Suchergebnisse

Entre fines del siglo XIX y principios del XX, la llegada de inmigrantes europeos a Tucumán, en el norte de Argentina, para realizar trabajos industriales y participar de proyectos urbanos crea la sensación de estar viviendo un crecimiento acelerado de un modo similar a Buenos Aires. Las relaciones de los intelectuales con los jefes de la industria azucarera y con los políticos resultan complejas en este contexto, ya que conforman un campo cultural de elite, a pesar de la heterogeneidad de sus posiciones. El presente trabajo propone indagar sobre los aportes de la inmigración francesa a la composición compleja de la cultura argentina a través del análisis de Fruto sin flor (1921), de Juan B. Terán y reconstruir las complejas relaciones entre cultura de elite y cultura popular a través de la apropiación y de la experimentación con un género masivo como el folletín por miembros de la elite tucumana. ; At the turn of the XX century the arrival of European immigrants who came to work in industries and to participate in urban projects in Tucumán, in the north of Argentina, creates a sense of witnessing and being part of an upgrowth similiar to the one happening in Buenos Aires. The relationship between intellectuals, heads or owners of the sugar industry and politicians seemed to be complicated in this context since they constituted an elite cultural circle despite their social heterogeneity. This paper aims at, on the one hand, investigating the extent of the contributions of the French migration to the complex richness of the Argentinean culture through the analysis of Fruto sin flor (1921) by Juan B. Terán and, on the other hand, reconstructing the complexity of relations between elite and popular cultures through appropriation and experimentation with the dime novel, a mass literary genre created by the members of elite in Tucumán. ; Fil: Risco, Ana Maria. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Tucumán; Argentina. Universidad Nacional de Tucumán. Facultad de Filosofía y Letras. Instituto Interdisciplinario de Literaturas Argentina Comparada; Argentina

This thesis intends to analyze the logics of representation of contemporary femininity in the popular imagery that has instrumentalized feminism. Such is the case of the transmedia narrative The Twilight Saga, the cultural franchise of 50 Shades of Grey, and TV fiction Girls. All of these cultural products have earned an important position in contemporary cultural consumption, invite a form of cultural participation closely linked to the consumer industry, and propose female ideals characterized by a strong sentiment of freedom of choice. However, these ideals are inserted within an androcentric, heteronormative discourse that redirects femininity toward a traditional narrative order. In my analysis we will point out how, under the illusion of a free and autonomous social participation, a meritocratic system of social regulation where feminist criticism stands out as redundant is legitimized. I analyze how the neoliberal economic and socio-cultural project, which develops the idea of an (allegedly) democratic society, promotes the illusion that women enjoy a high social participation and visibility from which they can construct their cultural identity, celebrating feelings of freedom, choice, and female empowerment.

This thesis intends to analyze the logics of representation of contemporary femininity in the popular imagery that has instrumentalized feminism. Such is the case of the transmedia narrative The Twilight Saga, the cultural franchise of 50 Shades of Grey, and TV fiction Girls. All of these cultural products have earned an important position in contemporary cultural consumption, invite a form of cultural participation closely linked to the consumer industry, and propose female ideals characterized by a strong sentiment of freedom of choice. However, these ideals are inserted within an androcentric, heteronormative discourse that redirects femininity toward a traditional narrative order. In my analysis we will point out how, under the illusion of a free and autonomous social participation, a meritocratic system of social regulation where feminist criticism stands out as redundant is legitimized. I analyze how the neoliberal economic and socio-cultural project, which develops the idea of an (allegedly) democratic society, promotes the illusion that women enjoy a high social participation and visibility from which they can construct their cultural identity, celebrating feelings of freedom, choice, and female empowerment.

This thesis intends to analyze the logics of representation of contemporary femininity in the popular imagery that has instrumentalized feminism. Such is the case of the transmedia narrative The Twilight Saga, the cultural franchise of 50 Shades of Grey, and TV fiction Girls. All of these cultural products have earned an important position in contemporary cultural consumption, invite a form of cultural participation closely linked to the consumer industry, and propose female ideals characterized by a strong sentiment of freedom of choice. However, these ideals are inserted within an androcentric, heteronormative discourse that redirects femininity toward a traditional narrative order. In my analysis we will point out how, under the illusion of a free and autonomous social participation, a meritocratic system of social regulation where feminist criticism stands out as redundant is legitimized. I analyze how the neoliberal economic and socio-cultural project, which develops the idea of an (allegedly) democratic society, promotes the illusion that women enjoy a high social participation and visibility from which they can construct their cultural identity, celebrating feelings of freedom, choice, and female empowerment.

This thesis intends to analyze the logics of representation of contemporary femininity in the popular imagery that has instrumentalized feminism. Such is the case of the transmedia narrative The Twilight Saga, the cultural franchise of 50 Shades of Grey, and TV fiction Girls. All of these cultural products have earned an important position in contemporary cultural consumption, invite a form of cultural participation closely linked to the consumer industry, and propose female ideals characterized by a strong sentiment of freedom of choice. However, these ideals are inserted within an androcentric, heteronormative discourse that redirects femininity toward a traditional narrative order. In my analysis we will point out how, under the illusion of a free and autonomous social participation, a meritocratic system of social regulation where feminist criticism stands out as redundant is legitimized. I analyze how the neoliberal economic and socio-cultural project, which develops the idea of an (allegedly) democratic society, promotes the illusion that women enjoy a high social participation and visibility from which they can construct their cultural identity, celebrating feelings of freedom, choice, and female empowerment.

First of all, I'm interested in the relationship that establishes the production-circulation-visual involvement with the aesthetics of popular culture. Second, I try to explain audio visual communication as a field whose significance is re-imagination related to the outside background that affects it. The audiovisual creations are not autonomous and closed, but a portal of entry and exit that encourages social development as visible integral elements of the process, for instance, regarding symbolic ancestral territories and popular imagination, empowering critically and creative style in the community against its own identity and for the recognition of differences. And finally, I propose the re-imagination of popular culture from the multimedia production that weaves the oral tradition, writing and the image; in its palimpsest that fuzzily merges the past with the present. It concerns then, the re-appearance, re-assessment, re-presentation by ownership of the plot and the popular cultural, background processes narrating their imaginary worlds that weave the poetic map and political map to listen, read and watch them, in order to get back to their territories, where they continue a new search of representation, outside of "folklore", the "popular expression" or overcrowding, concepts with which the "official culture" sets an aesthetic and ideological degradation. ; En primer lugar, me interesa la relación que establece la producción-circulación-recepción audiovisual en juego con la estética de la cultura popular. En segundo lugar, intento dibujar la comunicación audiovisual como un campo cuya significación es reimaginación en relación con el afuera que la afecta. Las creaciones audiovisuales no son autónomas y cerradas, sino un portal de entradas y salidas que alientan el desarrollo social al visibilizar elementos integrales del proceso, por ejemplo, sobre territorios simbólicos ancestrales e imaginarios populares, empoderando de manera crítica y creativa la comunidad frente a su propia identidad y de cara al reconocimiento de las diferencias. En tercer término, propongo la reimaginación de la cultura popular a partir de la producción multimedial que teje la oralidad, la escritura y la imagen; en su palimpsesto que deja emerger borrosamente el pasado en el presente. Se trata entonces, de re-figurar, re-valorar, re-presentar mediante la apropiación de la trama y el fondo los procesos culturales populares, narrar sus universos como imaginarios que tejen el mapa poético y político a fin de escucharlos, leerlos y verlos, para devolverlos a sus territorios, allí, donde continúan una nueva búsqueda de representación, por fuera del "folclorismo", la "expresión populista" o la masificación, conceptos éstos con los cuales la "cultura oficial" establece una degradación estética e ideológica.

En los años sesenta a ochenta del siglo pasado la cultura pasó por una reorganización mediática y transnacional. A diferencia de las críticas que surgieron desde las tradiciones nacionales, Renato Ortiz introdujo innovaciones proponiendo cuestionar estas transformaciones desde las industrias culturales y la cultura de masa, mostrando que la cultura administrada por grandes conglomerados estaba transformando los vínculos entre creación artística, hábitos de consumo y lugares de acceso a los bienes. Junto a los aportes de Ortiz, se analizan las nuevas modificaciones de años recientes al interactuar la transnacionalización de las industrias culturales, la oferta y el acceso a los bienes simbólicos, y, como consecuencia, el encuadre de las definiciones políticas y nuestros desempeños como ciudadanos. A la transnacionalización de los medios que había descripto Renato Ortiz se añade su reorganización por la convergencia tecnológica y la irrupción de las redes actuales y se estudian algunos de los principales cambios que esto implica en relación con las culturas y políticas. A partir de digitalización de las interacciones económicas y socioculturales, las prácticas gerenciales de las comunicaciones, la apropiación de la información de los usuarios y la subordinación de los ciudadanos-consumidores a unos pocos administradores globales que suceden en el capitalismo electrónico, surge la pregunta: ¿qué interculturalidad es posible sin ciudadanos? Nos ocupamos brevemente de las nuevas formas de resistencia contrahegemónicas posibles y nos preguntamos cómo redefinir la ciudadanía, lo público, lo privado y la intimidad.Palabras clave: cultura internacional-popular, transnacionalización de los medios, interculturalidade, formas de resistencia. ; In the years spanning from the 1960s to the 1980s, culture underwent a media and transnational reorganization. Unlike the criticism stemming from national traditions, Renato Ortiz innovated by proposing to question these transformations from the cultural industries and mass culture, showing that the administration of culture by large conglomerates was transforming the relationship between artistic creation, consumer habits and access to goods. Along with the contributions of Ortiz, we analyze the new changes, during recent years, in the interplay between the transnationalization of cultural industries, the supply of and access to symbolic goods, and, consequently, the political framework and our performance as citizens. To the media transnationalization outlined by Renato Ortiz, we add its reorganization provoked by technological convergence and the irruption of current networks. We study some of the main challenges this poses regarding cultures and politics. Following the digitalization of economic and sociocultural interactions, management practices in communication, appropriation of user information and the subordination of citizens-consumers by a few global administrators that characterize electronic capitalism, a question arises: what interculturality is possible without citizens? We briefly discuss new forms of counter-hegemonic resistance and question how to redefine citizenship, public, private and intimacy.Keywords: international-popular culture, transnationalization of the media, interculturality, forms of resistance.

This study examines the campaign websites of presidential candidates during the 2007 election in France and the 2008 presidential campaign in the U.S. Positing the Internet and social networks as a manifestation of popular culture, it examines the reasons for the use of information technology in electoral campaigns. It also attempts to elucidate the reasons for the adoption of the codes of popular culture by exploring the concept of informalization as well as the significance of emotion in online campaign strategies.

Popular culture, mass media, new cultural consumption and its links with literate culture played a relevant role in the Hispamérica journal's written production during the first two decades of its existence (1972-1990). Most of these collaborations come from intellectuals and academics who have survived to the dictatorships and exiles of the Southern Cone. From there, they provide an agenda focused on marginalized or censored problems in their communities of origin, and oriented towards political democratization and the cultural modernization of transitional governments. Through those essays, the journal offers a platform for the visibility and legitimization of closed debates at universities and scientific communities of the south, and reverses the traditional flow of knowledge scheme. This editorial practice has been a fundamental reason for the publishing journal's history longer than four decades. ; La cultura popular, los medios masivos, los nuevos consumos culturales y sus vínculos con la cultura letrada tuvieron un lugar relevante entre los ensayos publicados en las dos primeras décadas de la revista Hispamérica (1972-1990). La mayoría de esas colaboraciones provienen de intelectuales y universitarios que sobreviven en distintos lugares a las dictaduras y exilios del Cono Sur. Desde allí, ofrecen una agenda centrada en problemas marginados o censurados en sus comunidades de origen y orientados a la democratización política y la modernización cultural de los gobiernos de la transición. Con estas publicaciones, la revista ofrece una plataforma para la visibilización y legitimación de debates obturados en las universidades y las comunidades científicas del sur e invierte el esquema tradicional de flujo del conocimiento. Esta práctica editorial es una de las razones que avalan las más de cuatro décadas de trayectoria de la publicación.

This article is part of the doctoral thesis "Cultural Traffics: The Construction of New Subjectivities in the Peripheries of Medellin and San Pablo", a comparative study between the two cities based on the understanding of the practices and policies that are found and articulated in their peripheries. The present selection develops the genealogy of the municipal policy program VAI – Valuation of Cultural Initiatives– and presents the intricacies of its work, as well as the appropriation exercises by the young people who live in those areas. This program is understood as a tool that allows the emergence of young people, which contributes to the consolidation of an urban movement and to a new definition of the periphery and the construction of new subjectivities from the cultural field. ; ResumenEste artículo hace parte de la tesis de doctorado "Tráficos culturales: la construcción de nuevas subjetividades en las periferias de Medellín y San Pablo", un estudio comparativo entre las dos ciudades a partir de la comprensión de las prácticas y políticas que se encuentran y articulan en sus periferias. La presente selección desarrolla la genealogía del programa de política municipal VAI - Valorización de las Iniciativas Culturales, y presenta sus mecanismos de trabajo, así como los ejercicios de apropiación por parte de los jóvenes ubicados en dichas áreas. Este programa se entiende como una herramienta que permite el surgimiento de jóvenes, que contribuye a la consolidación de un movimiento urbano y aporta a una nueva definición de la periferia y a la construcción de nuevas subjetividades a partir del campo cultural.VAI. A Bet for Emerging Peripheral Popular Culture Abstract This article is part of the doctoral thesis "Cultural Traffics: The Construction of New Subjectivities in the Peripheries of Medellin and San Pablo", a comparative study between the two cities based on the understanding of the practices and policies that are found and articulated in their peripheries. The present selection develops the genealogy of the municipal policy program VAI – Valuation of Cultural Initiatives– and presents the intricacies of its work, as well as the appropriation exercises by the young people who live in those areas. This program is understood as a tool that allows the emergence of young people, which contributes to the consolidation of an urban movement and to a new definition of the periphery and the construction of new subjectivities from the cultural field. Keywords Youth; Medellin; movements; periphery; cultural politics; Sao PauloVAI. Un pari pour la culture populaire périphérique émergente Résumé Cet article fait partie de la thèse de doctorat « Trafic culturel : la construction de nouvelles subjectivités dans les périphéries de Medellín et San Pablo », une étude comparative entre les deux villes en fonction de la compréhension des pratiques et des politiques trouvées et articulées dans ses périphéries. La présente sélection développe la généalogie du programme de politique municipale VAI –Évaluation des initiatives culturelles– et présente ses mécanismes de travail, ainsi que des exercices d'appropriation par les jeunes situés dans ces domaines. Ce programme est compris comme un outil qui permet l'émergence des jeunes, qui contribue à la consolidation d'un mouvement urbain et à une nouvelle définition de la périphérie et à la construction de nouvelles subjectivités dans le domaine culturel.Mots clés Jeunesse; Medellin; mouvements; périphérie; politique culturelle; Sao PauloVAI. Uma aposta pela cultura popular periférica emergente Resumo Este artigo faz parte da tese do doutorado "Tráficos culturais: a construção de novas subjetividades nas periferias de Medellin e San Pablo, estudo comparativo entre as duas cidades a partir da compreensão das práticas e políticas que se encontram e articulam nas suas periferias. A presente seleção desenvolve a generalogia do programa de política municipal VAI- Valorização das iniciativas Culturais, e apresenta seus mecanismos de trabalho, assim como os exercícios de apropriação por parte dos jóvens localizados em ditas áreas. Este programa se entende como uma ferramenta que permite o surgimento de jovens, que contribui à consolidação de um movimento urbano e aporta a uma nova definição da periferia e à construção de novas subjetividades a partir do campo cultural. Palavras-chaveJuventude; Medellín; movimentos; periferia; política cultural; San PabloVAI. Sug apuesta cultura popularmanda periferika emergente. Maillallachiska:Kai articulok kame parte sug tesis de doctorado "tráficos culturales: sug construcción musu subjetividades periferiakunape Medellinpe y San Pablope", chi estudiok comparativo iskandi ciudadkunape a partir comprensionmanda chi prácticas y políticas kankuna y articulan paipa periferiakunape. Kai presente seleccionka desarrollame sug genealogía del programa sug política municipal VAIValorización de las iniciativas culturales y kauachi paipa mecanismo de trabajo, chasallata ejerciciokuna de apropiación musukuna ubicado chi areakunape. Kai pregramak entendereme sug herramienta permitime llugsingapa musukuna, contribuyenkuna a la consolidación sug kuiurii urbano y aportarme sug musus periferia y uiñachii musu subjetividad a partir del campo cultural.Rimangapa Ministidukuna: Musukuna, Medellin, kuiuriikuna, periferia, política cultural. Sao Paulo

The movement of Independent and Popular Universities in Portugal is not enough studied if we consider how important it is for Social History and for the History of Education. We have not yet a deep global analysis which enables to consider the evolution of their units, the actions that have started and the meaning of their role compared to popular culture. In the following study, we will try to characterize each Popular or Independent University created in Portugal from the late XIXth century, and give the cultural and political ways of each university, focussing on the most important ones. Therefore, we will aim at observing the main Northern and Central Universities situated in Porto, Lisbon, Setubal and Coimbra, giving their ideological and political direction, and their pedagogical and cultural objectives, the means they use and their promotors' political identity. ; El movimiento de las Universidades Libres y Populares en Portugal no está debidamente estudiado a pesar de su importancia para la historia social y para la historia de la educación. No disponemos aún de un análisis de conjunto con la necesaria profundidad que nos permita medir la evolución de sus unidades, la acción desarrollada por ellas y el significado del papel que desempeñaron en relación con la cultura popular. En el estudio ahora presentado, se intenta caracterizar cada una de las Universidades Populares o Libres que se crearon en Portugal desde finales del siglo XIX y diseñar la trayectoria cultural y política de cada una de ellas, privilegiando las más importantes. En este marco, se intenta lanzar una mirada crítica sobre las principales Universidades del norte y centro del país, localizadas en Oporto, en Lisboa, Setúbal y Coímbra, intentando caracterizar su orientación políticoideológica, sus objetivos pedagógicos y culturales, los medios a que recurrieron y la identidad política de sus promotores.

his article focuses on the study of the protection of traditional popular culture works by copyright and related rights in Latin America, and stops at the treatment that offer some national legislations to classic authorial legal institutions (authorship, derivative works and public domain). In the same way, the possibility of protecting such works is analyzed, through rights that are recognized to other holders linked to their realization, safeguarding and development. ; El presente artículo se centra en el estudio de la protección de las obras de la cultura popular tradicional por el derecho de autor y derechos conexos en América Latina, y se detiene en el tratamiento que ofrecen, a instituciones jurídicas autorales clásicas (autoría, obras derivadas y dominio público), algunas legislaciones nacionales. Del mismo modo, se analiza la posibilidad de protección a tales obras, mediante derechos que se reconozcan a otros titulares vinculados a su realización, salvaguarda y desarrollo.

The following pages presents an exploration of some speeches, attitudes and expectations about how common people in Cartagena understood and defi ned national sovereignty, its process of convergence, during fi rst decades of the XX century, with the bitter experience of imperialism and the perspectives from which they were defined. Our central hypothesis is that the anti-imperialist attitudes which are organized and articulated from the Panama events (1903) are based on political traditions and the national sovereignty that began to be constructed with the independence and soon they were fed by the international, national and local context of the XIX century. ; En las páginas que siguen se exploran algunos discursos, actitudes y expectativas acerca de lo que el común de la gente en Cartagena entendía y definía por soberanía nacional, su proceso de convergencia, durante los dos primeros decenios del siglo XX, con la amarga experiencia del imperialismo y las perspectivas desde las cuales se definían al mismo. Nuestra hipótesis central es que las actitudes antiimperialista que se organizan y articulan a partir de los sucesos de Panamá (1903) se montan sobre unas tradiciones políticas y sobre la soberanía nacional que se empezaron a construir con la independencia y luego fueron alimentadas por el contexto internacional, nacional y local del siglo XIX.