Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Among the various paths taken by the historical and anthropological analysis of the body, the shift from interest in the semiotic to questioning the possibilities of analysis of “experience” has been of great relevance. This article points out the importance, as well as the difficulties, of asking for the study of body experience from historical and cultural research. Its objective is to approach the study of body experience from historical research, through the analysis of one of the most important characters of the Dominican carnival, the “Diablo Cojuelo”. This article is the product of an investigation carried out during 2019 in the popular neighborhoods of Santo Domingo, Dominican Republic, developed using the ethnographic method. At the end it is concluded that carnival is a permissive space where the body breaks its limits, inventing new figures and forms that are historically configured. It is proposed that there is increasing attention to the face as well as the transition from the auditory suit to the suit focused on the gaze of the viewer that will emerge once the character takes the Malecón as a new setting and goes as a walk before the gaze of the jury And the media

The aim of the paper is to analyze the role of indigenous women from the Otomí community of San Pablo Autopan, in the State of Mexico, Mexico; in the conservation of the gastronomic heritage. Through a phenomenological study, it is possible to address the complex relationship between gender roles and gastronomic heritage. The results indicate that despite community awareness, this heritage is at risk of being lost due to the processes of globalization, environmental contamination and change of gender roles in new generations along with economic crises. It is concluded that the conservation of the gastronomic heritage should be a community activity shared by men and women in equity circumstances.

This article reflects on the relationship between social imaginaries and the ways in which tourism has been encouraged and developed in the particular case of Costa Rica. A critique of the way in which tourism development models in Central America and the Caribbean have traditionally been analyzed is outlined, while the theoretical concept of social imaginaries is introduced as a possibility of analysis of tourism development in the region. Next, it explains the relationships between major social imaginaries and the ways in which Costa Rica has developed as a tourist reference in the region, and how these imaginaries are reflected in the tourist space, the landscape and the iconography and contemporary discourses about tourism in the country.

This investigation contributes reflections about the legend of the Light of Yara, from historical perspectives, territorial location and mutations as contribution to cultural narratives and identities. Sprung up about Yara, settled in the current province of Granma, keeps your physical manifestation, although not the arguments and explanations on the motive of the starts of the light. In the first and second half of the xix century, the testimonies are notably different. When evaluating the historical available information appreciates a marked change of the arguments in the xix century. In the first half, the light has been in relation with a fire in the church of Yara; in the second, to patriotic criterions and for start-ups of xx century, with the birth of the republic and the need to emboss the patriotic values of the new state-nation. United to these changes in the arguments on the manifestation of the light, also ponders the complexity of the cultural narratives of the social actors that it have re contextualized the legend in the time.

This article contains an analysis of the film Andrea (2005) by Dominican filmmaker Rogert Bencosme. The research aimed to analyze the mythological elements represented in the film. The theoretical framework strictly adheres to the concept proposed by the Romanian mythologist Mircea Eliade, in his book Myth and Reality (1991). The quali-tative methodology applied has been triangular, compo-sed of two control groups of anthropologists, sociologists and film students. The results show how the mythological elements  observed  constitute  signs  of  plot  development.  It concludes by proposing the study of horror cinema as a  strategy  to  understand  the  role  of  myths  in  social  and  cinematic contexts.

The work presented carries out a study of the results ob-tained  in  the  academic  master’s  program  in  Historical  Studies  and  Cuban  Socio-cultural  Anthropology,  which  is taught for the formation of graduates of the social and humanistic sciences for more than ten years. A descriptive exploratory  investigation  from  the  qualitative  paradigm,  which used content analysis, hermeneutics and phenome-nology, allowed us to conclude that the program achieves from  the  management  of  historical  and  anthropological  projects, significant results that are typified as social inno-vation, by providing transformations in health, education, tourism, arts and community services in its application in six Cuban provinces.

Abstract  In  this  essay  and  through  a  critical  analysis  we  make several readings of the well-known story The hell so feared [El infierno tan temido] of Juan Carlos Onetti. We analyze it from a poem of Saint Therese and from the exis-tentialist visions of Camus and Schopenhauer. The author rummages into the hidden face of life and penetrates its deep strata. We consider that the discourse of this Onetti’s short  story  with  his  fictional  genius  and  poetic  narrative  manages to exceed the limits of the Latin American lite-rary  world  because  he  deals  with  a  universal  and  eternal  theme from a purely onettian vision of the world: human existence as hell (torment) and the need to have a reason to exist. To analyze Onetti’s work is to commit oneself to enter Onetti’s extreme world. It is in his fiction where he presents his cosmovision about the absurdity of existence through the radical actions of the protagonist, Risso and Gracia.

The  research  was  oriented  to  evaluate  if  aspects  of  the  gender interfere in the academic trajectories. The theore-tical-epistemological  referential  of  the  historical-cultural  perspective guides this study to make it possible to analyze the existing distinctions for women in the exercise of inves-tigative activities. The method of qualitative research is of particular relevance in analyzing whether there is the dissolution of old social inequalities within the diversity of the academic environment. As a research instrument, we used open interviews carried out with five women graduates of the program, three of the master’s and two of the docto-rate. The analysis of the narratives allowed us to state that the academic career is one of the few alternatives in which women can work and study at the same time. In contrast, the  assumption  of  multiple  social  roles  and  the  effort  undertaken to reconcile double working hours and the lack of family and financial support for studies they were seen as obstacles to training. Likewise, the narratives made it possible to make visible a set of “barriers” to follow the scientific career, which refer in the: double working hours, maternity, productivity in research, competence, preju-dice and gender discrimination; thus reaffirming the need to develop public policies to expand not only access, but also the permanence of women in the university.

This essay analyzes how creativity gives consciousness a renewing force and how its transforming power comes from the unconscious level of the psyche, as explained by the Analytical Psychology of Carl Jung and his followers. In particular, it focuses on showing how in the deepest stratum of the unconscious, a visionary creation is generated to turns the creator into a kind of medium consumed by an impulse superior to his strength. An impulse that can be expressed in an artistic work or externalized in an outbreak of madness when the deep meaning of the creative experience in the self is not understood. The article also analyzes the creation in its relations with human development in the context of Analytical Psychology and his conceptualization as individuation. In that sense, highlight how, through the emotions that a work of art manages to arouse in the viewer, the artist manages to establish communication with his audience. 

In the framework of the post-industrial society and the reconfiguration of the Welfare State, Social Work as a discipline and scientific practice faces the challenges of mediating relations between the State, the market and society. This merits reviewing the epistemological foundations of this discipline, hence the main objective of the article is to reflect on its specificities within the framework of the interdisciplinary paradigm and the sociotechnical division of labor. A synthetic method was followed under a constructivist paradigm and bibliographic resources were used. It is argued that theorizing in Social Work is a necessity in the face of the search for existential supports to face the lack of certainties derived from the meta-narrative crisis of modernity and the internal contradictions of the Welfare State. It is concluded that Social Work as discipline finds a potential streak in the investigation of alternative epistemologies to the western paradigm, in particular those linked to good living, while complementing the search for well-being and quality of life linked to the exercise of intervention in social work, based on its emancipatory vocation.