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

Con el arribo de una oleada de Modernidad a México, a mediados del s. XX, el modelo de ser mujer impuesto por la tradición judeocristiana a lo largo de su historia entró en crisis, al chocar ideológicamente con dos sistemas de pensamiento: capitalismo y comunismo. Ante ello, los sectores católicos adoptaron una posición reaccionaria para tratar de mantener la dominación cultural que sus instituciones habían mantenido a través de los siglos. Esto se fundamenta en un estudio histórico que llevó a la caracterización de un modelo patriarcal que es anterior a las formaciones político-económicas del comunismo y del liberalismo, y opera en dos niveles: Estructura (economía y política) y Superestructura (cultura); para regular y sancionar el comportamiento de las mujeres, abarcando el dominio de sus expresiones a partir del control de distintas dimensiones represivas del cuerpo y sus relaciones. Se concluye que Marxismo, Liberalismo, y Cristianismo representan a tres fuerzas que en la Transición a la Modernidad, entran en pugna mediante una Batalla Cultural, para posicionarse como entidades rectoras de los cuerpos y las mentes de las mujeres.

This paper offers an overview of the research carried out in the caves with rock art located in the Sierras Grandes Provincial Reserve (Buenos Aires Province). In this limited space are the sites Cueva Florencio, Arroyo San Bernardo Cueva 1 and Arroyo San Bernardo Cueva 2, Arroyo San Bernardo Cueva 3 and Cueva La Pocha, the latter, relieved by the authors in the last year. These sites have been studied from alternative theoretical perspectives, in a disaggregated manner. In this work, the five sites were studied comparatively and an approach to the study of rock art is proposed following the iconological method of Panofsky. At the same time, an approach to the spatial analysis of the caves and their environment was carried out through the approaches of Landscape Archeology in order to establish the role occupied by these particular sites in the socio-cultural dynamics of appropriation of the landscape by part of the hunter-gatherer groups that inhabited the area. Finally, an alternative interpretative proposal related to architecture and the idea of ​​living is presented.   Rock art, landscape archeaology, Sierra de la Ventana, hunter-gatherers

This paper describes the archaeological activities carried out in a sector of the natural Park where the La Malvina House Museum is located, around of Santa Rosa city, Capital Department, La Pampa. The activities developed were framed within the premises of Public Archaeology, given that beyond the research objectives of an UBACYT archaeological project, the decisions were planned and made with various institutions of the community, both academic and governmental (Socio-historical Studies Institute of the Faculty of Human Sciences- UNLPam, Heritage Directory of Culture Secretary of la Pampa Province, and Municipal Tourism Directory of Santa Rosa). Because it is a foundational site of the current city of Santa Rosa, the archaeological study aimed to generate knowledge about heritage assets and promote an active commitment of the local community with its historical references and with the construction of collective memory. For this, the following specific objectives were proposed: 1- recover the heritage assets of the site through archaeological rescue tasks; and 2- transfer to the community the characteristics of the different recovered materials and collaborate in the diffusion actions. Key words: post-conquest settlers, rural installations, material references, historical memory.

Under the well-known Parque Las Heras in the neighborhood of Palermo (CABA, Argentina) are buried the foundations of what was the first model Penitentiary built in the country. In this paper we will briefly develop the origins of this research closely linked to the framework of our cooperative organization, Arqueoterra Coop. Ltda, founded and registered in 2015. The project, internally titled as "Archaeology of Parque Las Heras: rediscovering the National Penitentiary" currently has support from the Azara Foundation, the Maritime Museum and the Presidio of Ushuaia, and is linked with the Comuna 14 (CABA) and the Operational Management of Heritage of the City of Buenos aires through the Mecenazgo Cultural patronage program. 

El presente trabajo denominado “Percepción del posicionamiento de la marca de las cooperativas de ahorro y crédito del cantón Latacunga” es una investigación cuyo objetivo es identificar la percepción que tienen las personas con respecto al posicionamiento de la marca de las cooperativas de ahorro y crédito inscritas exclusivamente en el cantón Latacunga perteneciente a la provincia de Cotopaxi. La metodología se circunscribe tiene relación con una investigación de campo de alcance descriptivo y de nivel no experimental. Los resultados manifiestan que las personas al momento de acceder a los productos financiero, el 53% está relacionado con alguna cooperativa de ahorro y crédito como la cooperativa CACPECO que tiene una aceptación de un 22%. El 19% consideran que el elemento de comunicación de la marca más perceptible es la valla publicitaria, el 23% relacionan el termino marca con nuevas formas de vender bienes y servicio y el 44% manifiestan que el nombre de la organización es el elemento referencial en el reconocimiento de la marca.

This document started from an experience as a Drama Workshop Teacher, under a community and gender approach, which took place between 2016 and 2018. The classes were held close to El Polígono neighborhood of Quinta Normal, and the project purpose was ro represent the local history of that territory, highlighting some of its emblematic neighbors voices. In this way, the story was based on Flérida Jacobite Vallejos Matus, better known as Jovita. She was part of a robust community life. With a prolific and almost unprecedented work, Jovita embodied a social representation of different social groups: women, artists, working class people, social activists and elderlies. Her biography was a projection of many talented women, who due structural systemic reasons, did not achieve a deserved recognition. The script included some of her poems, turning it into a lyrical-dramatic intersection that brought together her biography, local and country history. After a long trajectory on similar projects without any written record, suddenly, I felt compelled to systematize this experience to reflect on What could be the possible contributions of community theater to the strengthening of social identity, sense of belonging and community agency? Placing in a women group from the aforementioned neighborhood. The paper seeks to expand women narratives under an interdisciplinary view, nourished by community theater, community psychology and intersectional feminism field. Finally, I share appreciations and methodological suggestions, from a qualitative perspective, not generalizable.

This article proposes a reflection on the educational potential of scenic art as a resource used in the process of socio-educational education of young people deprived of liberty based on records of good practices experienced in the Center for Adolescent Offenders (CAI) in the city of Loja, Ecuador. This serves as a reference for the discussion on a necessary change of panorama of said reality. The experience in the CAI began with a first work focused on emotions from the creation of a diary to record impressions on plastic, visual and scenic activities, based on techniques of the theater of the oppressed. Given the success of the practice, evidenced in the behavior change of the young inmates, a staging was developed so that they could create their own poetics based on the exploration of a seed whose condition of being a body deprived of liberty could be transformed into a free spirit. Both initiatives strengthened interdisciplinary work, commented here in dialogue with authors who support the theme of social responsibility from artistic education as an inclusive axis in the process of prison partner education.

This article sets out to propose, in an essayistic manner, a point of rupture within the matrix of performance of Real Capitalism through the cinematographic, which can be seen as the configuration of a time other than productive time, invested in the figure of the melancholic, as the one who tensions the psychoanalytic triad of the contemporary neurotic: object, desire and loss. Through the latency or waiting (the art of patience or slothful) that is represented in certain Chilean cinema of the last decade, and which will make of the cinematographic image the portrait of non-desire, where things and objects are the basis of the episteme that constructs the narrative and culture. A horizontal cinema that does not travel to meet a conflict, and remains in the radical exposure of the founding elements of the culture in question, arranged in a mise-en-scène, which, like a baroque base, will function from the surfaces, distancing meaning from its conventional enunciative act and arranging objects as the only depositaries of an episteme capable of reordering the fictionality of meaning itself. We will also review, within this conceptual framework, elements that define concrete cinematographic operations, allowing us to clarify, in an introductory way, the sources of nomination that will serve us to deal with specific phenomena of cinematographic events, within the framework of current Chilean cinema.