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Journal articles on the topic 'Casta Paintings'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 January 2023

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1

scott, nina m. "Measuring Ingredients: Food and Domesticity in Mexican Casta Paintings." Gastronomica 5, no. 1 (2005): 70–79. http://dx.doi.org/10.1525/gfc.2005.5.1.70.

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Measuring Ingredients: Food and Domesticity in Mexican Casta Paintings Mexican casta paintings flourished as a popular art form in the eighteenth century. No one is sure of the exact origin of this type of painting, which depicted racial mixtures accompanied by local foods; most likely it was an export item for wealthy Spaniards who were returning home and wanted a souvenir of colorful and exotic Mexico. Casta paintings were generally created in sets of sixteen canvases, and depicted all manner of racial hybridization among Whites, Blacks and Amerindians. The common trope was to portray a father, a mother, and an offspring, beginning with the Spanish male with Indian and Black consorts, and ending with an Indian couple, groupings which reflected social hierarchies of the colonial world. Most were painted by anonymous artists, though the canvases analyzed in this study are by known painters. Because of the emphasis on domestic relations, couples were often portrayed in kitchens or markets, which gives us valuable information on this aspect of daily life. The foods associated with the different castes also reflected socio-economic hierarchies, as well as reinforced the idea of America as land of bounty. Colonial artists generally imitated European models, but with the casta paintings Mexican artists were instead urged to paint what distinguished their country from Spain, hereby contributing to a growing sense of independence from the metropolis.

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2

Del Val, Nasheli Jiménez. "Pinturas de Casta: Mexican Caste Paintings, a Foucauldian Reading." New Readings 10 (January 1, 2009): 1. http://dx.doi.org/10.18573/newreadings.67.

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3

Morrison, Katherine. "The Colonial Efficacy of Casta Paintings." NASKO 7, no. 1 (September 23, 2019): 190. http://dx.doi.org/10.7152/nasko.v7i1.15643.

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4

Rebecca Earle. "The Pleasures of Taxonomy: Casta Paintings, Classification, and Colonialism." William and Mary Quarterly 73, no. 3 (2016): 427. http://dx.doi.org/10.5309/willmaryquar.73.3.0427.

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5

Knaus, Juliann. "Dissolution of Racial Boundaries." JAAAS: Journal of the Austrian Association for American Studies 2, no. 1 (December 31, 2020): 29–45. http://dx.doi.org/10.47060/jaaas.v2i1.73.

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As the field of mixed-race studies continues to expand, my article adds to this growth by analyzing the representation of mixed-race children in Natasha Trethewey's Thrall in relation to the corresponding Mexican casta paintings she refers to. I explore how Trethewey uses diction and etymology in Thrall by performing close readings of her Mexican casta painting poems. Throughout my analysis, I pay special attention to how aspects of knowledge and colonialism affect the portrayal of these mixed-race offspring. The aim of this article is to demonstrate that Trethewey skillfully uses diction and etymology to emphasize the relationship between knowledge and power, particularly with regard to the representation of mixed-race people in society. Trethewey intertwines mixed-race representation and experiences that seem disparate—her poems cross geographical, temporal, and spatial boundaries—in order to illustrate how mixed-race peoples' positioning and representation in society often transcends such boundaries while additionally critically assessing power dynamics controlling said representation. Accordingly, by closely examining the representation of mixed-race people and miscegenation in art and poetry, this article sheds a new light on how meaning can be developed between races and cultures and stresses how colonialism and knowledge can be connected to contextualizing difference across time and space.

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6

Schwaller, Robert C., and Matthew P. Bowman. "Capturing the quotidian: casta paintings and demographic trends in late colonial Mexico." Colonial Latin American Review 30, no. 3 (July 3, 2021): 423–44. http://dx.doi.org/10.1080/10609164.2021.1947048.

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7

Loren, Diana DiPaolo. "Corporeal Concerns: Eighteenth-Century Casta Paintings and Colonial Bodies in Spanish Texas." Historical Archaeology 41, no. 1 (March 2007): 23–36. http://dx.doi.org/10.1007/bf03376991.

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8

Fronek, Joseph. "Observations on Miguel Cabrera after the Conservation of One of His Casta Paintings." Latin American and Latinx Visual Culture 1, no. 2 (April 2019): 122–30. http://dx.doi.org/10.1525/lavc.2019.120007d.

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9

Deans-Smith, Susan. "Creating the Colonial Subject: Casta Paintings, Collectors, and Critics in Eighteenth-Century Mexico and Spain*." Colonial Latin American Review 14, no. 2 (December 2005): 169–204. http://dx.doi.org/10.1080/10609160500314980.

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10

Donahue-Wallace, Kelly, and Magali M. Carrera. "Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings." Sixteenth Century Journal 35, no. 4 (December 1, 2004): 1244. http://dx.doi.org/10.2307/20477229.

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11

Alves, Abel. "Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings." Hispanic American Historical Review 84, no. 4 (November 1, 2004): 734–35. http://dx.doi.org/10.1215/00182168-84-4-734.

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12

Vania Barraza Toledo. "Imagining Identity in New Spain: Race, Lineage and the Colonial Body in Portraiture and Casta Paintings (review)." Arizona Journal of Hispanic Cultural Studies 7, no. 1 (2003): 312–13. http://dx.doi.org/10.1353/hcs.2011.0219.

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13

Cope, R. Douglas. "Reviews of Books:Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings Magali M. Carrera." American Historical Review 109, no. 5 (December 2004): 1612–13. http://dx.doi.org/10.1086/531027.

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14

Cline, Sarah. "Guadalupe and the Castas." Mexican Studies/Estudios Mexicanos 31, no. 2 (2015): 218–47. http://dx.doi.org/10.1525/mex.2015.31.2.218.

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A mid-eighteenth-century casta painting by Luis de Mena uniquely unites the image of the Virgin of Guadalupe and casta (mixed-race) groupings, along with scenes of everyday life in Mexico, and the natural abundance of New Spain. Reproduced multiple times, the painting has not been systematically analyzed. This article explores individual elements in their colonial context and the potential meanings of the painting in the modern era. Una pintura de Luis de Mena sobre las castas, de mediados del siglo xviii, reúne de manera singular la imagen de la Virgen de Guadalupe, los agrupamientos de castas y escenas de la vida cotidiana en México, junto con la abundancia natural de Nueva España. Aunque reproducida en múltiples ocasiones, la pintura no ha sido analizada sistemáticamente. Este artículo explora sus elementos individuales en el contexto colonial y los significados potenciales de la pintura en la época moderna.

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15

DELPLATO, JOAN. "Casta Painting:Casta Painting." American Anthropologist 107, no. 4 (December 2005): 730–31. http://dx.doi.org/10.1525/aa.2005.107.4.730.

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16

Olson, Christa. "Casta Painting and the Rhetorical Body." Rhetoric Society Quarterly 39, no. 4 (October 16, 2009): 307–30. http://dx.doi.org/10.1080/02773940902991429.

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17

Álvarez Argüelles, Deva. "EL MOBILIARIO DEL SIGLO XVIII A TRAVÉS DE LA PINTURA DE CASTAS 18th- Century Furniture through Casta Painting." Res Mobilis 8, no. 9 (January 21, 2019): 16. http://dx.doi.org/10.17811/rm.8.9.2019.16-34.

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La pintura de castas es un género pictórico creado en el siglo XVIII, calificado como una singularidad hispanoamericana. Este estudio examina el mobiliario reflejado en estas pinturas, explicado a través de sus estilos y tipologías, incluyendo los espacios que acogen a estos muebles. Encontraremos reinterpretaciones de las influencias europeas (sobre todo de los estilos ingleses) o asiáticas. Estos muebles conforman un estilo propio al combinar dichas influencias con los elementos propios de la zona. Existen muebles de factura popular y otros de tipo más lujoso. También se incluyen varias técnicas que se utilizan para trabajar la madera como el maque, la taracea o el ebonizado y otras piezas ornamentales como espejos o alfombras.

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18

Haslip-Viera, Gabriel. "Casta Painting: Images of Race in Eighteenth-Century Mexico." Hispanic American Historical Review 86, no. 2 (May 1, 2006): 364–65. http://dx.doi.org/10.1215/00182168-2005-016.

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19

Juarez, Miguel. "CASTA PAINTING: IMAGES OF RACE IN EIGHTEENTH-CENTURY MEXICO. Ilona Katsew." Art Documentation: Journal of the Art Libraries Society of North America 23, no. 2 (October 2004): 58. http://dx.doi.org/10.1086/adx.23.2.27949334.

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20

Lewis, Laura A. "Casta Painting: Images of Race in Eighteenth-Century Mexico. By Ilona Katzew." Museum Anthropology 33, no. 1 (March 2010): 86–88. http://dx.doi.org/10.1111/j.1548-1379.2010.01082.x.

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21

Bargellini, Clara. "New World Orders: Casta Painting and Colonial Latin America, compilación de Ilona Katzew." Anales del Instituto de Investigaciones Estéticas 19, no. 70 (August 6, 1997): 140. http://dx.doi.org/10.22201/iie.18703062e.1997.70.1788.

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22

Wolfe, E. "Casta Painting: Images of Race in Eighteenth-Century Mexico; Exploring New World Imagery." Ethnohistory 54, no. 4 (October 1, 2007): 775–77. http://dx.doi.org/10.1215/00141801-2007-039.

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23

Fernandes, Mafalda, Sara Babo, Nuno Prates, and Maria Filomena Macedo. "Preventive conservation applied to "Casa dos Patudos" oil painting collection." Conservar Património 23 (2016): 133–39. http://dx.doi.org/10.14568/cp2015022.

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24

von Rosen, Valeska. "Boschini, Tintoretto, der ›malerische Akt‹ (atto pittoresco) und die ›Erfindung‹ des ästhetischen Genusses in Venedig." Zeitschrift für Kunstgeschichte 85, no. 4 (November 23, 2022): 465–97. http://dx.doi.org/10.1515/zkg-2022-4004.

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Abstract The ‘painterly act’, which becomes quasi-visible and relivable in the impasto brushstrokes of Tintoretto and his contemporaries, is reflected in a terminologically concise and theoretically ambitious way only about a hundred years after their works were created – i.e., in the Carta del navegar pitoresco of 1660. Its author, Marco Boschini, not only coined the term ‘atto pittoresco’ but also programmatically embedded it in his dialogical speech about art, in which the importance of rhetorical categories recedes in favor of aesthetic maxims. ‘Pleasure’ and ‘joy’ of the beauty of painting and the act of painting incorporated in it are enhanced by the perception of the beauty of the lagoon city, which offers the viewer multiple views (viste) of the water with light reflections against a blue sky, shapes their good taste (buon gusto) and even promises recreation (recreazione).

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25

Müller-Wille, Staffan. "Corners, Tables, Lines." Nuncius 36, no. 3 (November 18, 2021): 517–31. http://dx.doi.org/10.1163/18253911-03603001.

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Abstract The modern concept of race is usually traced back to proponents of a “natural history of mankind” in the European Enlightenment. Starting from allegorical representations of the four continents in the late sixteenth and seventeenth centuries and the eighteenth-century visual genre of castas paintings, I suggest that modern conceptions of race were significantly shaped by diagrammatic representations of human diversity that allowed for tabulation of data, combinatorial analysis, and quantification, and hence functioned as “tools to think with.” Accounting for racial ancestry in terms of “proportions of blood” not only became a preoccupation of scholars as a consequence, but also came to underwrite administrative practices and popular discourses. To contribute to a better understanding of the history of race relations, historians of the race concept need to pay more attention to these diagrammatic aspects of the concept.

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26

FISHER, ELAINE. "Public Space, Public Canon: Situating religion at the dawn of modernity in South India." Modern Asian Studies 52, no. 5 (September 2018): 1486–541. http://dx.doi.org/10.1017/s0026749x17001044.

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AbstractWhat is ‘early modern’ about religion in South India? In theorizing early modernity in South Asia, the category of religion has been viewed with scepticism, perhaps to avoid painting India as the exotic ‘Other’ that failed to modernize in the eyes of Western social theory. And yet, Western narratives, drawn from secularization theory, fail to do justice to our historical archive. As a vehicle for approaching the experience of religion in early modern South India, this article invokes the category of space as a medium for the publicization and contestation of meaning across diverse language, caste, and religious publics. In the process, it excavates the codification of the ‘Sacred Games of Śiva’ as public religious canon of the city of Madurai, exemplifying the distinctive role played by religion in public space in early modern South India.

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27

Kumar, Suresh. "Kaleidoscopic Portrayal of Early Twentieth-Century British India: A Study of Mulk Raj Anand’s Untouchable." SMART MOVES JOURNAL IJELLH 9, no. 7 (July 29, 2021): 21–29. http://dx.doi.org/10.24113/ijellh.v9i7.11115.

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Mulk Raj Anand (1905-2004) is considered one of the pioneering Indian writers in English of Anglo-Indian fiction who gained international acclaim. Along with R.K. Narayana, and Raja Rao, he is popularly known as the trio of Indian English novelists. He marked his revolutionary appearance by giving voice to the oppressed section of the society with his novel, Untouchable in 1935. In this novel, he takes a day from the life of Bakha, a young sweeper who is an untouchable because of his work of cleaning latrines in the early 20th century British India. Discrimination based on caste and poverty are the two focal points of this novel. This paper aims at portraying a kaleidoscope of socio-cultural, economic and political spheres of life. It aims at painting the unexplored, and less talked vistas of life. Hence while revisiting untouchability and poverty, this paper offers an analysis to a variety of colours or a collage of varied aspects of human life.

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28

Kumar, Suresh. "Kaleidoscopic Portrayal of Early Twentieth-Century British India: A Study of Mulk Raj Anand’s Untouchable." SMART MOVES JOURNAL IJELLH 9, no. 6 (July 3, 2021): 45–53. http://dx.doi.org/10.24113/ijellh.v9i6.11100.

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Mulk Raj Anand (1905-2004) is considered one of the pioneering Indian writers in English of Anglo-Indian fiction who gained international acclaim. Along with R.K. Narayana, and Raja Rao, he is popularly known as the trio of Indian English novelists. He marked his revolutionary appearance by giving voice to the oppressed section of the society with his novel, Untouchable in 1935. In this novel, he takes a day from the life of Bakha, a young sweeper who is an untouchable because of his work of cleaning latrines in the early 20th century British India. Discrimination based on caste and poverty are the two focal points of this novel. This paper aims at portraying a kaleidoscope of socio-cultural, economic and political spheres of life. It aims at painting the unexplored, and less talked vistas of life. Hence while revisiting untouchability and poverty, this paper offers an analysis to a variety of colours or a collage of varied aspects of human life.

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29

Shahnazarli, R., N. Ishenko, A. Guliyev, G. Ramazanov, A. Aliyeva, and J. Fattayeva. "THERMO- AND LIGHT STABILIZING ACTIVITY OF VINYLOXYCLOPROPANE ADDUCTS WITH THIOLS IN THE COMPOSITIONS BASED ON PVC." EurasianUnionScientists 2, no. 1(82) (February 15, 2021): 49–54. http://dx.doi.org/10.31618/esu.2413-9335.2021.2.82.1207.

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During exploitation of PVC products, the negative impact of high temperatures and light, and also the destructive influence of various microorganisms, leads to the deterioration of physical-mechanical properties and change of products painting. For prevention of the dehydrochlorination process of PVC, it is necessary to use the effective complex stabilizers, including biostabilizers, differing with their high processability and simultaneously possessing biocidal properties. In this work the results of investigations of influence of the synthesized sulphur-containing epoxycyclopropanes as stabilizing additives for prevention of the dehydrochlorination process of the compositions based on plasticized PVC have been presented. The influence of these compounds as co-stabilizers in the composition of complex stabilizers – stearates Ca (CaSt2) and Zn (ZnSt2) on thermo- and light stability of PVCcompositions and also on their physical-mechanical and exploitation indices has been studied. It has been established the synthesized epoxy- and cyclopropane-containing mono- and disulphides jointly with stearic acid salts form the synergic mixtures, which can improve the physical-mechanical properties of PVC compositions, their thermal and light stability.

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30

Dubey, Shraddha. "AJANTA'S DRAWINGS AND COLOR COMBINATIONS (IN THE PERSPECTIVE OF GUPTA ART)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3674.

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The Gupta period is called the Golden Age of India's history. In this era of happiness, prosperity and splendor, all arts were equally upgraded. The biggest gift of this era is Ajanta's frescoes. The inaudible works created by painters sitting in deep cenotaphic caves are unmatched. In this, the content and themes were not only taken from the life and Jataka tales of Lord Tathagata, but kept them bound in any limit. In them, hundreds of years of folklore is mirrored like a mirror. In Ajanta, 29 caves have been made by cutting a semi-crescent mountain. It is divided into groups. Among them, the tenth and ninth caves are in the middle group.Most of the pictures of Ajanta caves have been erased, but the remaining ones are amazing. The earliest paintings have the influence of Shung Kala. Lord Tathagata is seated in a view of the ninth cave, King Rani Amatigan and the worshiping monks surround him. Amatyas have turbaned threads at the ends and are wearing heavy jewelery in the hands and neck. With the shapes, they appear to be people of a primitive caste from the south. We can call it the earlier tradition of Ajanta painting. There is more use of gray color in it, but due to the use of natural colors, every object can be seen clearly as above. Due to the lack of bright colors, they reveal the plot seriously and give impetus to its spiritual nature. गुप्तकाल भारत के इतिहास का स्वर्ण-युग कहा जाता है। सुख समृद्धि और वैभव के इस काल में सभी कलाओं का समान रूप से उन्नयन हुआ। इस युग की सबसे बड़ी देन है अजंता के भित्तिचित्र। चित्रकारों ने गहन अधंकरामयी गुफाओं में बैठकर जिन अपार्थिव कृत्तियों का सृजन किया वे अप्रतिम है। इनमें कथावस्तु और विषय तो भगवान तथागत के जीवन और जातक कथाओं से ही लिए किन्तु उन्हें किसी सीमा में बांध कर नहीं रखा। उनमें सैकड़ों वर्षों का लोकजीव दर्पण की भाँति प्रतिबिम्बित है।अजंता में अर्ध-चन्द्राकार पर्वत को काटकर 29 गुफाएँ बनाई गई है। यह समूहों में बंटी हुई है। इनमें दसवीं और नवीं गुफाएँ बीच के समूह में है।अजंता की गुफाओं के अधिकांष चित्र मिट चुके हैं परन्तु जो शेष है वे अद्भुत हैं। सबसे पुराने चित्रों पर शुंग कला का प्रभाव है। नवीं गुफा के एक दृश्य में जो मिट सा गया है भगवान तथागत बैठे हैं, राजा रानी अमात्यगण और उपासक भिक्षु उन्हें घेरे हुए हैं। अमात्यों के सिरों पर लटूदार पगड़ियाँ है और वे हाथों और गले में भारी-भारी आभूषण पहने हैं। आकृतियों से वे दक्षिण की ही किसी आदिम जाति के लोग लगते हैं। इसे हम अजंता चित्रकला की पूर्व परम्परा कह सकते हैं। इसमें धूसरित रंग का प्रयोग अधिक है किन्तु प्राकृतिक रंगों के प्रयोग की वजह से प्रत्येक वस्तु ऊपर वर्णानुसार स्पष्ट नजर आती है। चटख रंग न होने की वजह से यह कथानक को गंभीरता से प्रकट करते हैं और उसके आध्यात्मिक स्वरूप को गति प्रदान करते हैं।

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31

Restall, Matthew. "Casta Painting: Images of Race in Eighteenth-Century Mexico. By Ilona Katzew. New Haven: Yale University Press, 2004. Pp. viii, 242. Color and black & white illustrations. Notes. Bibliography. Index. $60.00 cloth." Americas 62, no. 01 (July 2005): 122–23. http://dx.doi.org/10.1017/s0003161500063562.

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32

Restall, Matthew. "Casta Painting: Images of Race in Eighteenth-Century Mexico. By Ilona Katzew. New Haven: Yale University Press, 2004. Pp. viii, 242. Color and black & white illustrations. Notes. Bibliography. Index. $60.00 cloth." Americas 62, no. 1 (July 2005): 122–23. http://dx.doi.org/10.1353/tam.2005.0137.

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33

Srivastava, Vinay Kumar. "The Rathore Rajput Hero of Rajasthan: Some Reflections on John Smith's." Modern Asian Studies 28, no. 3 (July 1994): 589–614. http://dx.doi.org/10.1017/s0026749x00011872.

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Few books are exemplars of real hard work sustained over a lengthy period of time as is John Smith's The Epic of Pabuji(1991). Starting his investigation of the scroll of cloth painting in 1973, a huge structure measuring fifteen feet by four, locally termed par, before which this epic is sung by a special caste of people, lower in hierarchy, called Naik Bhopa, Smith in a span of eighteen years has accomplished a work of lasting stay in the ethnographic tradition of south Asia as well as the discipline of folklore in general. Before this book was published, he had also contributed some important papers (in 1986 and 1989) on Pabu-ji. As far as I know, it is rare that Sanskritists, which Smith is at Cambridge, pay attention to ‘popular (or “non-Sanskritic”) traditions’ of people, and if at all they do, introducing the anthropological method of fieldwork in their study, their works are still laden with Indological references and scholarship where the actual voice of people is lost in oblivion or relegated to the back seat. But it does not happen with Smith; he is not only committed to listening to people's voice in its own right and place, but also provides a fair, up to date, and scholarly account of Pabu-ji's story and its role and niche in the local culture of Rajasthan. Therefore, his work is also of considerable interest to anthropologists, especially those working on the sociology of cult, popular religion, and non- literate traditions and their meanings.

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34

Montoya-Guevara, Camilo. "Exploring the Impact of Captions on the Construction and Presentation of Colonial Latin American Cultural Identities." Inquiry@Queen's Undergraduate Research Conference Proceedings, February 20, 2018. http://dx.doi.org/10.24908/iqurcp.9555.

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Spanish Colonialism in Latin America from the late sixteenth to the late eighteenth century constitutes a time period during which the interactions between numerous cultural groups, both indigenous and colonial, resulted in the creation of distinct regional, cultural, and individual identities and artistic practices. The proposed paper explores the role and importance of Spanish captions in paintings created in the colonial viceregal centers of New Spain (today Mexico) and Peru through a discussion of two maps from the Relaciones Geográficas (indigenous made maps), three colonial portraits, and two casta paintings (painted records of racial mixes). These paintings, spanning from the end of the sixteenth to the eighteenth century, all feature written segments directly on their surface to enable the effective communication and portrayal of the chosen colonial subject to the viewer. Being created in such a diverse and unstable cultural climates each paintings’ capacity for success in communication and representation was ensured through the use of captions. Thus, the paper approaches the study of captions through a close consideration of the discussed captions’ messages, their intended perception, and main audience. My paper will discuss the instrumental role of the Spanish captions when visualizing and creating distinct colonial identities. The caption served as a means of literally spelling out the importance of the colonial settings, their distinct social systems and identities reinforcing their validity vis-à-vis the imposed Euro-Spanish ideal.

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Córdova, James. "James M. Córdova. Review of "Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings" by Magali M. Carrera." caa.reviews, September 7, 2004. http://dx.doi.org/10.3202/caa.reviews.2004.73.

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"Magali M. Carrera. Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings. (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture.) Austin: University of Texas Press. 2003. Pp. xviii, 188. $34.95." American Historical Review, December 2004. http://dx.doi.org/10.1086/ahr/109.5.1612.

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"Casta painting: images of race in eighteenth-century Mexico." Choice Reviews Online 42, no. 02 (October 1, 2004): 42–0750. http://dx.doi.org/10.5860/choice.42-0750.

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Carrera, Magali. "Magali Carrera. Review of "Casta Painting: Images of Race in Eighteenth-Century Mexico" by Ilona Katzew." caa.reviews, November 4, 2006. http://dx.doi.org/10.3202/caa.reviews.2006.115.

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Boonyongmaneerat, Yuttanant, Varintorn Srisupornwichai, Chuanchom Aumnate, Patama Visuttipitukul, Stephan T. Dubas, Martin Metzner, and Manfred Zinn. "Strategies for Metallizing and Electroplating Biodegradable PLA." Current Applied Science and Technology 22, no. 3 (August 13, 2021). http://dx.doi.org/10.55003/cast.2022.03.22.013.

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With environmental awareness in societies, bioplastics continue to receive increasing attention and utilization rate. Polylactic acid (PLA) is one of the most important biopolymers in the market today, owing to its high strength and relative ease of forming. Unlike the common structural, fossil fuel-based plastics, such as Acrylonitrile-Butadiene-Styrene (ABS), the surface of PLA cannot be readily metallized in preparation for electroplating using the conventional plating-on-plastic (POP) process. This partially limits the wider use of the material for functional and decorative applications. In this research study, we systematically explored three strategies for metallizing the surface of PLA, namely, (A) chemical etching and palladium activation technique, (B) polyelectrolyte multilayers (PEMs) and Ag nanoparticle deposition technique, and (C) Ag conductive painting technique. PLA samples, prepared by Fused Deposition Modelling (FDM) 3D-printing technique, were metallized by various techniques followed by electroless deposition and electroplating of copper layers. The study was performed comparatively with respect to the ABS surface. The samples microstructures, chemical distributions, and plating characteristics were assessed with optical and scanning electron microscopy. The adhesion of the metallic coatings was analyzed using scratch test and tape test. Although uniform deposition of copper layers on PLA surfaces could be achieved using all three metallizing methods under investigation, the three methods were found to provide different degrees of benefits with respect to deposition rate, surface uniformity, and process simplicity.

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"Dialogues." Latin American and Latinx Visual Culture 1, no. 2 (April 2019): 94–98. http://dx.doi.org/10.1525/lavc.2019.120007.

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Each of the four articles in this Dialogues draws on recent conservation and/or material analysis of a single work created in colonial Latin America, specifically New Spain, to explore the self-image of the artist as manifest through practice—that is, the techniques of manipulating a range of materials to achieve a desired aesthetic effect. The four foci are a featherwork miter and infulae, the Codex Mendoza, the Adoration of the Magi by Cristóbal de Villalpando, and a casta painting by Miguel Cabrera. The introductory essay argues that examining artistic practice is one avenue to ascertaining artists’ own choices about self-presentation. RESUMEN Cada uno de los cuatro ensayos se basa en la conservación reciente o el análisis material de una única obra creada en la América Latina colonial, específicamente en la Nueva España, para explorar la autoimagen del artista tal como esta se manifiesta a través de la práctica, es decir, el conjunto de técnicas desarrolladas por artistas para poder manipular diversos materiales a fin de lograr el efecto deseado. Los cuatro focos son una mitra e ínfulas de plumas, el Códice Mendoza, la Adoración de los Reyes Magos de Cristóbal de Villalpando y una pintura de casta de Miguel Cabrera. El ensayo introductorio sostiene que asignar un papel principal a la práctica de los artistas permite entender las propias decisiones de los artistas sobre la auto-presentación. RESUMO Cada um destes ensaios baseia-se em análises de conservação ou material recentes de um único trabalho criado na América Latina colonial, especificamente na Nova Espanha, para explorar a auto-imagem do artista como manifesta através da prática, isto é, o conjunto de técnicas que artistas desenvolveram para manipular os efeitos desejados de uma variedade de materiais. Os quatro focos são uma mítra e ínfulas em arte plumária, o Codex Mendoza, a Adoração dos Magos por Cristóbal de Villalpando e uma pintura de casta por Miguel Cabrera. O ensaio introdutório argumenta que atribuir um papel primário à prática dos artistas é chegar às próprias escolhas dos artistas sobre a auto-apresentação.

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Binny, Malavika. "Tracing the Contours of Hate Speech in India in the Pandemic Year: The Curious Case of Online Hate Speech against Muslims and Dalits During the Pandemic." Contemporary Voice of Dalit, May 9, 2022, 2455328X2210943. http://dx.doi.org/10.1177/2455328x221094364.

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Though India is no stranger to either epidemics or hate speech, the COVID-19 crisis brought to the surface many of the pre-existing schisms and prejudices that subsequently led to both the Muslim minority community and the Dalit community being cast as miasmic and constant agitators against the central government. In the case of hate speech against the Muslim community, it has led to a peculiar situation wherein the invisible but pervasive Islamophobia that has been plaguing the country from the colonial times has risen it ugly head particularly across regional news channels and social media networks, making the phenomena hyper-visible. The Hindutva 1 politicians from the extreme right parties have been indulging in spreading anti-Muslim propaganda, moulding the image of the Muslim community as not only disease-bearers and super-spreaders of COVID-19 virus but also as being anti-national, as the central government has proclaimed ‘a war against the COVID virus’ ( The Print, 2020, 26 April). During the initial spread of the virus throughout the country, there was an increasing tendency to show the Muslim community as intentionally spreading the disease or as being ignorant of current medical practices, with multiple TV channels airing the views that the Tablighi Jamaat event (a religious congregation held in March 2020) was marked as a super-spreader event, and with multiple politicians engaging in rumour-mongering and hate-speech against the Muslims, framing the community as a miasmic community that needs to be cleared from India. On the other hand, the hate speech against Dalits in India is much more nuanced, indirect and layered. It began as WhatsApp and Facebook messages extolling the caste system and justifying the discriminatory practice of untouchability 2 using the logic of social distancing and progressed to painting Dalits and Dalit spaces as unhygienic disease-scapes. This consequently led to the denial of livelihoods to thousands of domestic workers and unskilled workers who belonged to lower caste groups as they found themselves without jobs as most middle caste upper caste families and business owners fired their employees without notice. The study involves a hermeneutical analysis of news reports of the spread of COVID from newspapers and electronic media in English as well as interviews with at least 100 members of groups on social media (WhatsApp and Facebook) that propagate extremely communal and casteist material.

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Diniz, Alai Garcia. "NAMBRENA, FALCATRUA E CURUZU NA GUERRA GUASÚ DA AMÉRICA DO SUL." Nau Literária 12, no. 02 (December 30, 2016). http://dx.doi.org/10.22456/1981-4526.76275.

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Resumo: Em um país pluriétnico como o Brasil, que não se assume como tal, foi permitindo o corte de árvores nativas; a extinção de pássaros e gerando violência (como a Guerra contra o Paraguai), tudo convida-me a ler resíduos, gestos e práticas culturais heterogêneas. Assim, entro no campo, tanto do arquivo (diário de Taunay ou carta de um militar no Forte Curuzu de 1866) como do repertório, a partir da proposta de Diana Taylor, 2013. É quando me permito expandir a leitura para a tela de Cándido Lopez, argentino a um documentário atual Guataha, 2015, pois entre o passado bélico e as batalhas entre aldeia indígena e hidroelétrica nada mais há que um estopim para a leitura da violência na contemporaneidade. De Cándido Lopez ao documentário Guataha as passagens propõem articular um aparato de ler que, como um passeio guarani, invada a fronteira com um movimento de descolonização do conhecimento. Palavras chave: Guerra Guasú; Literatura; Pintura; Taunay; Candido Lopez,Guataha Abstract: In a country pluriethnical such as Brazil, that does not accept itself as such, the cutting of native trees was permitted; as was the extinction of birds and generating violence (such as the War on Paraguai), it all invites me to read residue, and heterogeneous cultural practices. Thus, I enter the field, both of archive (the diary of Taunay or the letter of a military man in Fort Curuzu from 1866) as well as repertoire, through what proposes Diana Taylor, 2013. That is when I allow myself to expand the reading to the screen of Cándido Lopez, Argentine, to a current documentary Guataha, 2015, for between the war past and the battles between native tribes and a hydroelectric power plant there is nothing more than a trigger for the reading of violence in contemporaneity. From Cándido Lopez to the documentary Guataha the passages propose to articulate an apparatus of reading that, as a Guarani tour, can invade the border with a motion o decolonization of knowledge. Keywords: Guasú War; Literature; Painting; Taunay; Candido Lopez, Guataha

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