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Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Imafronte. Revista de Historia del Arte is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article "Dwelling of gods. The spiritual components of the human body among the classical Maya" by Erik Velásquez García focuses on the concepts and representations of the Classic period of the Maya. The author uses sources such as hieroglyphic inscriptions and classical Maya art to explore the sociocultural construction of the image of the person in Maya culture. The book also addresses the variations in the concepts and functions of the spiritual components of the human body in the modern and contemporary Maya world. The author carries out a multidisciplinary analysis that includes references to codices, historical, archaeological, iconographic, historical linguistics, and ethnographic sources. The text analyzes the concept of "lab" in Maya culture and how it has evolved over time. The presence of European characters in the representations of "lab" among the Tseltales of Cancuc is also mentioned. The author also addresses other concepts such as "o'hlis" and "wahyis" and their importance in Maya cosmology. In addition, topics such as the ritual power of Maya rulers and the use of body paint and attire in ritual activities are discussed. The text talks about the personification baahil rituals and the associated dances in Maya culture. The dance called Ko’Šal, celebrated in Aguacatán, Guatemala, is mentioned, which allows deceased relatives to return to the world of the living once a year. The dancers are adorned with ancient costumes and allow their ancestors to dance in the daylight. Furthermore, the notion of the Maya body as a "text universe" containing the gods o'hlis and wahyis is mentioned. [Extracted from the article]

Copyright of Constelaciones (2340-177X) is the property of Fundacion Universitaria San Pablo - CEU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ekstasis: Revista de Hermenêutica e Fenomenologia is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tiempos Modernos is the property of Tiempos Modernos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

September 11, 2001 was one of the most tragic days in recent human history. A terrorist attack put the entire Western society in check, showing an enormous force and destroying the lives of thousands of free citizens. Conspiracy is one of the most widespread theories to explain the origin of these attacks, but also money, religion and power. With almost 3,000 murdered and numerous unidentified human remains, the main documents remain undeclassified by the US administration, after having passed four different presidents, both Republicans and Democrats. [ABSTRACT FROM AUTHOR]

Copyright of Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Fernando Picornell's artwork painted on drums of Hellin region from Spain. Based on knowledge acquired from studying ofdrums from Hellin region since the very beginning to nowadays in its different ways of representations, the artist developed this subject within an artwork which is also a reason for meditation upon visual arts andpainting. [ABSTRACT FROM AUTHOR]

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The results of compositional studies of paints and slips applied on archaeological ceramics of different styles recovered at Punta de la Peña, Peñas Coloradas and Paicuqui, archaeological sites of Antofagasta de la Sierra microrregion (Catamarca Province, Argentina), are presented and discussed. The variability of minerals used in local, as well as, in foreign pieces is evaluated. Furthermore, pigment deposits of diverse colors and also evidences of pigment processing were found. These materials were characterized by X-ray diffraction and Raman microspectroscopy and their possible application in the fabrication of the studied ceramics is discussed. This information may contribute to the knowledge of the local pottery production, circulation ways and use, and of the elaboration techniques developed in this region during the chronological range ca. 1000-1500 AD. Also, may serve as the start of an empirical reference database of raw materials sources, which are scarcely registered in Argentine Northwest. [ABSTRACT FROM AUTHOR]

This research was focused on the analysis and chemical risks assessment caused by volatile organic compounds in high traffic painting activities on Ambato Municipality. The objective was to assess chemical risks by isomers of dimethyl benzene and its impact on health of the painters to decrease the workers exposure to the mentioned risk. This research consider the use of the theory of chemical risks assessment based on the maximum acceptable exposure limits in the workplace according to the American Conference of Governmental Industrial Hygienists and using the concept National Institute for Occupational Safety and Health to determine the exposure dose. The following methods were used: questionnaire, observation and bibliographic documentary research. It was obtained that is additive, the value was obtained 1.75, is over the acceptable limit for humans that is 1, which causes serious diseases and the rate of morbidity is high. [ABSTRACT FROM AUTHOR]

The monumental paintings of the Postrimerías [Four Last Things] from the church of Carabuco (1684) serve as objects to study the complex dynamics of the visual and performative production of religious knowledge in a colonial contact zone. The article presents different 'readings' of the series that focus on possible uses and receptions of the paintings by local actors. These readings are based, on the one hand, on the idea of conceiving the series as a 'cycle of meditation' and product of the influences of Christian mysticism that played an important role in the 'eschatological politics of conversion' of the southern Andean Highlands. On the other hand, the paintings relate the eschatological message with the local hagiographic narratives of a pre-Hispanic apostle associated simultaneously with the Christian apostle Bartholomew and the Andean deity Tunupa—the most important figure of Aymara mythology. These works therefore represent objects of memory that participate in the local construction of time and space and that refer not only to Christian eschatological concepts but also to local Andean ontologies. [ABSTRACT FROM AUTHOR]

Copyright of Quintana: Revista do Departamento de Historia da Arte USC is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Conservar Património is the property of Associacao Profissional de Conservadores-Restauradores de Portugal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Mexican illustrator, engraver and painter Julio Ruelas (1870-1907) is intimately linked to modernism, which was the name of the symbolism in our country. Ruelas first exhibited his Doctor Pierrot (1898) at the XXIII National Exhibition of Fine Arts at the Academy of San Carlos. The theme and scenario of this painting are influenced by the work of the writer Bernardo Couto Castillo (1879-1901). The painter used his brother as model. This same brother, years later, would obtain his degree of medical doctor with the dissertation The radical cure of the inguinal hernia (1907). Through one of the two anatomical illustrations reproduced by Ruelas on his canvas, it was possible to identify the medical book that Doctor Pierrot is reading: the Traité of Paul Tillaux (1834-1904), professor of clinical surgery at the Faculty of Medicine in Paris. In the book that Doctor Pierrot holds it is possible to see the gray matter in blue, the tract of Goll and the direct pyramidal fasciculus in red, and the direct cerebellar fasciculus also in blue. In the germ of this Doctor Pierrot came together several axes, among them, the spiritual affinities of the painter, the influence exerted by Couto, and the image of the artist's brother, first a medical student and later a doctor. [ABSTRACT FROM AUTHOR]

I Call ' urban chaos ' the disordered growth of cities, that does not conform-or doesn't care with an urban planning, aimed at the welfare of the citizen, a fair displacement of cars and pedestrians, public and private transport. Buildings - skyscrapers - multiply, overlap and make shadow each other, hide or/and replace the small buildings-houses, and often historical heritage-, compress and proof the soil, causing the concentration of population and circulation of motor vehicles, excluding the horizons and natural lighting, the sun, the sky. In recent years I have worked with this theme - with this concern - both in engraving and in works on cardboard. In collages and montages superimpose cardboard cutouts, like in my experiments in overlapping engraving prints, including different arrays, which provide the idea of ' heap ', of disorder and chaos. It took me to Paint the same spirit. The available tools - create geometric figures, rigid straight lines, select shapes or cutouts, deform, expanding or compressing, cut, copy and paste, repeat and multiply the ways-built environment (buildings), superimpose them to exhaustion. Add to that the ease of use with fast application and correction, and may reverse, override and unite. In Paint and in the city, the repetition, the hush, the overlay. [ABSTRACT FROM AUTHOR]

Copyright of Medicina y Seguridad del Trabajo is the property of Escuela Nacional de Medicina del Trabajo - Instituto de Salud Carlos III and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Codex Aquilarensis is the property of Fundacion Santa Maria la Real del Patrimonio Historico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista ION is the property of Universidad Industrial de Santander and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the painting process of the industries such as automotive, metalworking, woodworking and construction different kind of chemicals are used. Some of them produce volatile organic compounds (VOC) and cause adverse effects on human health, which are related to the degree of toxicity of the chemical and the time of exposure. The target was describe the hierarchy of controls that were performed against chemical hazards related to exposure to volatile organic compounds, in order to advice stakeholders in the implementation of measures at individual and work environment that lead to the safe handling and counteract the adverse effects from the use of VOCs. The methodology was based on collecting and analyzing information from Industrial Hygiene and Health at work of organizations such as American Conference of Industrial Hygienists, National Institute for Occupational Safety and Health, Occupational Safety and Health Administration, International Agency for Research on Cancer, American National Standards Institute, among others. The result of this research identified 107 chemicals as the main components of the products used in the painting process. Among them 59 are VOC, 12 are in groups 1 and 2 of International Agency for Research on Cancer, 24 have TLV below 100 ppm and 19 are on that value, therefore, controls of substitution, engineering and administrative interventions are required. [ABSTRACT FROM AUTHOR]

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Paints are the main protection method for atmospheric deterioration of metallic structures. Their performance in service depends largely on the nature of organic coatings and environmental and meteorological factors. For these reasons, it is essential for development, selection and evaluation of paints to identify the deterioration phenomenology as well as the methods used for modeling and predicting the behavior of coatings, the preventive maintenance o replacement dates and the life time of repaired structures. In this review the main employed methods used for the modeling of such deterioration for predictive purposes are presented. [ABSTRACT FROM AUTHOR]

Objective: To evaluate the lung function tests done to workers during 5 years 2007-2011 in a paint production factory. Subjects and methods: 53 production workers exposed to solvents were included in this study. A retrospective review of clinical findings and spirometry made to those workers was done. The obtained information was coded and organized for statistical analysis with the Statsoft Stadistic 6.0®. To study functional pulmonary changes in time, the formula proposed by The American College of Occupacional and Environmental Medicine College (ACOEM) was applied. Results: No significant statistical differences were found (p= 0,11) for CVF (p-0,07), VEF1, between first and fifth years spirometry; showing that there was no pulmonary function reduction in workers after being exposed to organic solvents in this paint factory during 5 years labor. [ABSTRACT FROM AUTHOR]

Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The relevance of considering the air-paint interface in the color matching process of a sample and the importance of having a better characterization of the paintings that make up the database that is used to reproduce the color of the sample is analyzed. The procedure for color matching paints, whose formulation is unknown, is based on the Kubelka-Munk theory, which assumes that the incident medium is the same as the polymer of the paint. The analysis was performed by matching the sample's color by mixing colored paints with a single pigment to a white paint, mixing paint and colored with a single pigment to a white paint made with pigments TiO2, for which the values of K and S are known. Calculations were performed using the software Mathematica 5.0. In was found that the color coordinates are sensitive to the air-paint interface and possibly a more detailed understanding of the formulation of paints to obtain better results in the color matching. [ABSTRACT FROM AUTHOR]

Copyright of Bistua: Revista de la Facultad de Ciencias Básicas is the property of Facultad de Ciencias Basicas de la Universidad de Pamplona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Tuberculosis is one of the oldest illnesses in history, probably would be the first disease that affected human. Along the time it had been present in various civilizations making it's legacy at different contexts. This article explores some pictorial perspectives inspired on that disease, ranging from beauty to horror and pain depending on the emotion that motivates the artist. It takes as references some artistic style and pictoric pieces to illustrate the different conceptions of the disease passing by the Renaissance, Baroque, expressionism and abstract movements. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Atacameños is the property of Estudios Atacamenos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Salud Pública is the property of Universidad Nacional de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this work the influence of some variables in the crude Cuban petroleum water emulsions, employing pyrolisys products for their use as asphaltic paints are precised. The conditions for obtaining and increasing the direct emulsion stability are evaluated too. In the experimental laboratory works were employed two emulsifier agents (P and b), obtained from different feedstock and pyrolisys conditions. It was observed that, while emulsifier agent P is possible to obtain stable direct emulsion (O/W), with emulsifier agent b, an inverse emulsion (W/O) was obtained for the similar preparation conditions.The influence of the factors such as: crude type, employed in emulsion water characteristics, crude-water- emulsifier agent ratio and others were researched. The low viscosity emulsions for their use as asphalt paints were obtained with crude concentration over 60%, emulsyfier agent P concentration in the water higher than 4 % and pH between 6 and 7. The inverse emulsions employed with emulsifier agent b can decrease its concentration in the water to3 %. In the rheological emulsion studies viscoelastic behaviours were observed in some emulsions. [ABSTRACT FROM AUTHOR]

In the paper, a study about the use of possibilities of a new type emulsifyng agent obtained from pyrolyisis products of lignocellulosic materials, with Cuban crude petroleum for the preparation of emulsioned paints is presented. The viscosity reduction, the improvement in the handling and the use of obtained emulsions as substitute of asphaltic paints are informed. It is proved that may be obtained direct emulsions with Cuban crude petroleum concentrations of 50-60 % wt., using 3 % wt. concentration of emulgent P (here it is called emulsifyng agent) respect to water. The emulsion characteristics are mantain similar to others prepared with tensioactive agents commonly used. [ABSTRACT FROM AUTHOR]

Nicaro factory poured its tailings at deposits, in which there are approximately 90 millions of tons containing no less than 4 millions of tons chromite that have been removed bay means of gravitational beneficiation at Siderurgical Researchs Center. From the tailing, has been obtained a chromite concentrate, it has been investigated as a base material in refractary paints in foundry, obtaining good results. From this concentrate (as a raw material of chemical degree and fine grain) has not been taken advantages up to this moment, to use it in obtainment of chemical products. The main objective of this work is to show the most important properties to enhance this concentrated for materializing its availability in the chemical reagents production. [ABSTRACT FROM AUTHOR]