en esos primeros años se hallan Rodrigo de Vivero (1564-1636) y Sebastián Vizcaíno (1547/1548-1627). Ambos personajes se entrevistaron tanto con Ieyasu como con Hidetada Tokuwaga. Vivero estuvo en Japón poco antes de que las relaciones entre ambas potencias se rompiesen; por su parte, Vizcaíno las vivió en primera persona. De sus estancias quedaron sus percepciones del país nipón recogidas en dos Relaciones manuscritas. El objetivo que aquí se persigue es analizar y exponer ordenadamente los datos extraídos de sus manuscritos acerca de las costumbres de los japoneses, su arte, su arquitectura, su estructura social, etc. desde el punto de vista de dos personajes que a diferencia de los misioneros no se involucraron en la sociedad japonesa. Palabras clave: Rodrigo de Vivero, Sebastián Vizcaíno, Japón, Tokugawa, Nueva España, Filipinas. Abstract During the Spanish presence in Southeaster Asia, contacts were maintained with other neighboring countries. One of them was Japan. The Japanese archipelago changed its leadership after the Battle of Sekigahara (1600), establishing a new dynasty after it that would lead the country until 1868, the Tokugawa family. In the first years of this government relations with the Spanish (and with foreigners in general) were changing, going from a favourable situation to breaking up. It is in those early years that Rodrigo de Vivero (1564-1636) and Sebastián Vizcaíno (1547 / 1548-1627) is found. Both characters interviewed both Ieyasu and Hidetada Tokuwaga. Vivero was in Japan shortly before relations between the two powers were broken; for his part, Vizcaíno lived that in the first person. From his stays remained his perceptions of the Japanese country collected in two manuscript Narrations. The objective pursued here is to analyze and orderly expose the data extracted from his manuscripts about the customs of the Japanese, their art, their architecture, their social structure, etc. from the point of view of two characters who, unlike the missionaries, were not involved in Japanese society. Key words: Rodrigo de Vivero, Sebastián Vizcaíno, Namban, Iberian century, Japan, Tokugawa, New Spain, Philippines.

<p><em>Taudhih al-Dalail fi Tarjamah Hadits al-Syamail is the manuscript hadith of Betawi’s clerical work. The book is a translation of Muhammadiyah Syamail written by al-Tirmidhi which teaches about the person and the attitude of the Prophet both in worship and social. It is translated by Guru Mughni of Kuningan, using the Arabic alphabet in Betawi Malay in 1926 AD. Guru Mughni categorized on the most popular one of the clergy late 19th and early 20th century in Batavia. With his compatriot friend, he was able to widen the intellectual influences that reach almost all parts of Batavia at the time. Social conditions of the religious community in Betawi during the Dutch colonial inspire Guru Mughni to build strong personal and character of Betawi community by making the Holy Prophet as a role model in life. Family background and education also makes his work has its own uniqueness over the works of Indonesian scholars at that time.</em></p> <p><em> </em></p> <p><strong><em></em></strong></p>

El corpus de romances sobre Alcazarquivir es relativamente reducido, teniendo en cuenta la amplia repercusión de la batalla en otros medios. Son apenas diez, entre impresos y manuscritos. Sin embargo contienen todos los matices y hasta evolución temática que podemos observar en las numerosas crónicas y relaciones en prosa, impulsada por las necesidades políticas de cada momento. La mayor parte se concentra en el periodo 1592-1595, tras la larga década de silencio que sigue a la batalla, cuando no era políticamente aceptable extenderse sobre los aspectos conflictivos del tema: los motivos del desastre, el valor de los participantes, la supervivencia del rey, que no podía ser censurado. Tampoco sus nobles, a quienes Felipe II necesitaba para gobernar su nuevo reino. Una vez consolidado su poder, las Flores empiezan a imprimir romances que, sin responder de forma clara a ninguna de estas preguntas, las tocan todas, insinúan sin afirmar la muerte de D. Sebastián y salvan su recuerdo como joven valeroso aunque imprudente, con matices dependientes del medio en que se conservan. Solo cuando en torno al cambio de siglo se suceden los falsos sebastianes y crece el sebastianismo como sistema de resistencia nacionalista, aparecen con todas las letras la muerte y el cadáver del rey.

Entre 1907 y 1910, diversas compañías fonográficas con sede en Estados Unidos sacaron al mercado mexicano varias grabaciones en las que se podían escuchar, en situaciones diferentes, la voz de Porfirio Díaz. En un disco incluido en un catálogo de Columbia Records publicado en 1907, por ejemplo, circularon las enérgicas órdenes del caudillo durante la batalla librada el 2 de abril de 1867 en Puebla, entre las tropas interventoras y el ejército juarista. Realmente, se trataba de una escenificación grabada en un taller de fonógrafos y bicicletas por un grupo de actores y músicos populares. Por su parte, un cilindro producido por Edison Company en 1909 contuvo una carta de Díaz dirigida a Thomas Alva Edison. A través de estas grabaciones y otras fuentes sonoras, visuales y manuscritas intentaré demostrar la relevancia de los sonidos grabados para estudiar las relaciones diplomáticas y comerciales entre el gobierno estadounidense y el Estado mexicano, así como las estrategias de los sectores subalternos para participar en las batallas cotidianas por la memoria de la nación. Las voces de don Porfirio revelan un privilegiado campo de tensiones sociales, entre la veracidad y la ficción, que permite reescribir la historia política y popular de México, desde otras posibilidades metodológicas.