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

It is not possible to speak of education without values, nor is it possible to speak of culture without ideology. In the same way that values shape and give meaning toeducation, ideologies shape cultures. Values are responsible for the actions of people, institutions and societies, however, these are ordered based on ideologies. It is ideology that unites the environment of the person with his own identity,it is the bridge between the social macro and the social micro; an immeasurable concept composed of personal values, beliefs and certain ways of thinking that provide an explanation of the world in which we live. The educational systems of countries are regulated by a series of axiological principles that respond to a preponderant social model. The danger of these ideological models underlies the reductionism that can plunge a community into something less than obscurantism. In this work the relationship between ideologies, values, culture and education is explained starting from the conceptualizations of the three most influential ideologies in Latin American education: Christianity, Marxism and Anarchism.

Botany was a science that was used in the Nineteenth Century to modernize thecultivation of the plants demanded on the international market. In the  Argentinean, Cuban, Colombian and Mexican press several writings were published in the period 1822-1880. The objective of the present research is to understand the interest in Botany in the press as part of the agro-export projects of the elites. The research recognizes that botanical knowledge and technique practiced since the last third of the Eighteenth Century remained in force in the scientific discussions of the Nineteenth Century and that agriculture-oriented botany was expressed in the press by disseminating what intellectuals considered to be of interest to agricultural producers.

The literary criticism that has addressed gauchesque poetry has generally excluded the study of theatrical texts and, most importantly, it has left out the colonial production. The present work starts from the hypothesis that the joint analysis of the theatrical and the colonial in this literature allows to read continuities and differences for the period 1780-1826. Through this reading, the author attempts to offer a perspective, sustained in the permanence of the names of characters and in marriage as the central fact of the plots, to think of the colonial gauchesque as part of the totality of the genre, questioning the frames established by the literary criticism. Those texts, in textual marks and in a persistence that insists as a rewriting, allow this.

This article analyses two novels to reflect on the issues of ‘legitimate language’ and translation: Marcelo Quiroga Santa Cruz’s Los deshabitados and Sebastián Antezana’s La toma del manuscrito. Two important forces help us to study these texts: an ‘assault’ on legitimate language and the origin of a dispute between Spanish, French and English, three colonial languages that hold a strong symbolism in Bolivian narrative. On the other hand, tensions between translation and crime novel appear in La toma del manuscrito, making the study of ‘cosmopolitan’, ‘translation’ and ‘genre’ categories possible and helping us to think about writing and ‘transtextuality’.

Nowadays, Bolivian cinema is living a period of great activity in a unstable identitarian landscape, wherein negotiations and conflicts between the different national subjectivities are no longer able to be represented within antagonistic patterns producing uniformity. Firstly, this article deals with Jorge Sanjinés’ Filmography in order to offer an explanatory hypothesis to answer why his last productions seem to have been less engaging for national identitarian dynamics. Secondly, an analysis of a series of short films by the Socavón Cine Collective will take place, so as to underline the most important political gestures displayed by their novel audiovisual rhetoric, which have managed to devise a language capable of a more acute examination of the identitarian plurality present in Bolivia.

The article aims to understand the debates that took place on miscegenation on Santa Cruz. Attempt to relate them with the political context, trying to understand the power that history and racial ideas could have at the time of legitimizing or reviling political positions, own and others, as part of the regionalist struggle with the central state. It focus in two periods, one during the first half of the 20th Century when Santa Cruz intellectuals claim the Hispanic blood purity of the city population, and the other, on the second half, when they began to recognize positive qualities of the mixture of Spanish descendants and Eastern Bolivian lowland indigenous.

In this article we analyze the debate on the concept of plurinationality, in its Andean version. We consider its conversion into the constitutional right and the political tensions that cross it, with a definition close to the indigenous movements, related to a search of decolonization and autonomy that explores the limits of modern representation; and in the formulation done from the point of view of the state, as regional and universalist project, unrelated to the civilizational debate and pluralistic coexistence of differences.

César Brie’s artistic work together with the Teatro de los Andes –founded by himself– invigorated Bolivia’s theater scene, contributing with a new critical view on the country’s contemporary history. The dialogue between European culture and the plurality of the Andeans culture is characteristic of his work. In this essay we will briefly analyze some of his most representative plays –La Ilíada (2000), La Odisea (2008), En un sol amarillo (2004)– as well as his documentary films –Humillados y ofendidos (2008) y Tahuamanu-Morir en Pando (2010)–. Through this works, I would like to show the way Brie conceives artistic work in a tight relation with the inhabited cultural context: a tool for the celebration of cultural diversity as well as a mean for social denouncement.

The life and work of Bishop Gerardo Valencia Cano, was marked not only by his missionary work in the Vaupés and Buenaventura, beside the poor and needy, but by his active participation in the priestly movement Golconda, first visible expression of what would be the Theology of Liberation in Colombia. His leading role and the reactions of the Colombian episcopate are the central theme of this work.