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

The article describes the challenges faced in the process of approval of the legislation for Access to Public Information, Decree 57-2008, in Guatemala, mainly due to the legacy of authoritative regimes —despite the fact that the country has formally transitioned to democracy. This legacy manifests itself not only in the government institutions but also in numerous amounts of common practices (such as clientelism and patronage) that have created the perfect environment for the State to function in a way that privileges and favors certain sectors or groups. The weight of this legacy and its expressions has not only impacted the design of a piece of legislation, but it has gone so far as to endanger it's implementation and institutionalization. This became evident through an exercise of request to public records that the digital newspaper "Plaza Publica" carried out. After four years since the approval of the legislation, the path to guarantee free access to public information and the promotion of actions that would prevent blatant secrecy and abstruseness, remains a long and rocky one.

Cultural studies as a discipline originated in mid-twentieth century England with the research writings of Richard Hoggart, Edward P. Thompson and Raymond Williams and began to qualify as legitimate, if very marginal, in the academic world with the creation of the Centre for Contemporary Cultural Studies (CCCS) in Birmingham University. Cultural studies adopted a critical stance towards the hitherto prevailing cultural approaches and placed the individual and his significant practices at the center of the question. Fifty years after this academic institutionalization, Brazilian Researcher Ana Carolina Escosteguy reflected, during an interview with Dixit, on the main theoretic and methodological contributions of cultural studies to Communication, the change of direction they brought about in cultural approach, the resistance they faced in Latin America at first and their relevancy as analytical tools for some contemporary media phenomena.

Development of network theory has advanced in parallel with the massive dissemination of digital networks (Internet and wireless telephony). Using the transdisciplinary approach of this theory, a veritable onslaught of “hard” scientists has been observed in the field of social sciences, more particularly in the study of communication phenomena. While this “hardening” process of social sciences presents, undoubtedly, many positive aspects, at the same time it generates methodological problems as well. That process is briefly described in this article, and some of the problems “hardening” entails are analyzed. The conclusion points to a necessary convergence in traditional research methodologies from both fields, “hard” sciences and social sciences, so that communication research is enabled to jump ahead epistemologically, in order to satisfy the demands of digital networks in the twenty-first century.

Evidences of musicians from the Eighties indicate that they played music in the same stages than musicians of the prior generation. Such a contact – that was conflictive occasionally – allowed the new musicians to build an idiosyncratic generational identity, and challenges the idea that the rock of the Eighties in Uruguay would have been born without artistic parents, as stated in the musical critic reviews of the time. This article examines, first, how critical reviews and chronicles contributed to the building of an eloquent discourse for the new youth subculture. Second, it questions the idea of orphanhood describing how musicians and journalists rejected and resignified certain elements of existing cultural tradition thus making the rock from the Eighties the defining cultural element of the decade.

The aim of this work is to analyze the ways in which violence is represented in Adrián Caetano's cinema. Born in Uruguay, Caetano is one of the most iconic directors of the New Argentine Cinema. This article focuses on three of his most important films: Bolivia (2001), Un oso rojo (A Red Bear, 2002) and Crónica de una fuga (Chronicle of an Escape, 2006). In all of these movies, violence is central to the plot and shapes the narrative forms in different ways. In Caetano's cinema, community is always threatened by the menace of dissolution. Violence flourishes as a consequence of this permanent threat, and it functions as a force that restores the social barriers weakened by the collective crisis.

“I am working on this project with the two biggest companies in Vietnam. At Lenin Park, home to the Vietnam Circus Federation, several leading companies are to be found. At the circus building, families and artists share rooms. In what I call 'the little rose room' the walls are that color and all inhabitants are female. In the former Saigon, now called Ho Chi Minh City, one can find the Ho Chi Minh Circus Group. Most of the artists live in an abandoned theater. Due to the physical demands of the profession, artists in their early thirties have already retired from daily activity. Early marriage is a characteristic feature of Vietnamese society. Although all of them are single now, they will probably marry soon.”

I'm a forty-two years old French journalist living in Paris and working in an international news agency. I began photographing in the street when I purchased my first iPhone in 2012. I had always been interested in taking photos but I now finds inspiration in the freedom and secrecy the iPhone provides me. I do not have to decide if I will go take pictures or not: I can take pictures all the time, everywhere.

Me gustaría que lloviera el resto de mi vida, Felina,que lloviera así, como llueve ahora,ahora que llueve como una tregua,como un regreso a la infancia sigilosa,como una invitación a tomarse con usted un suave tinto señorial.(...) 

Salamanca, Spain.daviddelamano@gmail.com

Within the framework of research about professional teacher’s knowledge, our business is to identify and to characterize with case study method, a kind of specific professional teacher´s knowledge of Chemistry professorate, associated to the chemical nomenclature notion. This kind of research guides the sight to the teaching contents, but it postulates the teacher as an essential actor of that knowledge, rather than ignore of the other actors (didactic community, researchers, specialists, students, etc.) our research realizes the specific construction that the teacher makes, beyond the «spontaneous epistemologies» category, between others, which seems to deny an academic and discipline character of the built knowledge by the teachers. First, we show a brief reference to the research program on professional teacher´s knowledge which frames in the development of research line about Specific Professional Teacher´s Knowledge associated with Particular Categories, which belongs to the research group «Por las Aulas Colombianas- INVAUCOL». After that, we show a short justification about the choice of the particular category: chemical nomenclature, as a studied object, besides the historical importance that it has to the professional teaching consolidation, recognizing the teacher´s specific contributions to discipline body construction of school knowledge. Finally, weset in consideration some general methodological criteria defined in this research, and we show too, some preliminary reflections derived from field work in thepresent state of the project.