Antonieta Rosario Silvia

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MexicanGreat Women Antonieta Rivas Mercado Key player in the group of artists and intellectuals that revitalized Mexican culture after the Revolutionary period, the political activist and women’s rights’ defender during the 20th century - daughter of architect Antonio Rivas Mercado, creator of the Angel of Independence - stands out for her actions on developing culture in Mexico, including the creation of Ulises Theater and the Symphonic Orchestra of Mexico. She also edited books written by great Mexican pens such as Xavier Villaurrutia, Gilberto Owen and Andrés Henestrosa. Rosario Castellanos Born in Chiapas in 1925, she is considered one of the greatest writers and poetesses in Mexico and the Spanish language. She worked in the National Indigenous Institute in Chiapas and in Mexico City, looking to improve the living conditions of indigenous people and women in her country. She taught literature and philosophy at the National Autonomous University of Mexico (UNAM), the Iberoamericana University and the Universities of Wisconsin, Colorado and Indiana in the United States. Her novel Balún Canán (1957), her poems in Lívida Luz (Livid Light, 1960) and her essays in Mujer que sabe latín (Woman who knows Latin, 1974), are considered key works in Mexican literature. Silvia Torres Castilleja Recognized scientist who was the first Mexican woman to obtain a PhD in Astronomy. Like Stephen Hawking, Nicholas Copernicus, Giordano Bruno and Johannes Kepler, Silvia Torres Castilla has made great contributions to astronomy; specifically in the study of the chemical composition of the Universe’s nebulae. During her career she has been appointed as president of the International Astronomical Union, as well as receiving several awards such as the L’Oréal-UNESCO Life Sciences Award, the Guillaume Budé Medal of the College of France and Mexico’s National Science and Arts Prize..

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The Reconstruction of Colonial Monuments in the 1920S and 1930S in Mexico ELSA ARROYO and SANDRA ZETINA
The reconstruction of Colonial monuments in the 1920s and 1930s in Mexico ELSA ARROYO AND SANDRA ZETINA Translation by Valerie Magar Abstract This article presents an overview of the criteria and policies for the reconstruction of historical monuments from the viceregal period in Mexico, through the review of paradigmatic cases which contributed to the establishment of practices and guidelines developed since the 1920s, and that were extended at least until the middle of the last century. It addresses the conformation of the legal framework that gave rise to the guidelines for the protection and safeguard of built heritage, as well as the context of reassessment of the historical legacy through systematic studies of representative examples of Baroque art and its ornamental components, considered in a first moment as emblematic of Mexico’s cultural identity. Based on case studies, issues related to the level of reconstruction of buildings are discussed, as well as the ideas at that time on the historical value of monuments and their function; and finally, it presents the results of the interventions in terms of their ability to maintain monuments as effective devices for the evocation of the past through the preservation of its material remains. Keywords: reconstruction, viceregal heritage, neo-Colonial heritage Background: the first piece of legislation on monuments as property of the Mexican nation While the renovation process of the Museo Nacional was taking place in 1864 during the Second Empire (1863-1867) under the government of the Emperor Maximilian of Habsburg, social awareness grew about the value of objects and monuments of the past, as well as on their function as public elements capable of adding their share in the construction of the identity of the modern nation that the government intended to build in Mexico.
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