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

This paper studies family relationships on the metropolitan railways of Buenos Aires from the point of view of women workers in the context of modernization and gender policies. The aim is to analyse the notions of family and individual pride and male honor, in order to show the ways the women mobilize and redefine an identity and moral repertoire, the “great railway family”. Analysing their search for a legitimate position in a historically masculine activity, I assert that the “railway blood” (ties between relatives) is often actively mobilized, but not in every situation because of its limitations and problematic dimensions which demonstrates the need to refine its effectiveness. The methodology I employed is based on the content analysis of in-depth interviews and observation from a micro-sociological perspective, adopting an interpretative approach.

The purpose of this article is to make a contingent theoretical reflection on whether the "new right" that is emerging is radical or simply a continuation of the chicago gremialista right that has been hegemonic in recent years in the recent political history of Chile. To discuss the limits of rights, their particularities and analytical aspects, a specialized bibliography on rights in Chile and abroad is used. In this article we suggest that the right wing was characterized by ideological hibridation, whose axial characteristic is the co-presence or dialectical integration of a wide range of discourses from different ideological traditions and thought. At the end of this writing, a new possibility of the emergence of a mesocratic and popular nationalist right committed to a national integration based on republican ideals, and a xenophobic radical right, which promotes adherence to values of exclusion in the face of the arrival of immigrants in recent years in Chile.

The Nicaraguan festivity dedicated to the Immaculate Conception of the Virgin Mary is a very vast topic. In this study, our purpose is an approach to the Gritería, an activity celebrated the day before. It is intended to show that the heritage value of a cultural asset is a process that is built with the creation, appropriation, resemantization and innovative adaptation to the circumstances of the environment shared by a group, which considers it as an identity reference. This is the case of the Gritería, an example of the living culture of the Nicaraguan people, of national coverage and that has migrated beyond those borders. Ethnographic work and the use of qualitative social research techniques were applied in different communities in Nicaragua; as a complement, some references are presented to the celebration in countries where Nicaraguans have emigrated. The participatory management in the organization of this important celebration is pointed out, which, wherever it is celebrated, maintains the function of cohesion of the Nicaraguan people and the meeting of its traditions. The result of the study shows that despite the differences, the Gritería is an element of patrimonial value, of meaning for different sectors of the Nicaraguan people, whether or not they believe, the Catholic Church and the Government.

The Brazilian military dictatorship, installed since the 1964 coup, lasted twenty-one years. During this period, the democratic state collapsed and an authoritarian regime was installed, with violent repression of opponents, closure of the National Congress, annulment of parliamentary mandates, suspension of political rights, arrests and deaths of opponents. This paper presents the result of an investigation about the political participation of women during the Brazilian Military Dictatorship (1964 to 1985) in archival documentary sources. The objective was to identify documents about this participation in the fonds under the custody of the Brazilian National Archives. It is an exploratory study that, based on bibliographic and documentary research, analyzes the documentary sources of two fonds under the custody of the Brazilian National Archive: the Women's Campaign for Democracy fund and the National Information Service fund. The analysis of the documents allows us to conclude that women were quite involved in political actions during the period of the dictatorship. They participated in the political articulation of the conservative sectors and the church to support the coup and give support to the military regime. On the other hand, despite the risk of retaliation against the political position that opposed the installed regime, the women were bold and were also active in the opposition to the Military Dictatorship.

In the immediate post-war, with cinematographic policies already defined around the Franco “New State,” and with a tendency to consolidate a Spanish film industry, it will be when genres policy is deployed in an increasingly robust and defined police cinema. This genre and its various internal currents will reflect  the Spanish society wounded by the war contest. This article aims to provide a first global historical perspective of postwar Spanish police cinema since 1939, and in the historical stage immediately prior to the hatching of the so-called “golden age” of the genre in the decade of 50. For this purpose, their main esthetic-narrative currents will be characterized with illustrative examples, and analysis and comments of how the society of their time and the predominant ideology of this historical context were portrayed.

Whether as a means of social, political, feminist criticism, at the service of the exploration of one's own identity or as an instrument of conceptual and formal experimentation, video art emerges as an alternative to television, breaking with its usual messages and granting a new significant and subjective freedom for the construction of images. This article is an approach to the beginnings of this feminist artistic discipline, which made valuable contributions to the process of breaking with the traditional role of women and which we consider fundamental to review due to the intense work done by video artists in using art as a means of social denunciation and as a tool to question the identity of women established since time immemorial. Through their works and being aware of stereotypes and social and cultural constructions, they acquire a growing empowerment.