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

In this paper, a study of metallic mining is conducted in Mexico, in the state of Guanajuato, where market conditions have created a scenario of monopolization by only two Canadian companies. This behavior responds to the economic transition of capitalism to its higher phase, in which the means of production and political power are concentrated in a minimum number of actors. The analysis was carried out through the productive mining diagnosis of the State; likewise, Marxist theoretical elements that help determine the process of corporativism and extractivist monopolization are valued.

Knowledge of science and technology is critical to generate economic development. Its contribution to sustainable development lies in the generation of social capabilities that make it possible to achieve socioeconomic autonomy for solving critical problems. The present paper explores the role of this knowledge in confronting the current challenges within a regional framework for Latin America and the Caribbean.

In this article I try to see a "dialectic of Marx" that does not simply consist of "putting Hegel on his feet", but is even radically different from the Hegelian dialectic. Starting from the "categorical imperative" formulated by Marx in 1844, it is concluded that it is also found in Capital, and precisely in a decisive part of this work. It is a humanism of praxis that can be recovered and further developed to face the great threats of our time.

Although there is an important middle class in Mexico, its members are primarily citizens who live just above the poverty line, and are vulnerable to at least one type of social deprivation, in addition to low incomes. Given that it is impossible for this population to reach higher income levels in the country, this investigation focused on the study of the natural management of social capital as an alternative for the middle class to achieve partial substitution of the benefits people could obtain from the economic capital that it lacks.

Madame B: Explorando el capitalismo emocional1 de Mieke Bal y Michelle Williams Gamaker es una adaptación narrativa en formato instalación, en 8 escenas y 16 pantallas, de Madame Bovary de Gustave Flaubert, en la que se plasman muchos de los principios teóricos y las concepciones visuales e históricas que Mieke Bal ha ido desarrollando en su obra escrita a partir de las coorde- nadas (interdisciplinares) de los estudios visuales, la narratología y la hermenéutica. 

El dibujo es un acto mágico. La mina de plomo del lápiz, la punta seca sobre el cobre del grabado, dan vida. Ellas dan vida al cuerpo, sentimientos a los ojos, a las manos, alma a un paisaje, a un árbol. Ellas abren las alas del pájaro que vuela en el cielo, dan la fuerza o la resignación al campesino que trabaja la tierra. Ellas también insuflan el tormento en la mirada del condenado, dan la muerte al moribundo, la aflicción al soldado que ellas mismas matan. Tienen el poder de remitirnos a El Pensador de Rodin, antes que el propio escultor, como Pigmaleón, lo encarna en la materia. En la Capilla Sixtina, es el dibujo de Miguel Ángel que otorga al dedo de Dios el poder de dar vida al primer hombre.

El presente artículo pretende aclarar los aspectos que han marcado la relación entre cine y pintura, las influencias que se han establecido entre estos medios y los aspectos compartidos en la construcción de la imagen. Por tanto, poner en claro los modos de entender la representación se revela como el objetivo fundamental del trabajo. Esas concomitancias permiten profundizar en el estudio de conceptos fundamentales que atraviesan el pensamiento contemporáneo. Dividiremos para ello el trabajo en dos bloques; en el primero, contextualizaremos brevemente el debate en torno a este tema y reflexionaremos sobre las ideas básicas que simultanean estas disciplinas. En un segundo momento, teorizaremos sobre el comportamiento del artista-realizador Peter Greenaway, intentando aplicar la argumentación desplegada en la primera parte.               La interacción que se ha establecido entre cine y pintura se remonta a los orígenes del cine, y no sólo desde una perspectiva formal sino también en el ámbito de lo conceptual. Sus influencias son bidireccionales, pues tanto la pintura incide en el cine, como éste hace lo propio con la primera. No obstante, tradicionalmente, han sido más sólidos y prolíficos los estudios que han explorado la influencia de lo pictórico en lo cinematográfico, pero como hemos señalado arriba los puntos de contacto son sinalagmáticos. Aunque hay teóricos, con los que no coincidimos, que hablan de posturas alejadas. Así, hay quien ha sugerido que el cine nos transporta desde el lugar en que estamos hasta la escena de la acción.(...) La pintura nos trae a casa. El cine nos lleva a otra parte (Berger, 1997: 24-34).

While academic research on art is welcoming artistic produc- tion, I will focus this essay on artistic production as art criti- cism. I review the exemplary cases of Cape Cod / Cabo de Palos. Following the Footprints of Hopper (1997) and Insomnia: Follow- ing the Footprints of Spilliaert (2011) by Spanish painters Ángel Mateo Charris and Gonzalo Sicre, in order to study the rela- tionship between image and text, and their critical approach in a catalogue presented as a travel book.

In this article I examine the contributions made by visual studies to the study of the relation between art and politics in Latin America, a subject that has received scarce scholarly attention. Firstly, I argue that visual studies reframes the study of the political dimension of visual art, by virtue of three epistemic displacements: 1) From art works to visual practices; 2) From the primacy of aesthetics to the primacy of the social; 3) From the study of politics and the political to political intervention. Secondly, I demonstrate that these displacements do not bring visual studies into conflict with art history but, instead, allow visual studies to develop through other means the critical projects of art history and criticism, particularly those concerning the socio-political conditions and dynamics of our hemisphere. I conclude that these “other means” are the theoretical and conceptual tools of Latin American critical thought.

The photographic image has been constantly at various crossroads: epistemic; technological, aesthetic and represen- tational. In the case of Lucha Libre photography, the image of this personification is already part of a collective identity imaginary. That is why our specific objective in this paper is to make a proposal about why wrestling photography can be considered an “image out of place”, an image of liminal characteristics. Similarly, we intend to analyze why the Lucha Libre photographer in Mexico could also be considered a liminal subject. The specific objective is to point to the argument that these images can be considered liminal because they show “carnival” spaces in which the usual cultural logic is paralyzed and other rules temporarily apply. To do this, we will consider through the concepts of catharsis, simulation and spectacle why the photography of Lucha Libre can be considered as an “outside” image.