In last decades, technical-scientific investigations into cultural heritage assets have increasingly become part of analysis methodologies accessible to professionals from different areas for a broad understanding of the complex material and historical nature of objects. In this interdisciplinary word, the painting “Costureiras” by Tarsila do Amaral (1886-1973), from 1950, was studied by ultraviolet-induced visible luminescence (UVL), infrared image (IR) and macro X-ray fluorescence scanning (MA-XRF) techniques. UVL and MA-XRF images enabled the exploration of the conservation status of the artwork, the creative process of the artist, and areas featuring materials distinct from the original painting. By combining the results of IR and MA-XRF images, it was confirmed that changes occurred in the creative process during the composition of the artwork. MA-XRF images further allowed the inference of the primary pigments employed by the artist, revealing that, during canvas priming, Tarsila do Amaral utilized pigments based on lead and zinc. decades technicalscientific technical scientific objects word Costureiras “Costureiras 18861973, 18861973 1886 1973 , (1886-1973) 1950 ultravioletinduced ultraviolet induced UVL, (UVL) (IR Xray X ray MAXRF MA XRF (MA-XRF techniques artwork artist priming zinc 1886197 188 197 (1886-1973 195 (UVL 188619 18 19 (1886-197 18861 1 (1886-19 (1886-1 (1886- (1886 (188 (18 (1 (

In Etienne van Heerden se roman Die wêreld van Charlie Oeng (2017) beeld die outeur verskillende karakters se worsteling met God asook met goed en kwaad uit. Met behulp van Van Heerden se karakterisering van byvoorbeeld Charlie Oeng, die moordpligtige Sjinese man, en die blinde vrou, Ouma Ogies, asook ander karakters, word die vraag na menslike verantwoordelikheid en God se bestiering in die goeie en die kwade op die voorgrond gestel. Hierdie vraagstuk word in dié artikel vanuit 'n teologiese beoordeling benader omdat religieuse elemente en die vraag na goed en kwaad 'n beslissende rol in Van Heerden se roman speel. Die metodologie wat gevolg word is om bepaalde aspekte te oorweeg en met aspekte van goed en kwaad asook God se bestiering in dié roman in gesprek te tree. As 'n magies-realistiese roman, eie aan Van Heerden se oeuvre, word die grense tussen realiteit en die eteriese in hierdie verhaal dikwels vaag; soos in sy ander werke bied Van Heerden die geleentheid om die diep psigologiese aspekte van geweld te herbesoek. Om só 'n roman te analiseer lê nie slegs algemene persepsies rakende goed en kwaad bloot nie, maar stel 'n mens ook in staat om die interaksie/kruising tussen literatuur en teologie, en die belang daarvan, te ondersoek. Alhoewel die roman nie 'n klinkklare oplossing bied nie is die vraagstukke rakende die mens se worsteling met God, met goed en kwaad, met hul eie verantwoordelikheid, en die rol van God se bestiering, altyd relevant.

The question of good and evil and human responsibility is a central theme in the novel Die wêreld van Charlie Oeng (The World of Charlie Oeng) by Etienne van Heerden (2017). The eponymous protagonist in the novel commits various murders, ostensibly due to his circumstances. The author confronts the reader with the question: could Charlie Oeng have done anything to avoid his crimes? To address this question, I firstly engage the genre of the novel itself. The novel is regarded as a magical-realistic novel, a genre within which the line between reality and the magical is often blurred. Many challenging aspects of life in this magical reality are discussed in this novel. Charlie Oeng remains a challenging character who embodies evil. He can be described as a human being who struggles to come to grips with his humanity and is often misled to commit murders. As Charlie Oeng is increasingly led astray and drawn into a life of evil, the theme of being misled becomes more prevalent. As such, the author's question becomes more urgent: could Oeng have rejected this life of his own accord or was he preconditioned to accept it? Are his deeds a result of the eternal struggle between good and evil or his own (lack of) responsibility? Linked to the theme of being misled and choice vs. predestination is the character of Ouma Ogies, the blind woman, who enters into dialogue with God. Due to her unfortunate fate and God's rule, she challenges God during this dialogue and also wants to challenge God in court because of her unfortunate circumstances. She was also, in her opinion, misled by God. Various challenging questions are raised by this character as well as several other characters. The novel recounts the overarching question of God's rule and how humans react to it by investigating the issue through the experiences and narrations of various characters. Tian, the character through whose eyes the story is told, grapples with understanding how evil is possible when his parents are murdered. Cor van Gogh, who carries with him a painting of Vincent van Gogh, is a red headed Dutchman ill-suited to life in South Africa. His anger leads to murder. This novel speaks to commonalities in Van Heerden's oeuvre and his earlier works. Aspects of good and evil and the rule of God play an important role in, for example, his novels Toorberg (1986), Die swye van Mario Salviati (2000), 30 nagte in Amsterdam (2008), and the recent Gebeente (2023). The author also engages Etienne Leroux 's novels, such as Sewe dae by die Silbersteins (1964). In this regard, the deep psychological aspects of violence are revisited. An analysis of novels such as these allows one access to general views on good and evil while also enabling an investigation of the significance of the interaction/intersection between theology and literature. Such interactions/intersections are often significant and can lead to deeper insights into literature and theology. The question of good and evil in reality has been discussed in theology and philosophy. Augustine, Calvin, Paul, and other theologians and philosophers such as Aristotle, Derrida, Hegel, and Kant have written extensively on this matter. The classical Christian view is that God's creation of the world was good, but that human beings fell into sin and needed redemption through Christ. Evil is then the result of sin and human beings should be held accountable in this regard. There are, however, many other views, such as that evil is part of this reality and that it was part and parcel of evolutionary development. The question of human responsibility is crucial and it is clear that the different characters in this particular novel by Etienne van Heerden under consideration struggle with the question of good and evil and human responsibility. Ultimately, this narrative also symbolises a struggle with God. The novel leaves one with many questions regarding good and evil and human responsibility, as well as the theological implications thereof. Although no clear solution is given at the end of the novel, the questions posed by the author remain salient.

RESUMEN Este artículo contribuye al conocimiento de las elecciones técnicas involucradas en la producción y uso de la pintura en la cerámica guaraní de siete sitios arqueológicos del Delta del Paraná e isla Martín García. Se realizó el análisis tecnomorfológico y estilístico de la alfarería y de la composición mineralógica de las pinturas con microespectrometría Raman. En la cerámica guaraní se pintaron las paredes internas y/o externas y se realizaron motivos en los recipientes denominados como kambuchí kaguava, kambuchí y ña ’embé. Se usaron óxidos de hierro en los colores rojos, naranjas y marrones, además de hematita con carbón vegetal para algunos tonos rojos, magnetita combinada con carbón para los negros y óxido de titanio para los blancos. La pintura y los motivos se articularon con las formas de las vasijas, generando un repertorio cerámico singular que remite a un modo de hacer guaraní identificable en el registro arqueológico de los sitios aquí analizados.

ABSTRACT This paper contributes to the knowledge of the technical cholees involved in the production and use of Guaraní pottery painting in seven archaeological sites of the Paraná Delta and Martín García Island. The technomorphological and stylistic analysis of the pottery and the mineralogical composition of the paints used was carried out with Raman micro-spectrometry. In Guaraní pottery, the internal and/or external walls were painted and motifs were made on vessels known as kambuchí kaguava, kambuchí and ña ’embé. Iron oxides were used in the red, orange and brown colors, in addition to hematite with charcoal for some red tones, magnetite combined with charcoal for black and titanium oxide for white. The painting and the motifs were articulated with the shapes of the vessels, generating a unique ceramic repertoire that refers to a Guarani way of making identifiable in the archaeological record of the sites analyzed here.

Abstract: This essay investigates the popularity of the artistic theme of the conversion of María Magdalena in the domestic spaces of Santiago, Chile from approximately 1650-1750. Carried out through an iconographic study of a representative painting in the Barbosa-Stern collection together with an assessment of archival data from the National Historical Archive, Magdalena’s counterreformation persona as a sinful penitent is shown to have been supported by the highly mutable and sensorial themes of luxuria and vanitas. Ultimately, the essay argues that the popularity the Magdalena in colonial-era paintings was tied to a mutable iconography, suspended between her imperfect past and virtuous future, that localized this saint for urban upper-class female audiences of the southern Andean region.

Resumen: Este artículo investiga la popularidad del tema artístico de la conversión de María Magdalena en los espacios domésticos de Santiago de Chile entre 1650-1750. Llevado a cabo a través del estudio iconográfico de una pintura de la colección Barbosa-Stern, junto con una evaluación de los registros documentales del Archivo Nacional Histórico de Chile, aquí se demuestra que la figura contrarreformista de la Magdalena como penitente pecadora ha sido respaldada por los temas mutables y sensoriales de luxuria y vanitas. En última instancia, el artículo argumenta que la popularidad de la Magdalena en las pinturas coloniales estuvo ligada a una iconografía mutable, suspendida entre su pasado imperfecto y un futuro de virtud, que localizó esta santa para las audiencias urbanas femeninas adineradas de la región sur andina.

RESUMO A diversidade de cores do solo pode ser um importante aliado para divulgar seu conhecimento junto a diferentes públicos, contribuindo para a compreensão de sua relevância como recurso vital que sustenta a vida no planeta. No Ensino Básico, o conteúdo sobre o solo ainda é fragmentado e descontextualizado. Considerando a educação de pessoas com deficiência visual, esse conteúdo é ainda mais limitado devido à falta de estratégias pedagógicas que aproximem esse público do tema. Este estudo teve como objetivo introduzir conceitos sobre o solo a pessoas com deficiência visual por meio de atividades de pintura com tinta de solo. Realizado no Instituto Hélio Góes em Fortaleza-CE, Brasil. Participaram da pesquisa alunos com cegueira e baixa visão. Para a condução do trabalho, foram aplicados questionários antes e depois da atividade e diálogos sobre o solo mediados por ferramentas táteis e produzidas tinta de solo e pinturas. Observou-se que os alunos tinham pouco contato com o conteúdo do solo na escola (57,1%), relacionavam o solo com atividades agrícolas ou de construção (71,4%) e desconheciam a tinta de solo (71,4%). Durante a prática, os alunos puderam perceber as diferentes texturas dos solos, demonstrando interesse na atividade, realizando posteriormente um evento escolar sobre solos com a exposição de suas pinturas. A metodologia de pintura com tinta terra promoveu uma maior percepção do solo, facilitando a compreensão de algumas características, importância e funções. A experiência bem sucedida destaca a importância de práticas inclusivas nas escolas para envolver pessoas com deficiência visual na educação sobre solos.

ABSTRACT The diversity of soil colors can be an important ally in the dissemination of knowledge to different audiences, contributing to the understanding of its relevance as a vital resource that sustains life on the planet. In Primary Education, the content on soil is still fragmented and decontextualized. Considering the education of visually impaired people, this content is even more limited due to the lack of pedagogical strategies that bring this audience closer to the topic. This study aimed to introduce concepts about soil to people with visual impairment through painting activities with soil paint. Conducted at the Hélio Góes Institute in Fortaleza-CE, Brazil, the research involved students with blindness and low vision. Questionnaires were administered before and after the activity, and floor dialogs were mediated by tactile tools; floor painting was produced and paintings were created. It was observed that students had little contact with soil content in school (57.1%), associated soil with agricultural or construction activities (71.4%), and were unfamiliar with soil painting (71.4%). During the practice, students were able to perceive the different textures of soils, showing interest in the activity, and subsequently organized a school event on soils with the exhibition of their paintings. The soil painting methodology promoted a greater perception of the soil, facilitating the understanding of some characteristics, importance and functions. Successful experience highlights the importance of inclusive practices in schools to involve people with visual impairment in soil education.

RESUMEN La diversidad de colores del suelo puede ser un aliado importante en la difusión del conocimiento a diferentes audiencias, contribuyendo a la comprensión de su relevancia como un recurso vital que sustenta la vida en el planeta. En la Educación Básica, el contenido sobre el suelo todavía está fragmentado y descontextualizado. Considerando la educación de personas con discapacidad visual, este contenido es aún más limitado debido a la falta de estrategias pedagógicas que acerquen a esta audiencia al tema. Este estudio tuvo como objetivo introducir conceptos sobre el suelo a personas con discapacidad visual a través de actividades de pintura con pintura de suelo. Realizado en el Instituto Hélio Góes en Fortaleza-CE, Brasil, la investigación involucró a estudiantes con ceguera y baja visión. Se administraron cuestionarios antes y después de la actividad, y los diálogos sobre el suelo fueron mediados por herramientas táctiles, se produjo pintura de suelo y se crearon pinturas. Se observó que los estudiantes tenían poco contacto con el contenido del suelo en la escuela (57.1%), asociaban el suelo con actividades agrícolas o de construcción (71.4%) y no estaban familiarizados con la pintura de suelo (71.4%). Durante la práctica, los estudiantes pudieron percibir las diferentes texturas de los suelos, mostrando interés en la actividad, y posteriormente organizaron un evento escolar sobre suelos con la exhibición de sus pinturas. La metodología de pintura con pintura de suelo promovió una mayor percepción del suelo, facilitando la comprensión de algunas características, importancia y funciones. La experiencia exitosa destaca la importancia de prácticas inclusivas en las escuelas para involucrar a personas con discapacidad visual en la educación del suelo.

Die doel van hierdie studie is om die doeltreffendheid en produktiwiteit van 'n besigheid wat sandblaas- en verfdienste bied, te verhoog. 'n Geïntegreerde model wat skraal vervaardigingsgereedskap insluit, insluitend voorkomende en outonome instandhouding, 5S en SMED, word bespreek. Die model bestaan uit vier verskillende fases. Die aanvanklike stadium bestaan uit die diagnose van die maatskappy se begintoestand. Die tweede fase behels die uitvoering van die 5S-metodologie om werkstasies te bestuur. Hierna is 'n instandhoudingsprogram geïmplementeer, wat uiteindelik gelei het tot die vermindering van opsteltye vir die verfmasjienkonfigurasie. Verder is 'n assessering gedoen oor die gerealiseerde verbeterings, en numeriese uitsette is beide voor en na ontplooiing vergelyk. Statistiese validering is uitgevoer via 'n loodsstudie wat 'n lang tydperk in beslag geneem het. Die bevindinge het 'n produktiwiteitsverbetering van 10 persent en 'n doeltreffendheidverhoging van 23.8 persent bevestig. Daarbenewens is 'n vermindering van 32.04 persent in opstel tyd waargeneem.

The objective of this study is to increase the efficiency and productivity of a business that offers sandblasting and painting services. An integrated model incorporating lean manufacturing tools, including preventative and autonomous maintenance, 5S, and SMED, is presented in this article. The model consists of four distinct phases. The initial stage consists of diagnosing the company's beginning state. The second stage entails the execution of the 5S methodology to arrange workstations. Following this, a maintenance programme was implemented, which ultimately resulted in the reduction of setup times for the painting machine configuration. Furthermore, an assessment was conducted on the realised enhancements, and metrics were compared both before and after deployment. Statistical validation was performed via a pilot study that occupied an extended period. The findings validated a productivity improvement of 10% and an efficiency increase of 23.8%. In addition, a 32.04% reduction in setup time was observed.

RESUMO O Jardim das Delícias Terrenas (1490-1500) é um tríptico composto por três painéis frontais sobre o paraíso e o inferno que exigem que o espetador os feche para obter uma nova visão: a Criação do mundo. Nesta obra, Bosch retrata pequenos aglomerados de ar que falam de arquiteturas encapsuladas e de lugares introspectivos onde as leis parecem ter desaparecido. Este ensaio destaca a existência destes pequenos espaços inseridos no ambiente arquitetônico; trípticos que, em vez de serem pintados, adquiriram uma terceira dimensão para fazer parte de obras como a Casa Ugalde de Coderch (1953), a Casa-museu Soane (1820) e a Casa Vicens de Gaudí (1885). Uma imersão arquitetônica em três projetos de habitação que nos permite criar catálogos com micrografias de “lágrimas de arquitetura”: bolhas presas na massa do vitral que nos mostram cartografias de um espaço intangível e desconhecido. Micrografias do espaço intangível sugere a mudança de escala e a imersão do habitante em um micromundo em busca de novas expressões que permitam conceber uma arquitetura mais gráfica e criativa.

ABSTRACT The Garden of Earthly Delights (1490-1500) is a triptych with three panels depicting paradise and hell. These panels require the viewer to fold and close them to obtain a new perspective: the creation of the world. In this work, Bosch portrays small air pockets that suggest encapsulated architectures and introspective spaces, where conventional laws seem to have vanished. This essay highlights these tiny spaces inserted in the architectural environment. Triptychs, instead of being painted, have acquired a third dimension to form part of works such as Coderch’s Casa Ugalde (1953), Soane’s Casa-Museo (1820), and Gaudi’s Casa Vicens (1885). It is an architectural immersion in three living projects that enables us to compile catalogs of micrographs showcasing “architectural droplets”: bubbles trapped within the stained-glass mass, revealing cartographies of an intangible and undiscovered space. Micrographs of intangible space suggest a change in scale, immersing the inhabitant in a micro-world searching for new expressions that enable them to conceive a more vivid and creative form of architecture.

RESUMEN El Jardín de las Delicias (1490-1500) es un tríptico formado por tres paneles frontales sobre el paraíso y el infierno que precisan del espectador para ser abatidos, cerrados y obtener una nueva visión: la Creación del mundo. En esta obra, El Bosco representa pequeños coágulos de aire que hablan de arquitecturas encapsuladas y lugares introspectivos, donde las leyes parecen haber desaparecido. Este ensayo pone de manifiesto la existencia de estos diminutos espacios insertos en el ámbito arquitectónico; trípticos que, en lugar de ser pintados, han adquirido una tercera dimensión para formar parte de obras como Casa Ugalde de Coderch (1953), Casa-museo Soane (1820) y Casa Vicens de Gaudí (1885). Una inmersión arquitectónica en tres proyectos de habitar que nos permite la creación de catálogos con micrografías de “lágrimas de arquitectura”: burbujas atrapadas en la masa vitral que nos muestran cartografías de un espacio intangible y desconocido. Micrografías del espacio intangible nos sugiere cambiar la escala y sumergir al habitante en un micromundo en busca de nuevas expresiones que permitan concebir una arquitectura más gráfica y creativa.

Resumen El trabajo propone una lectura en clave política del surgimiento del diseño en Argentina, enfocado en la figura de Tomás Maldonado. La periodización (1948‒1954) inicia con su expulsión del Partido Comunista Argentino y aborda un momento de inflexión en su actividad y pensamiento, que lo lleva a compartir su interés por la pintura con el diseño y la arquitectura. Parte de la historiografía interpreta esta inflexión como una señal del desencanto de Maldonado hacia el compromiso político y el cambio social, construyendo una idea del diseño como apolítico. Sostenemos la hipótesis de que, aunque alejado del partidismo, las reflexiones de Maldonado apuestan a sostener un programa de articulación entre arte y vida a través del diseño. En este sentido, el objetivo es proponer una mirada más integral sobre el diseño que reúna las experimentaciones estéticas y los posicionamientos ideológicos como componentes intrínsecos de un todo indivisible. Para esto, resulta productivo pensar el diseño como una neovanguardia, un término que, sin intensiones de catalogar o encasillar esta experiencia, permite introducir aportes de distintos teóricos del arte, a la vez que evita caer en ciertos relatos canónicos de tendencia despolitizadora que tienden a minimizar o excluir esta dimensión de sus relatos.

Abstract The work proposes a political approach of the emergence of design in Argentina, focused on the figure of Tomás Maldonado. The periodization (1948‒1954) begins with his expulsion from the Argentine Communist Party and addresses a turning point in his activity and thought, which leads him to share his interest in painting with design and architecture. Part of the historiography interprets this inflection as a sign of Maldonado's disenchantment with political commitment and social change, constructing an idea of design as apolitical. We support the hypothesis that, although far from partisanship, Maldonado’s reflections aim to sustain a program of articulation between art and life through design. In this sense, the objective is to propose a more comprehensive look at design that brings together aesthetic experimentations and ideological positions as intrinsic components of an indivisible whole. For this, it is productive to think of design as a neo‒avant‒garde, a term that, without attempting to classify this experience, allows valuable contributions from different art theorists to be introduced, while avoiding falling into certain canonical narratives with a depoliticizing tendency that led to minimize or exclude this dimension from their production.

Resumo O conceito de experiência, conforme sugerido pelo pragmatismo, obriga a pensar a atividade conjuntamente com a passibilidade. O objetivo do artigo é fundamentar a centralidade desta última na criação artística e pensar sob que modalidades ela é vivida pelos pintores no gesto pictórico. A partir de uma pesquisa etnográfica efetuada numa instituição de apoio social e psiquiátrico onde decorre um ateliê de pintura com o fito de capacitar os seus utentes, concluímos que a passibilidade (i) pode voltar-se para o exterior durante o processo pictórico, ou (ii) para o interior, dando azo a um momento introspectivo que serve como mote para pintar. Demonstramos, assim, que passibilidade e atividade se encontram intrinsecamente acopladas na pintura. experiência pragmatismo pictórico utentes i (i voltarse voltar ii (ii interior pintar Demonstramos assim

Abstract The concept of experience, as suggested by pragmatism, forces us to think about activity together with passibility. The objective of the article is to substantiate the centrality of the latter in artistic creation and to think under what modalities it is experienced empirically by painters in the pictorial gesture. Based on ethnographic research carried out in a social and psychiatric support institution where there is a painting studio with the aim of empowering its users, we conclude that passibility (i) can turn outwards during the pictorial process, or (ii) towards the interior, giving rise to an introspective moment that serves as a motto for painting. We thus demonstrate that passivity and activity are intrinsically coupled in painting. experience pragmatism gesture users i (i process ii (ii interior

ABSTRACT This article explores the history painting The Last Moments of Pedro de Valdivia (1875) by Chilean artist Nicolás Guzmán Bustamante, in the light of its context of production and critical reception at the International Exposition of 1875. Some of the primary sources that allowed the creation of this work are identified and the production of the painting, destroyed in the bombing of La Moneda in 1973, is reconstructed. It also introduces the main voices that identified this canvas as a remarkable example of Chilean history painting. The article proposes that the attention paid to the theme of Valdivias last moments is subtly related to the socio-political context of the time: the "occupation of Araucanía".

RESUMEN Este artículo explora la pintura de historia Los últimos momentos de Pedro de Valdivia (1875) del artista chileno Nicolás Guzmán Bustamante, a la luz de su contexto de producción y recepción crítica en la Exposición Internacional de 1875. Se identifican algunas de las fuentes primarias que permitieron la creación de esta obra y se reconstruye la producción de la pintura, destruida en el bombardeo de La Moneda en 1973. Asimismo, se introducen las principales voces que identificaron en esta tela un ejemplo notable de pintura de historia chilena. El artículo propone que la atención puesta en el tema de los últimos momentos de Valdivia está relacionada de modo sutil con el contexto sociopolítico de la época: la "ocupación de la Araucanía".

Resumen Analizar el impacto de las estrategias didácticas en la mejora de la traducción creativa pictórica en estudiantes del I Ciclo de la Carrera Profesional de Educación Artística de la Escuela de Artes Plásticas de Ayacucho, 2023, fue el objetivo general de la investigación cuantitativa, aplicada, explicativa y diseño cuasi experimental. De una población de 70 personas estudiantes de las dos carreras profesionales. Se tuvo una muestra censal de 35 educandos para el grupo control (Artista profesional) y similar número para el grupo experimental (Educación Artística). El plan experimental y la lista de cotejo fueron los instrumentos de acopio de datos. Mediante tablas de frecuencias relativas se presentó los resultados descriptivos, mientras, los inferenciales se analizaron con Rango de Wilcoxon y U Mann de Whitney. En los resultados se halla que el grupo control no sufre variación importante entre el pre y post test; mientras, el grupo experimental sufre variación significativa, hallándose 23,6 puntos de diferencia entre las pruebas asignadas. En la prueba de hipótesis con rango de Wilcoxon se acepta la hipótesis alterna, concluyendo que la estrategia didáctica activa permite mejorar la traducción creativa pictórica en estudiantes del grupo experimental investigados, igualmente, en la inferencia con U Mann de Whitney se halla una diferencia esencial entre el grupo control y experimental en cuanto a la traducción creativa pictórica. Es recomendable el uso de estrategias didácticas activas para mejorar la traducción creativa pictórica.

Abstract Through this quantitative, applied, explanatory research and quasi-experimental design, the researchers sought to analyze the impact of didactic strategies on improving creative pictorial translation in students of the I Cycle of the Professional Career of Artistic Education of the School of Plastic Arts of Ayacucho, 2023. From a population of 70 students from both professional majors, the researchers drew a census sample of 35 students for the control group (Professional Artist) and a similar number for the experimental group (Artistic Education). Furthermore, both the experimental plan and the checklist were the data collection instruments. By using relative frequency tables, the researchers presented the descriptive results. On the other hand, they analyzed the inferentials with Wilcoxon Rank and Whitney's U Mann. Thus, the results demonstrate that the control group does not suffer significant variation between the pre- and post-test; while the experimental group suffers significant variation, finding 23.6 points of difference between the assigned tests. Regarding the hypothesis test with Wilcoxon rank, the alternative hypothesis is accepted, concluding that the active teaching strategy allows improving creative pictorial translation in students of the experimental group investigated. In the same way, in the inference with Whitney's U Mann, the researchers find an essential difference between the control and experimental group in terms of creative pictorial translation. Therefore, the use of active teaching strategies is recommended to improve creative pictorial translation.

Abstract This article proposes a philological analysis of a passage from León Battista Alberti’s painting treatise, particularly the one where the author compares the painting with an «open window». Widely surviving in modern theories of pictorial representation, such metaphorical expression would find its origin in certain rhetorical and poetic habits as typical of Renaissance humanism as they are singular and original in their theoretical-practical application, showing the existence of a deep alliance between figurations literary and visual imaginaries that have established themselves in our tradition.

Resumen Este artículo propone un análisis filológico de un pasaje del tratado de pintura de León Battista Alberti, particularmente aquel donde el autor compara el cuadro con una «ventana abierta». De amplia supervivencia en las teorías modernas de la representación pictórica, tal expresión metafórica encontraría su origen en ciertos hábitos retóricos y poéticos tan propios del humanismo renacentista como singulares y originales en su aplicación teórico-práctica, mostrando la existencia de una alianza profunda entre las figuraciones literarias y los imaginarios visuales que se han asentado en nuestra tradición.

Resumen Este trabajo presenta y ofrece en español el prefacio de Tristan Tzara a Les Champsdélicieux (1922), álbum de rayogramas del fotógrafo estadounidense Man Ray, que fue traducido por Walter Benjamin para la revista alemana de vanguardia G- Zeitschriftfür elementare Gestaltung en 1924. Muestra la relación de Benjamin con Hans Richert, editor de esta revista, así como con otros de los dadaístas de Zúrich durante su estancia en Suiza, y señala el modo en que su propia traducción de Tzara fue recuperada por Benjamin en un relevante pasaje de “Kleine Geschichteder Photographie” (1931).

Abstract This paper introduces and offers in Spanish the prefacebyTristan Tzara toLes Champsdélicieux (1922), analbumofrayographsby the American photographer Man Ray, which was translatedby Walter Benjamin for the German avant-gardemagazineG- Zeitschriftfür elementare Gestaltung in 1924. ItshowsBenjamin'srelationship with Hans Richert, editor of this magazine, as well as with otherZurichDadaistsduringhisstay in Switzerland, and highlights how hisowntranslationof Tzara was laterrevisitedby Benjamin in a significantpassageof “KleineGeschichtederPhotographie” (1931).

Sommario Nel V libro del suo romanzo, Achille Tazio descrive dettagliatamente un quadro che rappresenta il mito di Procne, Filomela e Tereo. Molti studiosi hanno ipotizzato un possibile rapporto con il Tereo di Sofocle, il dramma che nell’antichità ebbe importanza fondamentale per la conoscenza della vicenda. Il presente contributo ridiscute l’intero problema, focalizzandosi soprattutto su due punti. 1) L’ekphrasis di Achille Tazio dà una rappresentazione molto vivida della scena del riconoscimento: con la sua enfasi sull’azione agita, come se i personaggi fossero impegnati in una performance, il dettato del testo evoca chiaramente un contesto teatrale. 2) Negli anni di Sofocle si può ritenere che gli Ateniesi collegassero il mito di Procne e Filomela non solo con l’immagine dell’uccisione di Iti e del banchetto antropofagico (temi molto praticati dai ceramografi), ma anche con la scena del “peplo parlante”, che era riprodotta nelle metope del Partenone. Questa era probabilmente la “scena madre” del Tereo di Sofocle, un drammaturgo molto sensibile alle suggestioni iconografiche. Achille Tazio, che aveva accesso al testo completo del dramma sofocleo, compose la sua ekphrasis avendo negli occhi questa scena.

Abstract In book 5 of his novel, Achilles Tatius describes at length a painting that represents the myth of Procne, Philomela and Tereus. A connection with Sophocles’ Tereus, the most influential treatment of the myth in the antiquity, has been proposed by many scholars. In this contribution I provide a re-discussion of the whole passage, with a view to establishing its dependence on the Sophoclean drama. My analysis focuses on two points. 1) Achilles’ ekphrasis offers a vivid depiction of the revelation scene: with its emphasis on actual action, as if the characters were performing onstage, the phrasing of the passage strongly evokes a theatrical context. 2) By the age of Sophocles the Athenians would have connected the myth of Procne and Philomela not only with images of Itys’ killing and with the anthropophagic banquet (which was popular with vase painters), but also with the scene of the “speaking” peplos, which was depicted in the Parthenon’s marble decoration. This was probably the “defining scene” in the Tereus of Sophocles, a dramatist who was extremely sensitive to iconographic suggestions. Achilles Tatius, who had access to Sophocles’ original text, composed his account of the myth with this scene in mind.

Resumen Una visita reciente a la Hill House del arquitecto Rennie Mackintosh, en Helensburgh, Escocia, origina este artículo de reflexión. Los recorridos por sus diferentes ámbitos convocan recuerdos, ideas, asociaciones de imágenes de otras casas, otros tiempos y lugares. El trabajo muestra un modo de habitar en el que ciertos comportamientos arquetípicos del ser humano parecen encontrar respuestas también arquetípicas en la arquitectura de la casa, manifestaciones espaciales paradigmáticas que siguen guiando el proyecto doméstico en nuestros días. Desde el antiguo castillo de Hedingham en Essex, Inglaterra, hasta el pequeño apartamento proyectado por Christian Pottgiesser en París, el itinerario no es solo a través de las habitaciones de la Hill House, sino de otras obras de la arquitectura, el cine y la pintura, que confluyen congregadas por una misma forma de vivir, sentir y crear el espacio doméstico. Mediante este itinerario se descubre una vía histórica argumental de transformaciones espaciales que podría explicar, provisionalmente, la persistencia de ciertos arquetipos domésticos en las arquitecturas contemporáneas, a la vez que remitirnos a sus orígenes más remotos y olvidados.

Abstract This work is the result of a recent visit to the Hill House designed by architect Rennie Mackintosh in Helensburgh, Scotland. Looking around the house evokes memories, ideas, and associations with other houses, other times, and other places. The work displays a way of inhabiting in which certain archetypal human behaviors also seem to find archetypal responses in the architecture of the house, which are paradigmatic spatial manifestations that still guide domestic projects today. From the ancient Hedingham Castle in Essex, England, to the small apartment designed by Christian Pottgiesser in Paris, the itinerary not only includes the Hill House’s rooms, but also other works of architecture, cinema, and painting that converge on the same way of living, feeling, and creating the domestic space. Through this itinerary, a historical argumentative path of spatial transformations is discovered, which could provisionally explain the persistence of certain domestic spatial types in contemporary architecture while also recalling its most remote and forgotten origins.

Resumo Uma recente visita à Hill House do arquiteto Rennie Mackintosh em Helensburgh, Escócia, originou este artigo de reflexão. Os passeios pelos seus diferentes espaços evocam memórias, ideias, associações de imagens de outras casas, de outros tempos e de outros lugares. A obra exibe uma forma de viver em que certos comportamentos humanos arquetípicos parecem encontrar também respostas arquetípicas na arquitetura da casa, manifestações espaciais paradigmáticas que continuam a orientar o design doméstico hoje. Do antigo Castelo de Hedingham, em Essex, Inglaterra, ao pequeno apartamento desenhado por Christian Pottgiesser em Paris, o itinerário passa não só pelos quartos da Hill House, mas também por outras obras de arquitetura, cinema e pintura que se unem no mesmo modo de viver, sentir, pensar (e fazer pensar) e criar espaço doméstico. Através deste itinerário, descobre-se um percurso histórico argumentativo de transformações espaciais que poderá explicar, provisoriamente, a persistência de determinados tipos espaciais domésticos nas arquiteturas contemporâneas, ao mesmo tempo em que nos remete para as suas origens mais remotas e esquecidas.