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The fast improvement of communications since 1980´s has sped up the way of world-wide consumption. The embrace of globalization and all the changes and improvements that come with it, such as new technologies, faster and more accessible routes and ways of transportation, have created a new way to sell and buy goods named electronic commerce or e-commerce.This new way of commerce was officially adopted in May, 1998 in the Declaration on Global Electronic Commerce of the Second Ministerial Conference of the World Trade Organization, which recognizes the growth of this new way of trade and the new opportunities it brings with. Since then, the term of electronic commerce, or e-commerce, is understood as to mean the production, distribution, marketing, sale or delivery of goods and services by electronic means1. Even if today e-commerce is not a new subject, we can say it has become a popular and stable way of consumption, job, and income source, not only for the seller and buyer, but also for all the intermediaries involved in the process. In this article, the characteristics of cross-border e-commerce and its implication on Chinese Customs legislations and commercial platforms will be analyze by noting their main characteristics and the challenges shared for development, as well as the effects they generate among consumers, enterprises and the government.

El propósito del presente artículo es identificar el papel que juegan los aspectos socioemocionales en el proceso educativo, principalmente en el nivel de educación superior y dar cuenta del tratamiento de estos componentes desde los aportes epistemológicos del pensamiento complejo y de la socioformación. Se trata de un análisis documental en torno a diversas categorías, el estudio constituye un acercamiento al conocimiento de conceptos como educación integral, habilidades socioemocionales, inteligencia emocional, pensamiento complejo, socioformación, conformando el estado del arte en torno a la temática. A partir de este análisis se evidencia que aún hace falta avanzar en metodologías y estrategias tendientes al desarrollo socioemocional de los estudiantes; para garantizar así, una formación integral de los mismos, principalmente en el nivel de educación superior. Sin embargo, existen aportes interesantes para mejorar la integralidad de su formación, así como en la unidad compleja del abordaje holístico de los aspectos cognitivos y afectivos.

In 1920, a small collection of artists in Prague formed a literature and arts collective with lofty ambition of contributing to the political and artistic revolutions erupting across Europe in the wake of World War I. The group, christened "Devetsil," only lasted a decade, but birthed their own artistic movement, Poetism, along with an abundance of art critical writings and poetry. However, as far as art object production, the group's brief existence would only result in a handful of photo collages-or picture poems-as they called them. This limited output over a mere three-year period (three are known to remain in existence, and only four more in photographic documentation) has left the picture poem largely a footnote in studies of Devetsil, much more so of Czech avant-gardes in general. Rarely have these objects been the subject of focused study. Obvious formal comparisons can be drawn between picture poems and the more recognized efforts of Dada and Constructivist artists working at that time, but one of the elements that emerges as singular about the Czech iteration of the photomontage/collage is the ubiquity of imagery of transportation, foreign destinations, and an overall postcard aesthetic. While travel was a motif that was common in Devetsil essays and poems, it was one of many, leaving one to wonder why this was the primary theme that the five identified artists chose to depict in all of their picture poems. This recurrence of images of travel and transportation has been noted by several Czech avant-garde scholars though none have treated this theme as a subject of focused study. Prior scholarship has merely acknowledged this commonality between the pictures or treated their themes separately, dividing them into categories of memory and exoticism. In the following study, I propose that placing the entire body of picture poems together under a single thematic category-that of travel and tourism-proves crucial in understanding Devetsil's artistic program and its ambition to create accessible art for the proletariat.