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Este artículo es el resumen de la tesis doctoral "Análisis histórico del Mail Art en América Latina", presentada en la Universidad de Barcelona en 2014. En la investigación se estudia la red de mail art a partir de tres ejes principales: el análisis histórico del mail art en América Latina, el establecimiento del perfil del artista y la creación de parámetros para la sistematización de la información, con el objetivo de entender cómo la repercusión del sistema político dictatorial ha influido en esta práctica artística. Por necesidad, muchos asuntos relacionados al arte correo discutidos en detalle en la tesis solo se mencionan brevemente o se descuidan por completo en esta versión reducida. ; This article is a summary of the doctoral thesis "Historical Analysis of Mail Art in Latin America", submitted to the University of Barcelona in 2014. The research studies the Mail Art network from three main axes: the historical analysis of Mail Art in Latin America, the establishment of the profile of the artist and the creation of parameters for the systematization of information, with the aim of understanding how the repercussion of the dictatorial political system has influenced this artistic practice. Of necessity, many Mail Art issues discussed in detail in the thesis are only briefly mentioned or completely neglected in this short version. ; Facultad de Bellas Artes

Resent paper is focused on the early modern culture, particularly on the topic of visual art and its confrontation with traditional, pre-modern culture and aesthetic. The author unveils how and why painters of early French modernism had rejected traditional representation of eroticism, typical for pre-modern art, especially for the art of academicism. Thus from their artworks disappeared sublimated, exalted nudity, withdrew nudes modestly hidden under mythological or religious context. In the works of impressionists and postimpressionists naked body was depicted frankly, openly, without any excuse of what was supposed to be decent. Such were the nude women of paintings of Auguste Manet and Amedeo Modigliani who present merely their femininity and sexuality, while symbolizing the liberation from moral norms and heralding sexual revolution of the 20th century. Relaxed, healthy, pink-cheeked girls in Pierre-Auguste Renoir's paintings spread subtle eroticism and the mood of joyful life. Life of Parisian cabarets and brothels come alive through naked or semi-naked female figures which on Henri de Toulouse-Lautrec and Edgar Degas canvases seem as if they are unaware of being watched. Nude bodies in the paintings of such French post-impressionists like Henri Matisse and Paul Gauguin were depicted in exotic, oriental ambience and referred to the philosophical background of romanticism. Paul Cézanne's nudes particularly his famous scenes with bathers disclose essential aims of this painter – to reach the essence of the very thing. Transformations of the treatment of nude body by early French modernists help to understand general context of creative changes in visual arts on the edge of the 19th and 20th centuries.

This article focuses on the cultivation of graduate students in the practical degree category of China's MFA since the 1930s, the graduate education of professional master, the development process of multidisciplinary master, and master of fine arts, the defects of undergraduate and graduate major catalogues.

Islamicists have long been interested in the historiography of thesīraandmaghāzīliterature. Ibn Ishaq'sSīrahas been fruitfully compared with al-Waqidi'sMaghāzī, and both have been compared with sections in al-Bukhari'sṢaḥīḥor with other collections of hadith. It has often been observed that the materials constituting theSīraof Ibn Ishaq or theMaghāzīof al-Waqidi—works which may for convenience, but only with reservations, be designated "historical"—are often the same as those preserved in collections of hadith such as al-Bukhari's. It has also been observed that what distinguish these materials from one another are essentially the former's narrative and chronological structures and the motives and methods governing these structures. John Wansbrough, who has compared these texts, postulates as well a "development from loosely structured narrative to conciseexemplum& [which] illustrates perfectly the stylistic difference betweenSīraandsunna, between the mythic and normative preoccupations (Geistesbeschäftigungen) of early Muslim literature."

Abstract
The market for paintings by well-known artists is booming despite widespread concern about art crime and difficulties in establishing provenance. Public law enforcement is imperfect, and court cases often are deemed problematic. So how is the thriving art market governed in practice? We analyze the protocols used by the top auction houses to identify and resolve problems of illicit supply—fakes, forgeries and items with defective legal titles—through the lens of institutional analysis. We uncover a polycentric private governance system in which different actors govern distinct but overlapping issue areas, motivated by profit, prestige, or the search for truth. When the financial stakes rise, opportunistic behavior undermines the credibility of private governance. We argue that as litigious, super-rich investors entered the art market, the interaction between public law and the traditional private governance system restricted the supply of "blue chip" art, driving the escalation of prices.