Nevertheless, her anger flew to the winds when one day a messenger arrived bringing a little package from italy and the master called her into the laboratory.
Then he drove along beside a haycock and stopped the horses.
"it would depend a good deal on the packer," said barbara, quietly.
"i'll stay behind and see that mr. pack horse comes," replied rob.
I wanted nothing more after this, so i put the packet in my pocket, gave the woman two louis, and left the room.
I bought it and packed it myself.
84 parker, matthew, archbishop of canterbury, iv.
It's as flat as a pancake-careful with the machine-lift the back wheel-that's right!


text:
Antiokos V eller Antiokos V Eupator, ca 173–162 f.Kr., var kung i seleukidriket mellan 164 och 162 f.Kr..

Referenser

Seleukidiska regenter
Män
Födda 173 f.Kr.
Avlidna 162 f.Kr.

redpajama_set_name: RedPajamaWikipedia


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text:
Insomniac Events
Grab Your Valentine: Crush Returns To SoCal Tonight
byEddy
Insomniac has always strived to stay on top of the festival sphere with a unique take on various year round events. The 'Back to Basics' event series has always been a trip down memory lane for many of us who have witnessed various festival and events evolve across the years. With the introduction of the 'Back to Basics' event series last year during the inaugural 'Crush' at the National Orange Show in San Bernardino. Ca, it was no surprise that 'Crush' would return once again.
The second annual 'Crush' returns to the NOS Center for a show focused on commemorating the bonds and relationships that are often associated through our daily lives with friends, family, and significant others. Taking place right on Valentine's Day, expect a variety of love and heart themes to adorn the event grounds. Due to the nature behind the 'Back to Basics' theme, the production expected is minimal, however not stripped of its value; a far too often memory back to Insomniac's earlier days in compact warehouse type spaces.
For this year's Crush So Cal event we can expect an intimate and welcoming vibe to the NOS Center. As always the grounds will feature a variety of stands for alcohol (for the 21+ crowd), free water refill stations, to an assortment of food, and merchandise vendors for everyone's tastes.
This year's Crush lineup will feature acts known as Alvaro, the trap underdog Kennedy Jones, Lost Kings, and Mercer which can be found making his presence known through tracks such as "Genesis" featuring Quintino and "Welcome to the Jungle" featuring fellow Alvaro & Lil' Jon.
Joining alongside an already diverse line-up the Santa Barbara native Seven Lions known for "Still With Me" and "Strangers (featuring Myron & Shane 54) will add his own personal touch on his chillstep and electro-house anthems. The Chainsmokers known for their 2014 mega hit "Selfie" and "Kanye" will add on to the already immersed soundtrack of the night through their own unique sounds and remixes.
Tommy Trash is one of the few artists that can take complete control of the crowd from all aspects and bring the energy like no other. With electronic anthems such as "Reload", "The End", and his remix on the Ashton Shuffle's "Sunrise (Won't Get Lost)", Tommy Trash is known for his authentic Aussie electro sound that can be found in all his sets from start to finish; an act that can't be missed at Crush.
As an immersed lineup begins to present itself for this special night, we look forward to experiencing Crush once again with you the Headliners and taking in the great vibes that will be present throughout this special Valentine's Day night. Adorned with unique outfits from head to toe from the attending event-goers, Crush is one of the events that just can't be missed.
Crush SoCal
Eddy has been with EDM Maniac from the way beginnings and focuses on all of EDM Maniac's festival coverage.
Above & Beyond's Incredible Night In Los Angeles
byJared
5 Things You Just Shouldn't Do On Snapchat
byCarlos Castellanos

redpajama_set_name: RedPajamaCommonCrawl


When does fertilization usually occur?
When does the embryo enter the uterus?
When is an embryo called a blastocyte?
What structures are present in the blastocyte?
What cells contribute to the placental development?
Where does the embryo get nutrition for the first 8 weeks of pregnancy?
Where does the mesoderm of the placenta develop from?
What two cells layers form chorionic villi?
What is the chorionic villi?
Why are the chorionic villi important?
How does the umbilical cord form?
How long does it take the umbilical cord to form?
When is the placenta formed by? How is this related to growth of the chorionic villi?
What is the flow of blood through the placenta?
What hormones does the placenta produce?
What is HCG secreted by?
What vessels of the placenta carry oxygenated blood?
What vessels of the placenta carry deoxygenated blood and wastes?
When can HCG be measured? How does secretion rates change during pregnancy?
What is the function of HCG?
When does the placenta begin to secrete estrogen and progesterone?
What is the concentration of estrogen production by the placenta?
What are the functions of estrogen in a pregnant woman?
What is the concentration of progesterone production by the placenta?
What are the functions of progesterone in a pregnant woman?
When does normal parturition occur?
What hormonal changes occur at the end of gestation?
What is the dilation stage of labor?
What is the expulsion stage of labor?
What is the placental stage of labor?
What is lactation stimulated by?
When do prolactin levels begin to rise?
When does milk begin to be released after birth?
When does colostrum secretion begin?
When does milk production begin to occur?


text:
El huracán Allen fue el primero y el más fuerte de los huracanes de la temporada de 1980. Fue uno de los huracanes más fuertes en la historia, uno de los que llegaron a categoría 5 en la escala de huracanes de Saffir-Simpson en tres ocasiones distintas y pasó más tiempo en la categoría 5 que cualquier otro huracán en el Atlántico. Allen es el segundo de los dos huracanes registrados a lo largo de la historia en la cuenca del Atlántico, en alcanzar vientos sostenidos de , después del huracán Camille en 1969.

A lo largo de su vida, Allen se movió a través de los trópicos en un curso oeste-noroeste a través de la zona tropical del océano Atlántico, mar Caribe y golfo de México antes de tocar tierra cerca de la frontera entre Estados Unidos y México. En su fuerza máxima, pasó cerca de Haití, causando centenares de muertos y cuantiosos daños. Después de cruzar el golfo de México, Allen se debilitó al golpear la costa baja de Texas, causando fuertes vientos, una marejada importante, y lluvias torrenciales que provocaron daños en el sur de Texas. Allen mató a 249 personas y dejó un poco más de $1000 millones en daños (1980 USD), sobre todo en los Estados Unidos y Haití. Debido a su impacto, el nombre de Allen fue retirado de la lista rotatoria de seis años de nombres de ciclones tropicales en el Atlántico en 1981.

Historia meteorológica

Allen fue un temprano huracán de tipo Cabo Verde, que se originó de una onda tropical que previamente se alejó de la costa africana el 30 de julio. El sistema se desarrolló a medida que avanza hacia el oeste, convirtiéndose en una depresión tropical el 1 de agosto. Temprano el 2 de agosto, cuando la depresión se movió hacia el Caribe, se reforzó, convirtiéndose en la primera tormenta tropical de la temporada. Allen se trasladó hacia el oeste a un ritmo rápido de 28 a 37 km/h, convirtiéndose en un huracán el 2 de agosto y en un gran huracán en la noche del 3 de agosto, cuando la tormenta pasó al sur de Santa Lucía. Allen continuó intensificándose rápidamente a huracán de categoría 5 en la tarde del 4 de agosto, mientras se encontraba al sur de Puerto Rico, y se mantuvo en esa intensidad durante más de un día. Durante este tiempo, Allen alcanzó una presión central de 911 milibares, la presión más baja en el registro en el mar Caribe oriental.

El ojo pasó entre la Española y Jamaica como un huracán de categoría 4. Después se debilitó debido a la fricción con las montañas de Haití y Jamaica. Allen se intensificó de nuevo a un huracán de categoría 5, manteniendo esta intensidad durante más de un día. La tormenta se movió entre Cuba y la península de Yucatán, llegando a su presión mínima de 899 mbar al cruzar el canal de Yucatán. Durante su viaje a través del mar Caribe y del golfo de México, su centro de circulación nunca pasó sobre tierra; pasó cerca de varias islas en y alrededor del mar Caribe.

Allen nuevamente se debilitó a una tormenta de categoría 4 debido a la fricción con México, pero se volvió a fortalecer en un huracán de categoría 5, por tercera vez a medida que avanzaba sobre las aguas abiertas del golfo de México, manteniendo esta intensidad durante casi un día completo y con una caída de presión a 909 mbar, la presión más baja jamás registrada en el oeste del golfo de México. Poco antes de tocar tierra, una masa de aire seco en el oeste del golfo de México causó que la tormenta se debilitara sustancialmente. Allen tocó tierra al norte de Brownsville, Texas, como una tormenta de categoría 3 con unos vientos máximos sostenidos de 185 km/h.

Preparativos
Cuando Allen se acercó al mar Caribe, advertencias de temporal y una alerta de huracán fueron emitidas para las islas de Barbados, Santa Lucía, San Vicente, Dominica, Granada, Martinica y Guadalupe, durante las horas diurnas del 3 de agosto. Advertencias por temporal estaban en efecto para Antigua a partir de las 11 de la mañana del 3 de agosto hasta las 11 de la mañana del 4 de agosto. Las advertencias de huracán se plantearon para Barbados, San Vicente, Santa Lucía, Martinica y Dominica de la tarde del 3 de agosto hasta la mañana del 4 de agosto. Cuando Allen se movió hacia el mar Caribe, advertencias de huracán fueron emitidas para las secciones del sudeste de la República Dominicana y el sudoeste de Haití a partir de las 11 de la mañana del 4 de agosto hasta la mañana del 5 de agosto. Advertencias por temporal entraron en vigor para el sur de la República Dominicana desde la noche del 4 de agosto hasta la noche del 5 de agosto, mientras que el sur de Haití mantuvo las advertencias de la noche del 4 de agosto hasta la mañana del 5. Una advertencia de huracán fue emitida para Jamaica en la mañana del 5 de agosto, mientras hubo alertas de huracán en el suroeste de la península de Haití desde la mañana del 5 hasta la mañana del 6. Advertencias de huracán entraron en vigor para Jamaica a partir del mediodía del 5 de agosto hasta altas horas de la tarde del 6. Las Islas Caimán vieron advertencias de huracán emitidas desde la tarde del 5 hasta la mañana del 6.

Cuando Allen se acercó al golfo de México, las alertas de huracán se plantearon para la península de Yucatán al noreste de México desde la tarde del 6 hasta la mañana del 8. Hubo advertencias de temporal para los Cayos de la Florida. Cuando finalmente se acercaba a tocar tierra, la costa noreste de México y la costa de Texas fueron puestas bajo una vigilancia de huracán desde la mañana del 8 de agosto hasta la mañana del 9 de agosto en México y la tarde del 9 de agosto en Texas. Las advertencias de huracán estaban en efecto para el noreste de México desde el comienzo de la tarde del 9 de agosto hasta la tarde del 10 de agosto. Las advertencias de huracán se degradaron a advertencias de tormenta entre High Island, Texas y Freeport, Texas, entre la tarde del 9 de agosto y el final de la tarde del 10 de agosto. Las advertencias de huracán se retiraron de la costa de Luisiana durante la tarde del 9 de agosto. Las advertencias de huracán se degradó a advertencias de tormenta para el sur de Texas desde el final de la tarde del 10 de agosto hasta la madrugada del 11 de agosto.

Impacto

Allen causó algo más de mil millones dólares (1980 USD) en daños y mató al menos a 271 personas a lo largo de su curso (incluyendo las muertes indirectas).

Islas del mar Caribe
{| class="wikitable" style="float:right; margin:0 0 0.5em 1em; float:right;"
|+Muertes y daños por País
|- style="text-align:center;"
| País| Totalmuertes| Muertes directas| Daños(USD)|Fuente|- style="text-align:center;"
|
| 0| 0
| $1.5 millones
|
|- style="text-align:center;"
|  Santa Lucía
| 18| 18
| Severos
|
|- style="text-align:center;"
|  Guadalupe
| 1| 1
| Desconocidos
|
|- style="text-align:center;"
|
| 220| 220
| $400 millones
|
|- style="text-align:center;"
|
| 8| 8
| Desconocido
|
|- style="text-align:center;"
|
| 0| 0
| Mínimos
|
|- style="text-align:center;"
|
| >24| 2
| $600 millones
|
|- style="text-align:center;"
| Totales:| >271| 249| ~$mil millones
|
|}

En Barbados, los daños preliminares se estimaron en 1,5 millones de dólares (1980 USD). Unas 500 casas resultaron dañadas o destruidas. No se informó de que hubiera muertes. Santa Lucía sufrió daños catastróficos por la tormenta de categoría 3. Vientos sostenidos de  y una presión a nivel del mar de tan sólo 967 mbar se presentaron en Hewanorra. Dieciocho personas perdieron la vida debido al paso de la tormenta. Una muerte en Guadalupe se atribuyó a Allen. En Martinica, el daño fue extenso cuando la tormenta pasó a  al sur de la isla. Olas de seis metros de altura barrieron la costa durante la tormenta.

En el centro del Caribe, Caimán Brac se vio afectada por vientos de más de  que causaron cuantiosos daños materiales. Un arrecife de coral en Discover Bay, Jamaica, fue devastado por la acción de las olas de la tormenta. Ocho muertos en Jamaica se atribuyeron a Allen. Los daños fueron muy importantes en la costa noreste, donde el huracán hizo su máximo acercamiento a la isla y provocó una marea de tormenta de . Tres muertes fueron atribuidas a Allen en Cuba.

Hubo daños considerables en Haití, debido a los fuertes vientos y las inundaciones. Los costes totales para ese país se estimaron en más de $400 millones (1980 USD). Aproximadamente el 60% de la cosecha de café del país fue destruida. En total, 220 personas murieron y 835 000 quedaron sin hogar. En Port-au-Prince, 41 muertes fueron causadas por los tejados de zinc volando y alrededor de 1200 se quedaron sin hogar por las inundaciones.

 México

Áreas del noreste de México tuvieron fuertes lluvias con el paso de Allen, con los totales más altos superiores a . Como Allen sólo afectó a las regiones escasamente pobladas de México, no hubo informes de daños significativos.

 Estados Unidos

En Texas, la marejada ciclónica fue de más de  en Port Mansfield, aunque pudo haber sido mayor en otros lugares a lo largo de la costa de Texas. Ráfagas de viento máximo de  también fueron medidas en Port Mansfield. Los vientos de tormenta tropical en Corpus Christi, Texas hicieron volar los tejados por la ciudad, lo que llevó a la rotura sustancial de vidrios en 18 pisos del edificio del Banco de Garantía y en 12 pisos de un ala del hospital Spohn. La tormenta causó siete muertes en Texas y 17 en Luisiana (la mayoría como resultado de la caída de un helicóptero de evacuación de los trabajadores de una plataforma). Allen dio lugar a varios tornados en Texas. Un tornado causó $100 millones en daños cuando llegó a Austin, Texas, por lo que es el tornado más costosos generado por un ciclón tropical en la historia. Sin embargo, en general, la tormenta causó daños limitados en los Estados Unidos debido a que su poder disminuyó de repente y porque las mayores mareas y los vientos golpearon una parte de la costa de Texas escasamente poblada.

Allen dejó de  a  de lluvia en el sur de Texas, poniendo fin a una larga sequía de verano durante la ola de calor en Estados Unidos de 1980. Su mapa de precipitaciones totales se muestra a la derecha.
 Retiro

Debido a la destrucción, muertes y la intensidad extrema, el nombre de Allen fue retirado de la lista de tormentas tropicales en el Atlántico en la primavera de 1981, y nunca se volverá a utilizar para un futuro huracán en el Atlántico. Fue reemplazado por Andrew''' en la temporada 1986.

Récords

Cuando Allen alcanzó la categoría 5 de intensidad el 5 de agosto, se convirtió en la más temprana tormenta de categoría 5 que se haya registrado. Este récord se mantuvo hasta que el huracán Emily lo hizo pedazos el 16 de julio de 2005. Allen es uno de los cuatro huracanes en el Atlántico en llegar a categoría 5 en la escala de huracanes de Saffir-Simpson en tres ocasiones distintas, siendo los otros tres Irma, Iván e Isabel. También produjo la quinta presión más baja jamás registrada en la cuenca del Atlántico, dea 899 mbar, y fue el huracán más fuerte conocido en la cuenca, en términos de presión, desde 1935. Hasta entonces, fue el segundo huracán más fuerte por la presión en la cuenca del Atlántico, pero fue movido hacia abajo, hasta la quinta posición, y ningún huracán ha logrado vientos de  en esta cuenca desde entonces. Sigue siendo la tormenta más intensa aparecida en agosto. Pasó casi tres días como una tormenta de categoría 5, con mucho el más alto de cualquier huracán en el Atlántico. Cinco tifones han pasado más tiempo como tormentas de categoría 5, incluida la más reciente Karen, y Nancy a principios de 1960.

Véase también
 Lista de ciclones tropicales
 Temporada de huracanes en el Atlántico de 1980

Referencias

Enlaces externos
 National Weather Service - Hurricane Allen (Servicio Nacional del Clima - Huracán Allen)
 The Wake of Hurricane Allen in the Western Gulf of Mexico (El despertar del huracán Allen en el oeste del golfo de México)
 Effects of Hurricane Allen on Buildings and Coastal Construction (Efectos del huracán Allen en edificios y construcciones costeras)
 Pertinent Meteorological Data for Hurricane Allen of 1980 (Información pertinente sobre el huracán Allen de 1980)

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Six Persons Burned to Death at Depot House in St. Paul.
St. Paul, Minn., July 18.---At Wabash, Minn., six persons were burned to death in a fire which early today destroyed the Depot Hotel.
MRS. A. HOFFMAN and baby.
There may be other bodies in the ruins. The fire was caused by the exploxion of a gas tank used for the illuminating plant.


text:
Art as Cultural Diplomacy: The Politics of Exhibiting Mexico's Revolutionary Modernism in MEXIQUE 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco et les avant-gardes
Issue 6 (Winter 2017)
This winter's exhibit at the Grand Palais, MEXIQUE 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco et les avant-gardes, was conceived as part of a broader effort to strengthen diplomatic relations between Mexico and France. A high profile court battle in Mexico involving a French citizen who was found guilty of human trafficking without a fair trial created a diplomatic rift between the two nations in 2008.[1] Despite facing considerable pressure from the French government, the court battle dragged on for several years, prompting France to cancel an annual festival dedicated to promoting commercial and cultural relations between the two nations in 2011.[2] Florence Cassez was finally released under a new government administration eager to sign more trade agreements with the European nation. As a symbolic gesture of political rapprochement, the idea of the exhibit first emerged in a conversation between Enrique Peña Nieto and François Hollande during the Mexican president's state visit to France in the summer of 2015.[3]
Seeking to counteract negative images of Mexico in the French media, the exhibit recalls a period in Franco-Mexican cultural relations that was once characterized by intellectual exchange and artistic cross-fertilization. In other words, by emphasizing not only how Diego Rivera and Frida Kahlo played a vital role in the Parisian avant-garde of the early twentieth-century, but moreover, how André Bréton and Antonin Artaud turned to Mexico as a space of aesthetic and revolutionary promise, it offers a countervailing image of the Mesoamerican nation. Advertised as the largest retrospective of modern Mexican art ever on display abroad, the exhibit signals an act of cultural diplomacy that aims to make Mexico once again attractive in the eyes of a wary French public.
As its title suggests, the exhibit displays some of the most important works by Mexican artists of the first half of the twentieth-century. By situating their works in a dialogue about the relation between local and global revolutionary movements, it seeks to reveal Mexico's vital role in the history of twentieth-century marxisms. Similarly, by comparing the nationalist aspirations of Mexican artists with the cosmopolitan concerns of the European avant-garde, it aims to highlight the nation's unique contributions in the development of modern art. Finally, by exploring how each artist helps articulate a new concept of Mexican identity, the exhibit seeks to valorize their role not only as cultural agents, but moreover, as political actors. Emphasizing both the continuities and discontinuities in modern Mexican art, the exhibit represents its history with an eye both toward its past and present manifestations. Given that the exhibit's curator formerly served as the director of Mexico's National Museum of Art (MONAL)—an institution that endeavors to preserve and display the nation's visual art from the 16th to the 20th century—its chronological approach to Mexican modernism is perhaps not altogether surprising.[4]
The exhibit begins by presenting viewers with a vision of the nation's socioeconomic and aesthetic landscape prior to its revolution. By strategically displaying two contrasting works of art at its entrance—Tiburcio Sánchez' Escandón Arango Family Portrait (1867) and José María Jara's The Wake (1889)—the exhibit introduces viewers to competing facets of nineteenth-century Mexico. On the one hand, Sánchez extols a prominent family's status by depicting bourgeois children posing before their parents' country estate, thus demonstrating how it passes down its wealth from generation to generation. On the other, Jara casts a critical light on Mexico's oligarchic vision of progress by depicting a destitute family mourning the premature death of a child, giving viewers the impression that his passing was the result of their dire economic conditions. Located across from one another, Sánchez' Family Portrait and Jara's The Wake offer contrasting images of a nation plagued by deep ethnic and socioeconomic divisions. Yet they also reflect Mexico's ambivalent relation to nineteenth-century aesthetic and cultural models. Sánchez completes his portrait of patrician prosperity the same year Juárez overthrows French imperial rule (1867) and Jara's visual rendition of childhood death coincides with a new era of industrial capitalism ushered in by Porfirio Díaz (1889)—an autocratic leader with an affinity for French fashion styles and social mores. Perhaps in an effort to give viewers a sense of the European aesthetic models that Mexican modernists such as Diego Rivera, Frida Kahlo and José Clemente Orozco inherit, the exhibit sets the stage for a greater appreciation of the radical nature of their artistic projects.
The exhibit subsequently situates Diego Rivera's trajectory in a continuum that moves from an initial fascination with the European avant-garde toward a more politicized understanding of modern art. By displaying examples of some of his earliest works during his decade-long residence in Paris (1910-1920), it examines how Rivera turns to a social realist vision only after first experimenting with impressionism and cubism. Perhaps no other work on display at the Grand Palais indicates the intermediary nature of Rivera's artistic production during this period than his Zapatista Landscape (1915). Indicating a concern for political developments in his homeland even from a distance, it offers an assemblage of symbols associated with the Zapatista rebellion in southern Mexico over a mountainous landscape. On the one hand, its sarape and sombrero recall the humble origins of the Zapatista soldiers as peasant farmers with roots in the agrarian communities of southern Mexico. On the other, its rifle and bullet cartridge convey their agency as political actors resolved to alter the course of Mexican history through armed struggle. Simultaneously offering an image of timeless tradition and revolutionary modernity through an assemblage of distinctly Mexican referents and symbols, Zapatista Landscape reveals how Rivera pushes the boundaries of abstract art in new directions.
Just as the exhibit considers Rivera's complex relation to the European avant-garde, so, too, does it compare his work with the competing social realist experiments of his fellow countrymen: José Clemente Orozco and David Alfaro Siqueiros. Viewed together as the three great muralists of the Mexican Revolution, the exhibit highlights their differences even though it does so at the risk of oversimplifying some of the inherent tensions and contradictions within their works. Whereas Rivera is depicted as enacting an optimistic vision of Mexico's future as a socialist utopia, Orozco is viewed as articulating a more critical and tragic vision of its revolution's consequences. And whereas Orozco and Rivera are depicted as using a Marxist visual vocabulary for nationally circumscribed purposes, Siqueiros is viewed as exploring Mexico's class struggle in the context of an international workers' movement. However, as art historian Mary Coffey argues, Siqueiros, Orozco and Rivera not only forged distinct revolutionary paths in their works—they engaged in heated debates about the revolutionary nature of public art and competed with one another for government-sponsored projects.[5] Had the exhibit given viewers a more vivid sense of the bitter tensions, conflicts and controversies that defined their relation to one another during their lifetime, it might have offered a more critical understanding of the political function of public art in post-revolutionary Mexico. How does each artist reconcile his distinct revolutionary vision with subsequent government administrations that hired all of them not so much to promote socialist ideals but rather, to bolster its tourist industry and attract foreign investment? Given that the idea of the exhibit emerged out of a desire to restore Franco-Mexican diplomatic relations, an in depth exploration of each artist's complex relation to the Mexican state might have given viewers a more critical understanding of the uses of revolutionary art to pursue neoliberal economic agendas—both past and present.
Perhaps the exhibit's greatest strength lies in its emphasis on the vital role of female artists. By displaying an unprecedented range of female artists, it highlights their significant role in redefining Mexican national identity. Moreover, by critically exploring the role of gendered tropes in its national cinema, the exhibit explores how the possibilities of women are circumscribed in the imagination of spectators despite having made considerable gains during the decade of armed struggle. It first does so by highlighting the work of lesser known female artists such as Olga Costa, María Izquierdo and Nahui Olin. For example, even as it acknowledges Frida Kahlo's significance as a pioneering artist by displaying works such as The Two Fridas (1939) and Self Portrait with Cropped Hair (1940) in a feminist light, the exhibit demonstrates how Olga Costa contributed to a multi-ethnic understanding of Mexican national identity through her innovative representation of female subjects in The Fruit Vendor (1951). By depicting a female street vendor selling a diverse range of tropical fruit, the artist metaphorically celebrates the nation's regional and ethnic diversity, on the one hand, and highlights the growing role of women in the informal sector of the nation's economy, on the other. In other words, even as it celebrates the regional and ethnic diversity of the nation, Costa's representation of gendered labor can be viewed as a veiled critique of the limited possibilities of women in the post-revolutionary work force.
Whereas the exhibit challenges patriarchal understandings of Mexican modernism by including a wide range of female artists, it demonstrates how prevailing gender norms are reinforced after the revolution through its critical exploration of female characters in the country's emerging film industry from the 1940s to the 1950s. By demonstrating how traditional female tropes are both recycled and reconfigured in Mexico's golden age cinema (e.g., the Madonna versus the whore, the chaste versus the fallen woman), the exhibit prompts us to consider how the possibilities of women are curtailed in the imagination of viewers despite their vital role as breadwinners and soldiers during the decade of armed struggle (1910-1920).
Yet even as it puts on display a wide range of works by female artists, the Grand Palais exhibit does not give all of them their needed contextualization. Despite depicting Frida Kahlo as a pioneering artist by situating some of her major works in a feminist context, it does not devote Tina Modotti's photography a similar degree of curatorial emphasis. For example, in its display of some of her most celebrated works such as Workers' Parade (1926) and Stadium (1927), one gets the impression that they were hastily included rather than thoughtfully placed in relation to the rest of the collection. A more careful display of Modotti's work that highlights how she captured the rapid technological transformations taking place around her in post-revolutionary Mexico as cultural critic Rubén Gallo has shown, would have offered viewers a greater appreciation of the path breaking nature of her photography.[6]
The exhibit draws to a close by considering Mexican modernism's legacies beyond its initial timeframe (1900-1950). By demonstrating how artists such as Miguel Covarrubias, Rufino Tamayo and Mathias Goeritz break with the social realist models of their revolutionary forebears, the exhibit explores how a new generation of artists redefines Mexican art in tandem with the cosmopolitan aspirations of the country in an age of unprecedented economic prosperity. Seeking to explore some of the less overtly political manifestations of twentieth-century Mexican art, the exhibit considers competing models of understanding the nation's aesthetic modernity. For example, by displaying some of Covarrubias' cartoons of totalitarian leaders during his tenure as an editor for Vogue in the 1940s, the exhibit demonstrates how even commercial art can carry an unacknowledged yet effective political message. Similarly, by contrasting Tamayo's abstract renderings of Mexican culture with Orozco's social realist approach, the exhibit prompts viewers to compare the universalist aspirations of the former with the particularistic concerns of the latter. Finally, by displaying a miniature model of Luis Barragán and Mathias Goeritz' Towers of Satellite City (1958), the exhibit indicates a turning point in Mexican modernism. Rather than hark back at the nation's revolutionary past, Barragán and Goeritz' Towers of Satellite City projects an image of global modernity by erecting five building blocks between two highways to indicate the entrance of a newly built suburb.
Casting a long shadow over this period of unprecedented economic prosperity, the Mexican government's violent suppression of a student demonstration that called into question its carefully orchestrated image of a developed nation for the 1968 Mexico City Olympics is perhaps not given its rightful place in the last segment of the exhibit. In other words, even though the exhibit makes reference to the 1968 student massacre, it does not stress its significance in the same way it does so for the Mexican Revolution at the beginning. As art historian Luis Castañeda recently demonstrates, the Mexican government commissioned a series of architectural and design projects in order to establish an image of Mexico as a developed nation for the 1968 Summer Olympics. The student demonstration in Tlatelolco Square threatened to undermine its image of a united and prosperous nation by suggesting that it was a façade that concealed its class and ethnic divisions through their appeals for social and economic justice.[7]
A more sustained exploration of the impact of the 1968 Student Massacre in the visual arts during its last segment would have given the exhibit not only a greater thematic unity—it might have offered the French public an opportunity to engage with the country's recent past in a more meaningful manner. What are some of the manifestations of the 1968 Student Massacre in literature and art? Similarly, just as some Mexican artists opt for less overtly political artistic models, how do others turn to critical depictions of their nation's authoritarian and repressive government apparatus? Finally, how do contemporary artists understand art as a transformative practice of civic engagement and collective remembrance in light of the nation's more recent tragedies such as the disappearance of the 43 students from the Ayotzinapa rural college? Even though these questions go beyond the bounds of an exhibit conceived to commemorate France and Mexico's political rapprochement, they remain crucial for a deeper understanding of the nation's complex relation to discourses of development in the previous—and present—century.
Florence Cassez was sentenced to ninety-six years in prison in 2008 for charges of torture and human trafficking in collusion with her Mexican boyfriend who was a leader of a prominent organized crime group. Her court battle became a cause célèbre in France and helped create a negative image of the Mexican legal system in the French media during those years. After considerable pressure from the French government and a new Mexican administration seeking to cultivate closer economic ties with France, she was released from prison in 2013. ↑
Each year the French government holds a festival dedicated to promoting cultural and economic relations with a different country. Even though 2011 had previously been designated as "L'Année du Méxique" (The Year of Mexico), the festival was cancelled at the last minute due to escalating diplomatic tensions between the two nations as a result of the Florence Cassez trial. ↑
For a brief overview on how the idea for the exhibit first emerged, see Álex Vicente's review in El País, "La cara oculta del arte mexicano." cultura.elpais.com/cultura/2016/10/02/actualidad/1475422771_522970.html?id_externo_rsoc=FB_MX_CM. The trip turned out to be a public relations disaster for the Mexican president. While he was on his way to France, Mexico's most notorious drug lord made a dramatic escape from the nation's highest security prison, shifting the national and international media's attention away from his visit and casting a spell of doubt over his administration's ability and willingness to hold in check the growing power of organized crime groups.↑
Agustín Arteaga was the director of the Museo Nacional de Arte in Mexico City between 2013 and 2016 and currently heads the Dallas Museum of Art. ↑
How a Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State. Durham: Duke University Press, 2012. 1-24. 25-77. 179-193. ↑
Mexican Modernity: The Avant-garde and the Technological Revolution. Boston: MIT Press, 2010. 1-30. 31-67. ↑
Spectacular Mexico: Design, Propaganda and the 1968 Olympics. Minneapolis: University of Minnesota Press, 2014.
Luis Ramos joined the Liberal Studies Program at NYU in the Fall of 2011 after earning his PhD in Comparative Literature from the University of California, Berkeley. His research and teaching interests include: Exile, Diaspora and Migration Studies; Early Modern Travel Narratives; Latin American Intellectual History; and Enlightenment Political Thought in Italy, Spain and the Americas. His current book project, The Poetics of Independence: Jesuit Historiography and Insurgent Political Thought in Spanish America, 1767-1810, demonstrates how creole clerics from Spain's New World empire created the conditions for future authors to imagine their homelands as a community of sovereign nations.


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Vienna — Culture, Christmas, and Comfort Food
Culture and Lifestyle, Travel
By Sophia Obrecht
Vienna, the undisputed capital of culture. Overflowing with history, art, and music, the city is full of galleries and museums to discover. At Christmas the Austrian Hauptstadt also has a festive edge with a Christmas market on every street corner. For me one of the best parts of visiting the city is getting to fill up on all my favourite Austrian foods, from desserts, to hearty main dishes, there is no end to tasty comfort food on the menu. So sit back, relax, and read on to find out how to make the most of your time in Vienna.
Admire the Architecture
If you're looking to explore the city's architectural gems then look no further than Vienna's Ringstrasse, built between the 1860's and 1890's. The boulevard, located in the first district, is the best place to admire a host of building without having to move from one end of the city to the other. The buildings on the Ringstrasse were built during the period of Historicism: a style which encompasses different architectural styles from previous ages used to evoke bygone eras. As a result of this form of architecture the Ringstrasse is a space which looks as though it was built up over hundreds of years, instead of the space of 30. From the state opera, the Vienna stock exchange, the university building, or the Museums of fine art and natural history, you can't help but be impressed.
Get up to Speed on Austrian Art
No trip to Vienna would be complete without seeing some of the country's most famous artworks. My personal favourite is Klimt's painting 'The Kiss', housed in the Belvedere, if only for the purity and beauty of the painting. While you're there be sure to check out some of Gustav Klimt's other famous works, including Judith or Adam and Eve. For a more striking and arguably disturbing approach to art Egon Schiele's works are a stunning exploration of sexuality, self-image, and raw emotions. Other famous artists include Oskar Kokoschka and Friedensreich Hundertwasser (check out the famous Hundertwasser House in Vienna's third district for a lesson in art, mosaic, and architecture)
Find the Perfect Breakfast Spot (on a Budget)
There are of course no end to cafes and breakfast spots to enjoy in Vienna. But from one friend to another check out the rooftop restaurant located in the furniture store Leiner on Mariahilfer Strasse for the cheapest breakfast in town. The food is basic, but that doesn't mean it's bad, and for less than 3 Euro for breakfast and a coffee, it's certainly the best spot for any students on a budget. The best part of the dining experience, is however, the view. A local secret, this rooftop restaurant offers a fantastic vantage point of the inner city with domes and spires as far as the eye can see.
Indulge in the Coffee Culture and Taste Every Dish on the Menu
Famous for its coffee culture, in which locals order their famous Melange (a Viennese cappuccino of sorts), and sit for hours in their favourite cafes, you too can experience the true Viennese lifestyle. Of course there are the classic coffee houses of Café Central, or Café Landtmann, where the intellectuals of the 19th century would gather and discuss theories of philosophy, art, and politics. Just be aware that these places tend to be slightly expensive and full to be brim with tourists, nevertheless the classic cafes are still worth a visit. So cameras at the ready and make sure to get that perfect shot of a classic apple strudel and coffee for your Insta feed.
While you're in the city make sure you try some classic Austrian dishes, from Schnitzel, to Kaiserschmarrn, or my personal favourite Marillenknödel, the traditional food is just too good to resist!
Explore the Christmas Scene
If you happen to find yourself in Vienna during the festive season take a stroll through the famous Christmas markets, from the Rathaus, to Karlsplatz and even Schönbrunn Palace, there is a host of markets to see. My personal favourite and a low key event, is the market at Spittelberg, with stalls lining the narrow streets there is something especially cosy about this Christmas market.
On the other hand, if you're hoping to explore Vienna during the summer months, head to the famous film and food festival at the Rathaus. There is literally every type of food stall you can imagine and a huge cinema screen right in the city centre screening opera and ballet performances! How much more cultured can you get?
23rd Dec 2018 14th Feb 2019 Sophia Obrecht Tagged Christmas, CityBreak, Comfortfood, Culture, Explore, Travel, Vienna	Leave a comment
page_refresh Playlist: Christmas Cheer
As the great Elf (in the form of Will Ferrell) once said ''the best way to spread Christmas cheer is singing loud for all to hear'', so what better way to get you all in the Christmas mood than to share an Xmas playlist. With a host of classic tunes, and a sprinkling of new hits, it's time to crack open the mulled wine and hit play on our page_refresh Christmas Cheer playlist!
Mariah Carey — All I Want For Christmas Is You (1994)
Darlene Love — Christmas (Baby Please Come Home (1963)
Kylie Minogue — Santa Baby (2000)
Paul McCartney — Wonderful Christmas Time (1979)
Wham! — Last Christmas (1984)
Ella Fitzgerald and Louis Jordan — Baby, It's Cold Outside (1949)
Justin Bieber — Mistletoe (2011)
Bing Crosby — White Christmas (1942)
Sam Smith — Have Yourself a Merry Little Christmas (2014)
Micheal Buble — It's Beginning to Look a lot Like Christmas (2011)
Ariana Grande — Santa Tell Me (2013)
Louis Armstrong — Christmas in New Orleans (1955)
The Ronettes — Sleigh Ride (1963)
Elton John — Step Into Christmas (1974)
Chris Rea — Driving Home for Christmas (1988)
Nat King Cole — The Christmas Song (1961)
Frank Sinatra — The Christmas Waltz (1954)
Jackson 5 — Santa Claus Is Coming to Town (1970)
Elf — Main Title (2003)
The Pogues — Fairytale of New York (1987)
Bobby Helms —Jingle Bell Rock (1957)
3rd Dec 2018 Sophia Obrecht Tagged Cheer, Christmas, page_refresh Playlist	Leave a comment
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Here at page_refresh we tell it how it is. Read our honest opinions on current affairs, word news and hot topics. Check out our culture and lifestyle section for some light reading, or take a peek at our travel section for hints and tips on journeying abroad. What are you waiting for — just hit refresh!
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