vol. 13, n.º 25 (enero-junio 2016)

This article represents the final result of a research project. The purpose was Understanding the stories of some voices of actors schoolchildren the collective memory of the César Conto Departamental Educational Institution about the slaughter from Bojayá, Chocó, as a relevant element to the recovery of collective memory. For this purpose, it was used as a methodology, because it made easy the understanding of the voices of the chosen actors. The research revealed: One) the sense and the meaning of the slaughter for the people; two) the affectations to the educative process; three) the sociocultural transformations and the impact lived for the César Conto Departamental school, Bajaya town and its surroundings; four) theViolations of Human Rights and International Humanitarian Law; and five) the responsibility of the Colombian Statebusinessmen and landowners in the armed conflict that has been waged in this part of the country

Using the concepts of structure, antistructure, liminality and world-system, this paper analyzes some representations related to the “hippie-koguis”, a name that has been attributed to a hippie community in the Sierra Nevada de Santa Marta (Colombia), founded in the early 1970s near a Kogi indigenous settlement. These communities are imagined as projects “outside the structure”, “anti-systemic”, or “alternative”, representations which should be questioned, since the people who enact this type of projects are clearly identified through some of the roles and identities established by the social structure. On the other hand, in their search for changes and admiration for a certain difference, these projects pretend to be inspired by “other cultures”‒in this case the indigenous‒, mistakenly assuming that indigenous peoples are radically separated from the Western system. It also becomes evident that the discourses and intentions of individuals who wish to get out of the modern capitalist system cannot be understood without considering that very system itself. Finally, it is argued that communities which are said to oppose social structure, tend to structure themselves as time goes by, usually for economic and political reasons.

This article aims to study about memory configuration in Patricio Larrambebere´s landscape paintings that were produced during the last years of the 90s. From the analysis of these works, my proposal is to realize about tensions which these paintings produce to its contemporary time. Considering these works are made in a historical moment marked by the development and expansion of a neoliberal culture, which reconfigures the socials practices and public spaces of Buenos Aires and its surroundings. The works selected for this article shows: a) an emphasis on painting as work and also as a document; b) the gradual disappearance of the human figure; and c) a process of abstraction that affect the paintings. I consider that these aspects contributed to the creation of a contemporary historical painting. The use of this kind of painting is an action against the uneasiness that produces the imminent loss of a public space and a historical subject in crisis. In this context, the act of painting manifests an effort in order to keep a space of experience which was desappearing at that time. This loss is related with the last traces of the Welfare State in the country. This situation explains the figurative precariousness which the artist used to represent different social emblematic buildings and landscapes such as clubs, railway stations, cinemas, radios or traditional markets.

This article is from the exploratory study and presentation of a scriptural creation which in turn is an “writing”, which was instituted in a particular dramaturgical word, which in turn defined a historical process, specifically we talk about proletarian women’s contribution in the creation, representation and reception of Chilean anarchist drama of the early twentieth century. This as a way of undeniable responsibility, not only in the constitution of the characters, but concealed the contribution of female voices silenced, but nevertheless these dramatic texts of agitation, are fully present to value level; expressed in a female creative subjectivity that differs from the male voice with clarity. It assumed from the perspective of literary anthropology.

This article represents the final result of a research project. The purpose was Understanding the stories of some voices of actors schoolchildren the collective memory of the César Conto Departamental Educational Institution about the slaughter from Bojayá, Chocó, as a relevant element to the recovery of collective memory. For this purpose, it was used as a methodology, because it made easy the understanding of the voices of the chosen actors. The research revealed: One) the sense and the meaning of the slaughter for the people; two) the affectations to the educative process; three) the sociocultural transformations and the impact lived for the César Conto Departamental school, Bajaya town and its surroundings; four) theViolations of Human Rights and International Humanitarian Law; and five) the responsibility of the Colombian Statebusinessmen and landowners in the armed conflict that has been waged in this part of the country

In the article the validity and significance of liberating cultural project for Latin America José Martí holds. It is analyzed from the moment he was conceived in the late nineteenth century to today. The determination and defense of the views presented, it has been possible by analyzing the masterpiece of José Martí contained in the 28 volumes published in 1963 by the National Publishing House of Cuba. Textual analysis of these sources is completed by its contrast with the conditioning context of the last decades of the nineteenth century, especially in Cuba, Mexico, Guatemala, Venezuela and the United States, its contradictions and development trends. The presentation of the content of the article is structured in three sections or sections: the first, Latin America until the late nineteenth century; the second, José Martí, knowledge and Latin American vocation; and the third Marti liberating cultural project for Latin America at all times. The idea of freedom in José Martí as a vital center of the project of change and development for Latin America in which coherently it integrated cultural discourse that education, science, media and art, various manifestations integrates holds.

In this article I argue that the work of Mexican writer José Revueltas Sánchez (1914-1976) moves away from the conventions of Latin American philosophy as it leaves behind the experience of regret and nostalgia for the lost unity as well as the loss of being that was buried under colonialism. I also point out that, in order to achieve this, Revueltas opposes a thought without purpose and a non-moralist analysis of truth. To achieve this, I postulate that Revueltas uses a method based on the construction of a filmic image of thought. This allows him to build a different image of Latin America and its philosophy far from the ethos of suffering and victimization created by Europe. This image is one of Latin America as an island not as a continent.

This article presents a refection upon a reader and writer’s itinerary of part of Uruguayan writer Eduardo Galeano (1940-2015), where the neglected as characters of literary creation are the source which announces the living conditions of modern life with its signs of inequality and fear. But also, in a sensitive condition of possibility, the right to delirium as abandonment and resistance to the wounds inflicted by the discourses and omnipresent and totalitarian acts, result of the civilizing crisis which we attend. This article describes Eduardo Galeano as a man of literature and words which subvert the ineffable ways of power in order to do and state from them resistance to homogenizing forces. An author who is delirious and constructs the figures of: the neglected, the nobodies, the no-ones, as bodies of the periphery, excluded by the bio-political ways of controlling the world. Figures as poetic sarcasm to think about the development, the barbaric exploitation of human and non-human life, the upheaval of a land which is no longer inhabited but dominated, the human suffering as a devastating event of its own designs. It contains biographic features both about the Uruguayan writer’s life and his writings, etymological notes and narrative sections about the condition of the neglected as bodies in exile in the inhabited dwelling; as well, as a way of critique, the development as a promise about the fear felt by the neglected; and finalizes with a fragment of the book the right to delirium: a heartfelt sample of his thinking.

This article discusses the construction of memory around the last civic-military dictatorship in the newspaper The Nation from 1976 to 2014. For this , we started to conceive the newspaper as an actor involved from their own core interests , besides being support and space dissemination of political ideas of the conservative sectors of our country. The work shows the evolution of speech and identifies three main stages . The first highlights the explicit support of the dictatorship . The second occurs with the restoration of democracy where the nodal point of the speech will be the average of national unity, around a core content to ensure the “normalization of the republic “ , depending on the interests of the dominant sectors. The third is from 2003 , where it is built Kirchner governments as a new type of memory promoter partial anti-republican authoritarianism.

The purpose of this article is, rather than describe the practices and other expressions of citizenship, understanding the constructions thereon have become different juvenile stages of the city of Bogotá. The same is the result of a research process that was part of the macro project “construction of citizenship in different social scenarios” led by Pilot Colombia University in partnership with the Polytechnic Grancolombiano, and called for this case three organizations and youth groups belonging different scenarios between institutional and non-institutional. For the same discursive qualitative methods such as focus group and narrative social mapping, which allowed very clearly approaching its own categorical constructions of interest of the study, such as social practices, participation and empowerment processes and appropriation adopted young people in urban settings.

As happened elsewhere in the world, in Colombia during the 1960s and 1970s prevailed an atmosphere of revolutionary struggle. Union leaders, former members of the communist party, some writers and artists of advanced and university students were drawn from the points of ideological, emotionally and politically, for the discursive currents advocating total revolution. This article analyzes the cases of five young people who went from the ideological struggle to arms. This is the case of Arenas Jaime Reyes, Victor Medina Morón, Fabio and Manuel Vásquez Castaño and and Ricardo Lara Parada, who formed the first nucleus of what was then known as Ejército de Liberación Nacional (ELN). A prosopographical analysis of these five cases allow us to see the close relationship between the university atmosphere of the 60s and 70s and the emergence of armed struggle in Colombia

Editorial