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

This article addresses the concept of coloniality of power from the analysis carried out by Aníbal Quijano, focusing on the fact that such hegemonic form of power, establishes in Latin America, what should be thought-know-know and do it from a Eurocentric perspective that not only appeals to consensus but also to imposition, which stands out in this work. It also postulates the possible paths of social transformation derived from the decolonization of the installed power, focusing on social movements as an outstanding option to break with the coloniality of power. In turn, the social movements in Bolivia are presented as a case, which ends with the rise of Evo Morales to the presidency.

Advertising has been part of the Ecuadorian Legal System through the Constitution of the Republic of Ecuador, the General Organic Code of Processes, Organic Code of the Judicial Function and Comprehensive Criminal Organic Code, hereinafter CRE, COFJ, COGEP, COIP respectively, establishing as an object of study the prohibition that social media have as they cannot photograph, film and transmit the hearings. In this research, a qualitative approach and documentary, hermeneutical and exegetical methods were used and it was proven that this prohibition on the media is a limit to the principle of advertising, since the two aspects were not satisfied with the external one, in addition opposed the new model of open justice, which seeks to ensure that by recording and transmitting the hearings through the social media the citizen is aware of the actions of the judiciary and why not say that by reforming the COFJ, the COGEP and the COIP Regarding the permissibility of recording and transmitting hearings by professionals who carry out this communication activity, it allows to mitigate the existence of parallel trials by the news media.

In medieval literature, a bestiary is a collection of texts and images that report on real and fantastic animals around a moralizing explanation; This literary tradition has transcended to the present day. In such a way that, thanks to the masterful pen of three Mexican writers, contemporary literature has to its credit the Bestiary of Juan José Arreola, the zoological poetics of José Emilio Pacheco and the Bestiary of prodigious beings by René Avilés Fabila. And it is the works of these three authors that will be addressed in this investigation to elucidate how the descriptions of all types of animals are no longer—as it was for their predecessors from other centuries—a pretext to symbolically and indirectly embody the projection of Christian mentalities and they are a means to communicate the reality that the animal lives. Thus, in the works under study, on the one hand, the authors occasionally follow the paths of symbolism and, on the other hand, they highlight the ailments and discomforts typical of animals that are found behind the bars of a cage in the zoo. Therefore, in the following paragraphs I analyze the aspects that refer not only to the animal image, but also to the feeling and situation that the aforementioned authors refer to about the captive animal in a zoo.

After the novel The Acid Test, Élmer Mendoza uses the police technique to propose a visit to the internal démons (Gorgo's regard), not past the meurtrier, but du detective et de la société. Sur un ton parody, utilisant des comparaisons avec la culture populaire (col pop), il parvient à plonger dans l'horreur de la violence, mais avec des accents de fascination pour une société qui normalise la criminalité.

This article analyzes The Fear of Losing Eurídice, by Julieta Campos, from the conceptual perspective of the archive and the symbol of the labyrinth. An unprecedented theoretical perspective is proposed that combines these elements. The objective of the analysis, from this point of view, is to account for the way in which the novel develops a labyrinthine archive such that the stories and the elements that constitute it multiply incessantly without a total and unique meaning that encompasses them. The archive in the novel makes endless elements appear that are disseminated through various paths, causing them to become abyssed. The result of this is that the meaning of the narrative explodes due to excess possibilities. The fear of losing Eurydice is an exercise in openness to the infinite that includes not only its content, but even the reader.

For José Revueltas, the historical imputation implicit in the expression silent cinema causes damage or a misunderstanding that affects our understanding of cinema, since its appearance as a visual and non-auditory art does not correspond to the physical impossibility of speaking. Cinematographic images, whether we call them silent or non-auditory, always speak, and not in a figurative sense but in a strictly signic sense. The implications of this and other ideas present in Cinematographic Knowledge and its Problems are reviewed in light of what was written by Artaud, Deleuze, Guattari and Rancière, in order to show the productivity and capacity for dialogue of the concepts on cinema developed by Jose Revueltas.