This text is an adequate description and an excellent analysis of the political unrest of almost the entire nation as of, approximately, 2016. The author deserves special consideration for the political, social and cultural situation of the department of Santa Cruz. This is very convenient and valuable if we think that in the rest of the country many inaccurate legends circulate about the political culture of that department and some pernicious myths about the mint.
capítulo 1. Más por menos: la inflación -- capítulo 2. El PBI, el crecimiento y las crisis -- capítulo 3. De las vacas a la soja, la madera y el software -- capítulo 4. El señor Estado -- capítulo 5. Impuestos a la uruguaya : los ingresos del Estado -- capítulo 6. Cuatro bocas que alimentar : en qué gasta el Estado -- capítulo 7. La hora de la verdad : el presupuesto y el déficit fiscal -- capítulo 8. Cuando el soberano pide prestado : la deuda pública -- capítulo 9. El gobernante en su laberinto : política económica -- capítulo 10. Los dueños del globo : dónde están? Quiénes son? -- capítulo 11. El mundo bloques : comercio internacional -- capítulo 12. ¿Merco qué? : Uruguay y sus vecinos -- capítulo 13. La ley primera : cómo funcionan los mercados? -- capítulo 14. El consumidor y sus expectativas -- capítulo 15. Todo tiene un precio : oferta y demanda de dinero -- capítulo 16. Árbitro y jugadores del sistema financiero -- capítulo 17. Letras, acciones y bonos : las Bolsas de Valores -- capítulo 18. La casa en orden : finanzas personales -- capítulo 19. Un mundo de plástico : el reino de las tarjetas -- capítulo 20. A cuánto va a estar el dólar? : el mercado cambiario -- capítulo 21. Llegar a fin de mes : el mercado laboral -- capítulo 22. Países ricos, países pobres
Was Lola Mora the only active artist between 1890 and 1920? Judging by the repercussion of his work, one might think so. Or was it just the most visible emergent of a forgotten creative group: that of the female artists of that period? Georgina Gluzman presents in this book the work of other female artists in the city of Buenos Aires during those years. This is a large group whose importance has been overlooked: Maria Obligado de Soto y Calvo, Sofía Posadas, Eugenia Belin Sarmiento, Ana Weiss de Rossi, Lía Correa Morales, among many others. In addition to focusing on a group of figures and works, the author analyzes issues such as the artistic education of women, the representation of artists in the press and the relationships between women's movements and arts, thus mapping a complex map of trajectories, productions and practices marginalized by traditional studies
"This is the second edition of a work considered to be a valuable rescue of the forgotten and one of the most prestigious cultural institutions directed by Cuban women: The Lyceum and Lawn Tennis Club (founded in December 1928). The author manages to enter a hardly known world, where cultural values, especially the avant-garde, feminism and femininity, shake hands to offer Cuban women and society a space for improvement with the participation of the best of the Cuban and foreign intelligentsia. The book shows us the true projection and work that the Lyceum played as a private cultural institution in the Cuban and continental culture. On the other hand, it gives us a vision of what were the ideas, conceptions, behaviors and projects that blocked during almost forty years of continuous work through its sections: Library, Exhibitions, Music, Conferences, Social Assistance, Classes and Actions stories such as: contests and prizes, cultural festivals, etc"--
The fundamental problem that Paraguay faces is not a question of old or new course, nor is it a question of "left" or "right." The problem is more serious and structural, since Paraguay post stronista, from 1989 until today, lacks "north," objectives, goals and mechanisms duly agreed, without which the country will be trapped for a longer time in the appalling situation In which it is. The writer and journalist explains that Paraguay has not have any direction since the fall of Alfredo Stroessner. It is so in the first part the author exposes what was the government under the control of the Colorado Party, from Alfredo Stroessner to Nicanor Duarte Frutos and how the Fernando Lugo project is managed. In the second and third parts of the book a detailed analysis of the governments of the democratic era is made, with emphasis on the governments of Fernando Lugo, Federico Franco and Horacio Cartes. And it ends with a deep reflection on the presidential succession of 2018 and the theme of presidential re-election
A chronicle about the incredible life path of Aldo Marín, a Chilean revolutionary unknown to this day. Early on Thursday, August 5, 1977 two young people died in Turin when they tried to commit an attack against the newspaper La Stampa. They are the "years of lead", and Italy is mired in a political-social crisis. One of the authors of the failed attack is Chilean and, during the previous days, detonated bombs in different Italian cities. The tragedy of Turin put an end to a brief and vertiginous revolutionary trajectory. Juan Cristóbal Guarello narrates in this chronicle the incredible life trajectory of Aldo Marín, a young man from the north of Chile who, due to unlikely circumstances, was part of the political process carried out by the Unidad Popular. Escaping the secret police and exiled in Mexico, the protagonist came to Cuba to be part of a military elite that will aim to return to the country to execute Pinochet. The arrival of Carlos Altamirano in Havana at the beginning of 1974 ruined this crazy and desperate plan. The story - and the detailed investigation carried out by the author - is then transferred to Italy, where Marín and his comrades-in-arms met with violence and armed insurrection that, in the case of some of them, led them to radicalize.
"The abolition of judicial torture--alongside the eradication of both slavery and capital punishment--was one of the most consequential issues debated in 18th century continental Europe. A revealing component of this controversial debate was presented in the unpublished Discurso sobre la injusticia del apremio judicial, written by the attorney Pedro García del Cañuelo. Seeking support for its publication, he forwarded the manuscript to Prime Minister Manuel Godoy in 1795. The savvy Spanish politician, however, not only rejected the text, but also warned its author against further discussing the issues raised in his treatise. As a result, although its title was known, the essay was lost to history. The current volume, La abolición del tormento, analyzes, transcribes, and reproduces the complete Discurso while framing its proposals within the European debate regarding the abolition of torture and the prohibition of other methods of mental and physical coercion allowed by diverse tribunals. The monography ... examines the philosophical and juridical foundations related to this atrocious practice, one which produced one of the fiercest exchanges of the Enlightenment. The aforementioned dispute reflects the political tensions of an era because a discussion on the legality of torture involves a consideration of what constitutes a human being, what is the relationship between legality and justice, as well as what are the limits of lawful power in relation to the natural rights and the intrinsic value of the individual"--
This book studies the period of the Chilean political graphic art (posters, public art). The author inquires into the unexplored area between the "golden age" of the political poster during the Popular Unity and the poster produced after the 1973 coup d'état in exile. And it does so by taking the experience of two graphic collectives that until now had been left in darkness: the Association of Young Plastics APJ (1979-1987) and Tallersol (1977). In this sense, this book does more than fill a void, for "filling" already announces a fiction of totality; As we know, a field of knowledge is never completely saturated: there is always emptiness and there is full, and such dynamics is what produces possibility and future. This is well known by Nicole Cristi and Javiera Manzi, the authors of this book, who have the audacity to construct with rigor and passion a story that places and restores the artistic-political itinerary of two essential collectives of graphic action of the dictatorial period, In turn, are the tip of a much wider skein of coordinations, groupings and experiences still very little explored by historiography and local criticism. A plot of which the posters shown here - almost for the first time - are a historical and technical mark. So, this book does not come to fill, but to reopen the discussion about graph and politics, a book that also has the generosity to leave offered multiple edges to explore on the field of cultural resistance to the dictatorship of Augusto Pinochet
Former visual arts director in Colombia's Ministry of Culture (1997-2001), and after more than 10 years in the United States, author Miguel Rojas-Sotelo explains how the new Colombian Constitution (1991) shaped cultural policies and the production and professionalization of visual art, literature, and mass media. The book "examines the insistence of Colombian middle class intellectuals to reexamine the founding events of the nation, including the scientific, geographical and ethnographic Expeditions of the mid-19th century. This tendency responds to a nostalgic desire to claim an uncompleted process to construct modernity. It is an example of societal schizophrenia but at the same time of social sensitivity that seeks to understand the nationœs present by uncovering the retro. A comparative examination of the work of the artists María Elvira Escallón (b. 1954) and Libia Posada (b. 1961) is used to illustrate aspects of public life and its interactions with the domestic sphere in Colombia. Subsequently, the text focuses on the cultural violence that has marginalized, exoticized and racialized certain population groups that are constitutive of the nation. This section presents the case of Abel Rodríguez (b.1941), a Nonuya indigenous man who has over the past decade, like a modern day successor to the Expedition naturalists, dedicated himself to illustrating thousands of botanical and animal species. Rodríguez is an example of a process of adaptation and capture that has rejected the denial of non-Eurocentric viewpoints that marked the logic of the Expeditions and of Western scientific thinking. Such responses are now embedded in the processes of cultural construction inaugurated by the 1991 Constitution and the emergence of new cultural markets in the country. Finally, the work of Juan Obando (b. 1980) illustrates an interstitial space that gives rise to a critical/anarchic possibility. The book discusses the way in which an image has been constructed of a docile nation based on a popular culture that has been domesticated by the forces of the global market (associated in this case with narcoculture). The international brandingʺ of the country and its bizarre domestic mirror are present in Obandoœs work, apparent in its bi-directional movement: at the same time central to, and on the margins of, national debate: operating, like many contemporary creators in the country, along a geological fault line." (HKB Translation)--Verso Cover
