Luxury Travel Has Never Been More Pronounced
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18_121726-bindex.qxp 4/17/09 2:59 PM Page 486 Index See also Accommodations and Restaurant indexes, below. GENERAL INDEX Ardnagashel Estate, 171 Bank of Ireland The Ards Peninsula, 420 Dublin, 48–49 Abbey (Dublin), 74 Arigna Mining Experience, Galway, 271 Abbeyfield Equestrian and 305–306 Bantry, 227–229 Outdoor Activity Centre Armagh City, 391–394 Bantry House and Garden, 229 (Kildare), 106 Armagh Observatory, 394 Barna Golf Club, 272 Accommodations. See also Armagh Planetarium, 394 Barracka Books & CAZ Worker’s Accommodations Index Armagh’s Public Library, 391 Co-op (Cork City), 209–210 saving money on, 472–476 Ar mBréacha-The House of Beach Bar (Aughris), 333 Achill Archaeological Field Storytelling (Wexford), Beaghmore Stone Circles, 446 School, 323 128–129 The Beara Peninsula, 230–231 Achill Island, 320, 321–323 The arts, 8–9 Beara Way, 230 Adare, 255–256 Ashdoonan Falls, 351 Beech Hedge Maze, 94 Adrigole Arts, 231 Ashford Castle (Cong), 312–313 Belfast, 359–395 Aer Lingus, 15 Ashford House, 97 accommodations, 362–368 Agadhoe, 185 A Store is Born (Dublin), 72 active pursuits, 384 Aillwee Cave, 248 Athlone, 293–299 brief description of, 4 Aircoach, 16 Athlone Castle, 296 gay and lesbian scene, 390 Airfield Trust (Dublin), 62 Athy, 102–104 getting around, 362 Air travel, 461–468 Athy Heritage Centre, 104 history of, 360–361 Albert Memorial Clock Tower Atlantic Coast Holiday Homes layout of, 361 (Belfast), 377 (Westport), 314 nightlife, 386–390 Allihies, 230 Aughnanure Castle (near the other side of, 381–384 All That Glitters (Thomastown), -
Las Dos Caras Del Xoloitzcuintle, Revalorización De Un Perro Diferente: 'Escuincles Y Xoloitzcuintles', Divulgación Entre El Público Infantil
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/347464851 Las dos caras del Xoloitzcuintle, revalorización de un perro diferente: 'Escuincles y Xoloitzcuintles', divulgación entre el público infantil Article · December 2020 CITATIONS READS 0 129 1 author: Aitor Brito Mayor Universidad de Las Palmas de Gran Canaria 7 PUBLICATIONS 7 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: Genealogía y desarrollo de la especie Canis familiaris en Mesoamérica View project All content following this page was uploaded by Aitor Brito Mayor on 18 December 2020. The user has requested enhancement of the downloaded file. Revista ARCHAEOBIOS Nº 14, Vol. 1 Diciembre 2020 ISSN 1996-5214 Las dos caras del Xoloitzcuintle, revalorización de un perro diferente: ‘Escuincles y Xoloitzcuintles’, divulgación entre el público infantil Aitor Brito Mayor Centro de Estudios Arqueológicos, El Colegio de Michoacán, México. Email: <[email protected]> Resumen El perro pelón mexicano ha compartido la existencia con el ser humano desde la época precolonial. Haciendo una revisión de las fuentes etnohistóricas, arqueológicas e históricas se manifiesta una necesaria puesta en valor que ayude a desterrar mitos sobre un animal de apariencia dual, existiendo ejemplares con y sin pelo. Sobre bases empíricas, a través de un sondeo realizado en el Colegio Pier Faure (La Piedad, Michoacán), hemos desarrollado una propuesta preliminar de divulgación para el público infantil. Mediante una actividad lúdico-formativa se persigue establecer lazos de empatía hacia este patrimonio vivo, entre niños y niñas de 5 a 12 años. Palabras clave: Zooarqueología; Divulgación; Infantil; Xoloitzcuintle Abstract The Mexican hairless dog has shared its existence with humans since precolonial times. -
The 2019 Gold Medal Awards Finalist Announcement
The 2019 Gold Medal Awards Finalist Announcement The Gold Medal Awards, in association with Hotel & Catering Review magazine, are delighted to announce the Finalists for the 2019 awards. These awards celebrate the outstanding achievements of the hotel and catering sector throughout the country over the past 12 months. They also recognise and reward the high standards of excellence in terms of both the physical product and the level of service that is being delivered in our industry. After 3 months of travelling all corners of the country and visiting every single property that entered the awards, hours of meetings and further discussions, the Gold Medal Awards Judging Panel are proud to announce the Finalists in each category. Book Your Tickets Join us on Tuesday, September 24th in the Lyrath Estate, Co. Kilkenny where the winners of each category will be announced. To book tickets, please visit www.hotelandcateringreview.ie #GMA2019 @HC_Review Table of Contents Hotel Categories Ireland's Five Star Hotel……………………………………………………………………….……………………………………………………………………………….………… 2 Ireland's Four Star Hotel sponsored by Sodexo..……………………………………………………………………………………………………………….. 3 Ireland’s Five Star Resort…………………………………………………………………….…………………………………………………………………………….………… 4 Ireland's Four Star Resort sponsored by Avvio……………………………………...…………………………...……………………………………………………….... 5 Ireland's Three Star Hotel sponsored by Vernon Catering…………………………………………………………………………………………... 6 Ireland's Country House & Guest House………………………………………………………………...…………………...………………………………... -
La Pocha Nostra Hidvl Artist Profiles
LA POCHA NOSTRA HIDVL ARTIST PROFILES ON THE OTHER SIDE OF THE MEXICAN MIRROR (A border artist reflects on the new “post-national Mexicans,” their bittersweet relationship with "homeland,"and their role in the forming of a virtual nation inside the U.S. called “Latinoamerica del Norte.”) By: Guillermo Gómez-Peña I I left Mexico City in 1978 to study art in California, “the land of the future” as my lost generation saw it. Too young to be a hipiteca and too old to be a punketo, I was a 22-year old interstitial rebel, a writer and artist who couldn’t find space to breathe in the suffocating official culture of Mexico. There, the art and literary cartels were structured in an ecclesiastical fashion, accountable to one untouchable capo. He was the archbishop and final arbiter of what was acceptable as “high culture” and “Mexican-ness,” Don Octavio Paz. In those days, identity in Mexico was a static construct, intricately connected to national territory and language. A Mexican was someone who lived in Mexico and who spoke Spanish like a Mexican. Punto. There weren’t many alternative ways of being Mexican. Despite the fact that we came in all shapes, colors, and even races, mestizaje (the mixed race), was the official dictum and master narrative. Whether we liked it or not, we were the bastard children of Hernan Cortez and La Malinche, product of a colonial rape and a cultural cesarean, eternally condemned to come to terms with this historical trauma. The millions of indios, the original proto-Mexicans, were portrayed as living in a parallel (and mythical) time and space outside our history and society. -
Our 2010 Vacation in Ireland We Arrived in Dublin on Saturday, May 22 and Made the About 2-Hour Drive West to the Inny Bay B&B in Co
Ireland 2010 Our 2010 Vacation in Ireland We arrived in Dublin on Saturday, May 22 and made the about 2-hour drive west to the Inny Bay B&B in Co. Westmeath, north of the town of Athlone in the Irish midlands, on Lough Ree. We learned a bit about using a GPS, because had neither a street address nor coordinates for the B&B. We had to get close and stop at a house to ask directions. The B&B is on private land at the end of a 2 km long private road. We took a three hour nap to adjust for jet lag, and then drove to the nearby town of Ballymahon where we had sea bass, and of course, potatoes for dinner. The Inny Bay B&B is a pretty place amid nice scenery, with pastures, swans, the lough and the Inny River. Sunday’s breakfast, like the others at this B&B was huge, with bacon, kippers, etc. We took a morning walk along the Inny River. Then we visited Locke’s Distillery Museum in Kilbeggan, Co. Westmeath. It’s said to be the world’s oldest licensed pot distillery. The works and museum were interesting and the sample of its whiskey was excellent. We next headed for Clonmacnoise, in Shannonbridge, south of Athlone. It’s an early (6th century) Christian site with an Abby ruin, a church (St. Kiernan’s, Church of Ireland), a tower ruin, and a graveyard noted for its Celtic (or “high”) crosses. On our way there we spotted a castle ruin and found the curator there. -
THE ICONOGRAPHY of MEXICAN FOLK RETABLOS by Gloria Kay
The iconography of Mexican folk retablos Item Type text; Thesis-Reproduction (electronic) Authors Giffords, Gloria Fraser, 1938- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 20:27:37 Link to Item http://hdl.handle.net/10150/552047 THE ICONOGRAPHY OF MEXICAN FOLK RETABLOS by Gloria Kay Fraser Giffords A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN HISTORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 9 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu script in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: Robert M. -
The Art of Conversation: Eighteenth-Century Mexican Casta Painting
Graduate Journal of Visual and Material Culture Issue 5 I 2012 The Art of Conversation: Eighteenth-Century Mexican Casta Painting Mey-Yen Moriuchi ______________________________________________ Abstract: Traditionally, casta paintings have been interpreted as an isolated colonial Mexican art form and examined within the social historical moment in which they emerged. Casta paintings visually represented the miscegenation of the Spanish, Indian and Black African populations that constituted the new world and embraced a diverse terminology to demarcate the land’s mixed races. Racial mixing challenged established social and racial categories, and casta paintings sought to stabilize issues of race, gender and social status that were present in colonial Mexico. Concurrently, halfway across the world, another country’s artists were striving to find the visual vocabulary to represent its families, socio-economic class and genealogical lineage. I am referring to England and its eighteenth-century conversation pictures. Like casta paintings, English conversation pieces articulate beliefs about social and familial propriety. It is through the family unit and the presence of a child that a genealogical statement is made and an effigy is preserved for subsequent generations. Utilizing both invention and mimesis, artists of both genres emphasize costume and accessories in order to cater to particular stereotypes. I read casta paintings as conversations like their European counterparts—both internal conversations among the figures within the frame, and external ones between the figures, the artist and the beholder. It is my position that both casta paintings and conversation pieces demonstrate a similar concern with the construction of a particular self-image in the midst of societies that were apprehensive about the varying conflicting notions of socio-familial and socio-racial categories. -
Title: the Avant-Garde in the Architecture and Visual Arts of Post
1 Title: The avant-garde in the architecture and visual arts of Post-Revolutionary Mexico Author: Fernando N. Winfield Architecture_media_politics_society. vol. 1, no.3. November 2012 Mexico City / Portrait of an Architect with the City as Background. Painting by Juan O´Gorman (1949). Museum of Modern Art, Mexico. Commenting on an exhibition of contemporary Mexican architecture in Rome in 1957, the polemic and highly influential Italian architectural critic and historian, Bruno Zevi, ridiculed Mexican modernism for combining Pre-Columbian motifs with modern architecture. He referred to it as ‘Mexican Grotesque.’1 Inherent in Zevi’s comments were an attitude towards modern architecture that defined it in primarily material terms; its principle role being one of “spatial and programmatic function.” Despite the weight of this Modernist tendency in the architectural circles of Post-Revolutionary Mexico, we suggest in this paper that Mexican modernism cannot be reduced to such “material” definitions. In the highly charged political context of Mexico in the first half of the twentieth century, modern architecture was perhaps above all else, a tool for propaganda. ARCHITECTURE_MEDIA_POLITICS_SOCIETY Vol. 1, no.3. November 2012 1 2 In this political atmosphere it was undesirable, indeed it was seen as impossible, to separate art, architecture and politics in a way that would be a direct reflection of Modern architecture’s European manifestations. Form was to follow function, but that function was to be communicative as well as spatial and programmatic. One consequence of this “political communicative function” in Mexico was the combination of the “mural tradition” with contemporary architectural design; what Zevi defined as “Mexican Grotesque.” In this paper, we will examine the political context of Post-Revolutionary Mexico and discuss what may be defined as its most iconic building; the Central Library at the Universidad Nacional Autónoma de Mexico. -
Anni and Josef Albers: Mexican Travels
ANNI AND JOSEF ALBERS: MEXICAN TRAVELS, TOURISTIC EXPERIENCES, AND ARTISTIC RESPONSES by Kathryn Fay Submitted to the Faculty of the College of Arts and Sciences of American University in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Art History Chair: Helen Langa, Ph.D. Juliet Bellow, Ph.D. Dean of the College of Arts and Sciences Date 2014 American University Washington, D.C. 20016 © COPYRIGHT by Kathryn Fay 2014 ALL RIGHTS RESERVED i ANNI AND JOSEF ALBERS: MEXICAN TRAVELS, TOURISTIC EXPERIENCES, AND ARTISTIC RESPONSES BY Kathryn Fay ABSTRACT Anni and Josef Albers made fourteen trips to Mexico between 1935 and 1967. These visits inspired in a prodigious amount of work, including photo collages, published essays, paintings, drawings, prints, and weavings. Investigating these artistic responses to their experiences in Mexico reveals how Josef and Anni negotiated the cross-cultural inspiration they gained from their travels to create work which they felt matched their Bauhaus-influenced ideals. Examining the subjects that captivated the Alberses, and how they incorporated their experiences into their artistic production, also discloses how they wanted to be understood as artists. As husband and wife, and travel companions, their respective works of art show an interplay of shared opinions and experiences, but also demonstrate what resonated with each artist individually and how each one integrated these influences into their own works of modern, abstract art. ii ACKNOWLEDGMENTS I would first like to thank my advisor, Dr. Helen Langa for her enthusiasm, patience, and guidance which helped shaped this thesis in countless ways. I am also grateful to Dr. -
142 Hotels That Change the Way We See the World the 142 HOTELS AROUND the WORLD WE ALWAYS RECOMMEND— and COME BACK to AGAIN and AGAIN
THE BEST PLACES TO STAY G OThe L D L I S T 142 hotels that change the way we see the world THE 142 HOTELS AROUND THE WORLD WE ALWAYS RECOMMEND— AND COME BACK TO AGAIN AND AGAIN When you work at Condé Nast Traveler, the one question that’s always being THE LIST asked of you—by friends, your therapist, strangers you’ve only just met—isn’t Where should I go? More often than not it’s Where should I stay? As hotel obsessives, we get it. A great hotel isn’t simply a place to spend the night. It’s about the super-secret perfect bar just off the lobby, or the wallpaper in your suite that makes you want to redecorate your entire home. And if you love a hotel enough, 2016 it can become a reason in itself to go. ¶ For our twenty-second annual Gold List, we offer you our global short list—the recommendations we give without even thinking about it. For more on this year’s Gold List, check out cntraveler.com/ gold-list. TYPE BY JORDAN METCALF COND É NAST TRAVELE R 1 GOLD LIST IF YOU LOVE THE GRAND-HÔTEL DU CAP-FERRAT IN PROVENCE, TRY THE HÔTEL DU PALAIS IN BIARRITZ LIVE OUT YOUR ITALIAN FANTASY (IF ONLY FOR A WEEK) You know what we’re talking about: those terraced gardens, the lakeside villas, the Baroque palaces set high above the Mediterranean. These are the icons, the drop-dead- gorgeous properties that take la dolce vita to a whole other level. -
Magazines, Tourism, and Nation-Building in Mexico
STUDIES OF THE AMERICAS Series Editor: Maxine Molyneux MAGAZINES, TOURISM, AND NATION-BUILDING IN MEXICO Claire Lindsay Studies of the Americas Series Editor Maxine Molyneux Institute of the Americas University College London London, UK The Studies of the Americas Series includes country specifc, cross- disciplinary and comparative research on the United States, Latin America, the Caribbean, and Canada, particularly in the areas of Politics, Economics, History, Anthropology, Sociology, Anthropology, Development, Gender, Social Policy and the Environment. The series publishes monographs, readers on specifc themes and also welcomes proposals for edited collections, that allow exploration of a topic from several different disciplinary angles. This series is published in conjunc- tion with University College London’s Institute of the Americas under the editorship of Professor Maxine Molyneux. More information about this series at http://www.palgrave.com/gp/series/14462 Claire Lindsay Magazines, Tourism, and Nation-Building in Mexico Claire Lindsay Department of Spanish, Portuguese, and Latin American Studies University College London London, UK Studies of the Americas ISBN 978-3-030-01002-7 ISBN 978-3-030-01003-4 (eBook) https://doi.org/10.1007/978-3-030-01003-4 Library of Congress Control Number: 2018957069 © The Editor(s) (if applicable) and The Author(s) 2019. This book is an open access publication. Open Access This book is licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made. -
Death and the Invisible Hand: Contemporary Mexican Art, 1988-Present,” in Progress
DEATH AND THE INVISIBLE HAND: CONTEMPORARY MEXICAN ART, 1988-PRESENT by Mónica Rocío Salazar APPROVED BY SUPERVISORY COMMITTEE: ___________________________________________ Charles Hatfield, Co-Chair ___________________________________________ Charissa N. Terranova, Co-Chair ___________________________________________ Mark Rosen ___________________________________________ Shilyh Warren ___________________________________________ Roberto Tejada Copyright 2016 Mónica Salazar All Rights Reserved A mi papá. DEATH AND THE INVISIBLE HAND: CONTEMPORARY MEXICAN ART, 1988-PRESENT by MÓNICA ROCÍO SALAZAR, BS, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES – AESTHETIC STUDIES THE UNIVERSITY OF TEXAS AT DALLAS December 2016 ACKNOWLEDGMENTS Research and writing of this dissertation was undertaken with the support of the Edith O’Donnell Institute of Art History. I thank Mrs. O’Donnell for her generosity and Dr. Richard Brettell for his kind support. I am especially grateful to Dr. Charles Hatfield and Dr. Charissa Terranova, co- chairs of this dissertation, for their guidance and encouragement. I thank Dr. Mark Rosen, Dr. Shilyh Warren, and Dr. Roberto Tejada for their time and commitment to this project. I also want to thank Dr. Adam Herring for his helpful advice. I am grateful for the advice and stimulating conversations with other UT Dallas professors—Dr. Luis Martín, Dr. Dianne Goode, Dr. Fernando Rodríguez Miaja—as well as enriching discussions with fellow PhD students—Lori Gerard, Debbie Dewitte, Elpida Vouitis, and Mindy MacVay—that benefited this project. I also thank Dr. Shilyh Warren and Dr. Beatriz Balanta for creating the Affective Theory Cluster, which introduced me to affect theory and helped me shape my argument in chapter 4.