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Relevant bibliographies by topics / Aesthetics, Colombia

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Academic literature on the topic 'Aesthetics, Colombia'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "Aesthetics, Colombia"

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Kuéllar, Diana. "El cine de Óscar Campo: memoria de la violencia en Colombia desde la estética del disenso." Catedral Tomada. Revista de crítica literaria latinoamericana 5, no. 9 (2018): 1–21. http://dx.doi.org/10.5195/ct/2017.233.

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The following article discusses the existence of an Colombian documentary film which works from the aesthetics of dissent and proposes to art as a political space, understood the concept of politician as the intersection between power and resistance where the debate it generates, as proposed by Jacques Rancière. They are films that seek to create a disarticulation in the consensual order of historical narration that prevails in Colombia and are characterized by developed in marginality and pose creation from the compression of the consensus agreements to have arguments for discussion.Colombia since the mid of the last century is mired in violence coming from different fronts, media have been commissioned to disseminate and publicly support power agreements. In this environment, this research seeks to respond: how is accomplished dislocate the public consensus and build a dissenting memory that survives to the saturation of the discourses circulating around violence in Colombia?This paper will discuss the work of the Colombian director Óscar Campo as representative of this proposal. His work comprises a range of narratives which, although they are different each other, they maintain some cohesion and progression in a story that manages to create unconventional political – aesthetic criteria of Colombian violence.

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D'Argenio, Maria Chiara. "Monstrosity and War Memories in Latin American Post-conflict Cinema." CINEJ Cinema Journal 5, no. 1 (2016): 84–112. http://dx.doi.org/10.5195/cinej.2015.126.

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This article explores the relationship between inhumanity, monstrosity, war and memory in two Latin American films: Días de Santiago (Peru, 2004) and La sombra del caminante (Colombia, 2004). These aesthetically innovative films tackle the internal armed conflicts that have occurred in Colombia and Peru in recent years. Focusing on former soldiers’ reintegration into civilian life, they display war as a traumatic experience that produces monstrosity, understood as a dehumanisation of the individual. By analysing the tropes of monstrosity and the haunting past, and the films’ aesthetics, I show how the performance of the monster articulates a tension between inhumanity and humanness, which can be read as a metaphor for the tension between the acts of remembering, investigating and forgetting within post-conflict societies.

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OCHOA, ANA MARÍA. "García Márquez, macondismo, and the soundscapes of vallenato." Popular Music 24, no. 2 (2005): 207–22. http://dx.doi.org/10.1017/s0261143005000437.

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This article is about the role of García Márquez and particularly macondismo as an ideology in establishing the canonic validity of vallenato as a folk genre from the Colombian Caribbean. García Marquez' chronicles of the early 1950s are seen as foundational texts on the aesthetics and value of vallenato; texts which influence subsequent writings on the topic. One of the main topics explored is how these texts acquire canonic validity through the success of One Hundred Years of Solitude. It is then that macondismo – the Latin Americanist celebration of magical realism – becomes an interpretive metaphor for Colombia and vallenato music becomes the sonorous emblem of this metaphor. This occurs through García Marquez' writings, his multiple interventions in Colombian vallenato festivals, and the way vallenato is subsequently taken by a journalistic elite of the country as representing a macondian sonorous paradigm. The article explores how these different elements coalesce in constructing a genealogy of aurality for vallenato, setting the parameters of its interpretive significance through multiple processes of folklorisation of the genre.

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Chávez Díaz, Alexis, and María Del Pilar Gómez González. "Representaciones sociales del cáncer de mama en mujeres libres de enfermedad: Comparación entre México y Colombia." QhaliKay. Revista de Ciencias de la Salud ISSN: 2588-0608 2, no. 2 (2018): 48. http://dx.doi.org/10.33936/qhalikay.v2i2.1488.

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 Con el objetivo de identificar las representaciones sociales sobre el cáncer de mama en mujeres libres de la enfermedad en México y Colombia, se llevó a cabo un estudio cualitativo basado en los métodos asociativos y de enfoque procesual y estructural de las representaciones sociales, en el que se incluyen 43 mujeres libres de enfermedad, ubicadas en Guadalajara, México y Pereira, Colombia. Se aplicaron listados libres y cuestionario de comparación de pares. Se realizó análisis de frecuencias, análisis de contenido temático y de índice de distancia para la construcción de las relaciones de términos de manera gráfica a través de los grafos. Para los dos grupos de mujeres, el Cáncer de Mama está asociado con aspectos negativos, en los que se destacan las palabras como miedo y muerte. Para las mujeres colombianas el aspecto físico, la estética y autoimagen tiene una gran relación. Las mujeres mexicanas destacan la importancia de la prevención como revisarse periódicamente. Se puede concluir que las representaciones sociales están directamente relacionadas con el marco contextual de estos dos grupos de mujeres, los antecedentes, los procesos de socialización y elementos propios de la cultura estructuran el significado y las acciones que toman asociadas a la salud y específicamente sobre el cáncer de mama.  Palabras clave: Cáncer de mama, conocimientos en cáncer de mama, representaciones sociales, salud pública.  Abstract  In order to identify the social representations of breast cancer in women free of the disease in Mexico and Colombia, a qualitative study was carried out based on associative methods and a processual and structural approach to social representations, in which It includes 43 women free of disease, located in Guadalajara, Mexico and Pereira, Colombia. Free lists and peer comparison questionnaire were applied. Frequency analysis, thematic content analysis, and the distance index were carried out to construct the relationship of terms graphically through the graphs. For both groups of women, Breast Cancer is associated with negative aspects, in which words such as fear and death stand out. For Colombian women, physical appearance, aesthetics, and self-image have a great relationship. Mexican women stress the importance of prevention as a regular check-up. It can be concluded that social representations are directly related to the contextual framework of these two groups of women, the antecedents, the processes of socialization and elements of the cultural structure the meaning and the actions they take associated with health and specifically about the breast cancer.  Key words: Breast cancer, knowledge, social representations, public health

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Español Casallas, Janneth. "Pilar Quintana y Melba Escobar. Disensos y consensos en las novelas La perra (2017) y La mujer que hablaba sola (2019)." Catedral Tomada. Revista de crítica literaria latinoamericana 8, no. 15 (2021): 252–79. http://dx.doi.org/10.5195/ct/2020.489.

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The poetics of Pilar Quintana (1972) and Melba Escobar (1976) place the reader in a recognizable space and time: they are rooted in regions of Colombia and in contemporary social problems. Both authors are interested in creating the aesthetics of their fiction by focusing on the point of view of women and their differentiation on the social scale for reasons of race and class. However, we affirm that the ethical-esthetic proposal of each of the authors is very different and that each of them sets up a particular way of understanding violence and the role of women in social conflicts. Going to ideas and concepts derived from feminism, this article aims to expose the affinities and differences between the poetics of each of the authors and interpret the dissents (Rancière) or ways in which each of them reconfigures in his work of fiction hierarchies, frames of references, forms of interpretation or traditional representations of women.

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Barrientos-Monsalve, Ender José, José Ascensión Cáceres-Caballero, Omaira Mendoza-Ferreira, Lloyd Herberth Morris-Molina, and Luz Teresa Berbesi-De Granados. "Impact of the consumption of venezuelans in the trade of the city of Cúcuta. case study under the demobilization of venezuelans." Clío América 14, no. 27 (2020): 422–29. http://dx.doi.org/10.21676/23897848.3697.

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The context of consumers is changing in recent decades, and they are attached to market trends or situations in different regions of the countries. It should be noted that the border regions are special zones that behave differently from the rest of the countries, and Colombia is no exception, which is why the purpose of this research was to reveal the experiences of key informants through a case study based on grounded theory as an interpretive research method, directed to companies in the city of Cúcuta, where their managers through the applied instrument revealed the current situation that is happening with the fluid presence of Venezuelans as clients of those businesses, this resulted in positive effects in the areas of pharmacy, basic needs and transportation, however, in the health sector, the exchange of currencies and aesthetics had negative effects, and where there was no variation was in the sector of telecommunications and legal services.

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Herrera-Vega, Eliana. "The politics of torture in antagonistic politics, and its displacement by the regime of the arts: Abu Ghraib, Colombian paramilitaries and Fernando Botero." Current Sociology 59, no. 6 (2011): 675–95. http://dx.doi.org/10.1177/0011392111419754.

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This article proposes a functional analysis of torture, following Luhmann’s social systems theory. Its guiding hypothesis is that torture belongs to a specific type of politics, namely antagonistic politics, and that violence is an essential part of this particular presentation of politics. The article goes on to propose a view on the praxis of torture, which is observed by making a case based on two seemingly isolated situations: the first, a systematic practice in the context of the Colombian conflict: torture followed by dismembering of identified enemies. The second one is torture of presumed terrorists at Abu Ghraib, in the context of the Iraq war. The analysis identifies the common aesthetic elements in the technology of torture in order to ascertain their function within political communication. The analysis finishes by examining the response to torture from an artist’s stance: Fernando Botero’s paintings of both the Colombian violence and the torture in Abu Ghraib. This association introduces the observation of the uses of torture within artistic communication, in contrast with former uses within antagonistic politics. The article concludes by situating the relation between politics and aesthetics, and the conditions for their mutual dialogical interference: from politics towards aesthetics, and from aesthetics towards politics.

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Ruiz, María Luisa. "Colombia and Art - The Politics of Taste: Beatriz González and Cold War Aesthetics. By Ana María Reyes. Durham: Duke University Press, 2019. Pp. 328, 105 color illustrations. $104.95 cloth; $27.95 paper." Americas 78, no. 2 (2021): 361–62. http://dx.doi.org/10.1017/tam.2021.31.

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Herrera-Guardiola, Santiago. "Anterior open bite correction with hybrid FLOWJAC® system devices, patient with previous Chin bone resorption. Case report." Revista Estomatología 26, no. 2 (2019): 38–44. http://dx.doi.org/10.25100/re.v26i2.7636.

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The orthodontic minitubes system (FLOWJAC ® System, Bogotá, Colombia) is an innovating system that blend the selfligating philosophy techniques and a lowprofile appliance. The FLOWJAC® System works with low orthodontic forces, same as selfligation devices. The system uses heat-treated wires with better physical properties such as hysteresis when is compare with traditional wires. However, the FLOWJAC® technique doesn´t use a wire sequence to get a “working wire”, just a 0,014 Copper NiTi. The clinician in each appointment must modify the minitube location to the clinical desire teeth position. The present report blend FLOWJAC® devices in the upper arch and clear selfligation in the lower arch. The patient treated has mandibular bone resorption due a alloplastic chin augmentation. The root apex from first right premolar to the first left premolar seen to be near to the resorption area using Cone Beam Computer Tomography. That´s the reason why we use a pre-adjust devices in the lower arch, to avoid pulpar and periodontal counter effects. This case was finished with proper functional and aesthetics objectives; such as molar and canine class I, anterior open bite closure with 20% of overbite, coincidence of dental smile arch with lower lip, and without root and pulpar counter effects. The porpoise of this report is to present an orthodontic case with bone resorption on right premolar and incisors area of the mandible. The case was treated with selfligation orthodontics system; FLOWJAC® System in the upper arch and Empower Clear® (American Orthodontics Shebboyiang, USA) in the lower arch and could be done with a precise diagnosis and adequate treatment planning.

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Rivas Arenas, María Elena. "La Literatura Artística Infantil, sus dimensiones ética, estética, cognitiva y tímica/ The Children's Art Literature, its ethical, aesthetic, cognitive and “tímica”." Hexágono Pedagógico 3, no. 1 (2012): 151. http://dx.doi.org/10.22519/2145888x.305.

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La formación de maestros de la básica primaria colombiana no cuenta con la asignatura de Literatura infantil en el currículo, por lo que se consideró necesario realizar una investigación pedagógica que tuvo como propósito desarrollar una Estrategia de Superación para la preparación postgraduada de estos docentes en el tratamiento metodológico de un canon de literatura infantil para grado segundo. Este artículo tiene como objetivo exponer sus aspectos más significativos. La estrategia se sustenta en el enfoque cognitivo, comunicativo y sociocultural para la enseñanza de la lengua y la literatura en interrelación con los lineamientos curriculares y estándares de competencia de la legislación educativa colombiana. Considera tres dimensiones: conceptual, procedimental y actitudinal. Su desarrollo siguió los pasos de diagnóstico, planeación, ejecución, control y evaluación; se aplicaron métodos e instrumentos de investigación como: entrevista, encuesta, observación a clases, pretest y postest. La validación se realizó mediante el criterio de especialistas y el pre-experimento que permitió constatar el crecimiento cuantitativo y cualitativo de las dimensiones e indicadores que se determinaron en la estrategia.ABSTRACT:The studies of the elementary school teachers in Colombia haven’t got children literature course in the curriculum. For that reason was considered to realized a pedagogical research that had as purpose develop a Strategy of Superation for the post graduated preparation of these teachers on the methodology treatment from a canon onchildren literature for second degree. This article has as objective to expander the most important aspects. The strategy is emphasized from a cognitive, communicative and sociocultural Cuban approach for the language and literature teaching in interaction with curriculum guidelines and standards of competence of the Colombian educational legislation. In teacher training three dimensions are considered: conception, processing and attitude. It had the following steps: diagnosis, planning, implementation, monitoring and evaluation. Research instruments: interview, poll, class observation, pretest and posttest. The validation of the strategy was monitored through the criteria of specialists on literature and the pre-experiment which revealed the quantitative and qualitativegrowth of the dimensions and indicators that were identified in the strategy.

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Dissertations / Theses on the topic "Aesthetics, Colombia"

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Reyes, Clara Irene. "Aesthetics: beauty and the sublime in the representation of violence an analysis of contemporary film and novel in Spain and Latin America /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1091660144.

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Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.

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Abrahamsson, Daysury. "Colombianer på bioduken : Representationen av tre Hollywoodproducerade actionfilmer." Thesis, Linköping University, Department for Studies of Social Change and Culture, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-21157.

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<p>The purpose of the thesis was to analyse three action films; Collateral Damage from 2002; Clear and Present Danger from 1994; and Scarface from 1983, in order to see how Colombians are represented in these movies.The action genre comprises of different stereotypes where the hero and the villain are represented in conjunction to each other. The analysis is about the way the films content and form are used to uphold the representation of Colombians, but also the villain and the hero more generally.</p><p>Critical Discourse Analysis was used, as main method, and the concepts of denotation and connotation guided the analysis. . The main conclusion is that the three movies reproduced an already established collective stereotype of Latin Americans, stereotype that includes both Colombia and Colombians.</p><br><p>Syftet med uppsatsen var att analysera tre actionfilmer: Collateral Damage från 2002; Clear and Present Danger från 1994; och Scarface från 1983 för att se hur Colombianer representeras i filmerna. Actiongenren består av olika stereotyper där främst actionhjälten och skurken ställs i relation till varandra. Analysen gick ut på att se på vilket sätt filmernas innehåll och form användes för att framhäva främst representationen av colombianerna, men även skurken och hjälten.</p><p>Som metod användes en kritisk diskursanalys där begreppen denotation och konnotation var vägledande.</p><p>Analysen visade att filmerna reproducerade en redan etablerad kollektiv stereotyp bild av latinamerikaner, som inkluderar både Colombia och colombianer.</p>

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Martin, Deborah. "Gender, politics & aesthetics in Colombian women's cultural production 1940-2005 : Débora Arango, Laura Restrepo & women's documentary." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612030.

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Porras, Estella. "Moving from cantaleta to encanto or challenging the modernization posture in communication for development and social change : a Colombian case study of the everyday work of development communicators /." Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/8591.

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Thesis (Ph. D.)--University of Oregon, 2008.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 223-232). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

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Nicholson, Brantley Garrett. "A Poetics of Globalism: Fernando Vallejo, the Colombian Urban Novel, and the Generation of `72." Diss., 2011. http://hdl.handle.net/10161/4965.

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<p>This thesis explores the confluence and clashes between local and global cultural flows in Latin America through the multiple literary movements and tendencies for which the Colombian author, Fernando Vallejo, acts as a unifying agent. My analysis pulls from Decolonial, Aesthetic and World Literary theories, in order to analyze how cosmopolitanism and globalization resonate in contemporary Latin American letters through a survey of three geocultural categories: the Colombian local, the Latin American regional, and the literary global. My analysis of the local tracks the formal evolution of the Colombian Novela de la Violencia into the contemporary Novela Urbana and the parallel political challenge to the conventional Lettered City in Colombia after the Violencia. In terms of the regional, I critique the idea of a positive and universally stabilizing cosmopolitanism through a collective analysis of a generation of Latin American writers that were forced to travel to the cosmopolitan center through exile rather than as an act of freewill, a generation that I refer to in this project as the Generation of '72. And my evaluation of the global considers how a singular World Literary aesthetics and political economy of prestige weights negatively on contemporary Latin American authors. Through a survey of the roughly fifty novels and short stories that fall under the purview of both the Colombian Urban Novel and the Generation of `72, I conclude that aesthetic borders - the places where multiple forms of perception converge- open up spaces and forums of critique of rigid cultural models and century old aesthetic formulae, a tendency that I refer to as a poetics of globalism.</p><br>Dissertation

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Ferro, Rojas Gerardo. "La literatura de la neo-violencia en Colombia : manifestaciones thanáticas en el siglo XXI." Thesis, 2016. http://hdl.handle.net/1866/16107.

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La rédaction de ce mémoire a été possible grâce à la bourse d’études supérieures du Canada (BESC M), Joseph-Armand-Bombardier du Centre de Recherche en Sciences Humaines (CRSH) du gouvernement du Canada, 2015.<br>Cette recherche est basée sur l’hypothèse suivante : la relation entre la société colombienne et la violence a été si constante et profonde que la nouvelle littérature du XXIe siècle est un produit de ce phénomène. Bien que les études académiques portant sur la littérature et la violence en Colombie soient si nombreuses, celles-ci ont été dirigées à l’analyse du violent comme étant un phénomène perturbateur de l’ordre social, que ce soit dès la Violence politique des années 50 et 60, ou bien dès la littérature du narco trafique dans les années 80 et 90. Toutefois, dans la littérature des générations plus récentes d’écrivains, la violence n’est pas nécessairement exercée par des acteurs « traditionnellement » violents qui portent atteinte à l’ordre social, mais ce supposé « ordre » social est déjà essentiellement violent, faisant de la violence une question symbolique, normalisée et profondément enracinée dans l’ensemble de la société. Donc, de quelle façon la violence « traditionnelle » a-t-elle mutée jusqu’à configurer la neo-violence d’aujourd’hui? Quelles sont ses caractéristiques? Mais, surtout, de quelle façon la littérature raconte-t-elle cette nouvelle violence? Le objectif de cette recherche est d’identifier ces nouvelles manifestations de la violence dans la littérature de la première décennie du XXIe siècle ayant été produites pour les écrivains nés pendant les années 70 et le début des années 80. La méthodologie, basée sur l’analyse de romans et de nouvelles d’écrivains colombiens de cette génération, cherche à établir comment la surexposition à une violence endémique a généré de nouvelles formes de voir, de percevoir, de sentir et de narrer le violent au-delà de la description de faits concrets de violence.<br>This research is based on the assumption that the relationship between the Colombian society and violence is so constant and deep that the new 21st century literature is the result of this phenomenon. Despite the fact that previous academic research on violence and literature in Colombia has largely addressed the topic, this same research has usually approached “violence” as a disruptive phenomenon having an impact on established social orders. That is the case of previous analysis addressing either the 1950s and 1960s’ La Violencia-based literature or the 1980s and 1990s’ drug trafficking literature. However, in the literature of the new generation of writers, violence is not necessarily practiced by traditionally violent actors who intentionally put social order at risk. This social order is in fact essentially violent, which turns violence into a symbolic, normalized, deeply rooted matter in society. Thus, how has “traditional” violence transformed into today’s neoviolence? Which are its attributes? Furthermore, how does literature tell this new violence’s story? The purpose of this research is to identify these new forms of violence made evident in the literature of the first decade of the 21st century that has been produced, in turn, by writers born between the 1970s and the 1980s. The methodology, based on the analysis of novels and short stories by Colombian writers from this period, seeks to establish how overexposure to endemic violence has resulted in new forms of seeing, perceiving, feeling and recounting violence beyond the accurate description of violent facts.<br>Si bien los estudios académicos sobre el tema de la literatura y la violencia en Colombia son bastante numerosos, estos han estado dirigidos al análisis de la violencia como un fenómeno perturbador del orden social, ya sea desde la Violencia política de los años 50 y 60, o bien desde la violencia del narcotráfico en los años 80 y 90. Sin embargo, en la literatura de las generaciones más jóvenes de escritores, la violencia no es necesariamente ejercida por actores tradicionalmente violentos que atenten contra el orden social, sino que este supuesto orden social es ya esencialmente violento, donde la violencia se manifiesta de manera simbólica, normalizada y profundamente enraizada en la vida social. La investigación se pregunta entonces, ¿de qué manera la violencia “tradicional” ha mutado hasta configurar la neo-violencia de hoy? ¿Cuáles son sus características? Pero, sobre todo, ¿de qué manera esta nueva violencia es contada por la literatura? El objetivo de esta investigación es el de identificar estas nuevas manifestaciones de la violencia en la literatura de la primera década del siglo XXI, producida por los escritores nacidos durante los años 70 e inicios de los años 80. La metodología se basa en el análisis de novelas y cuentos de escritores colombianos pertenecientes a esta generación, para establecer cómo la sobreexposición a una violencia endémica ha generado nuevas formas de ver, percibir, sentir y narrar lo violento más allá de la descripción de hechos concretos de violencia.

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Books on the topic "Aesthetics, Colombia"

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Luis Vidales y la crítica de arte en Colombia. Universidad Nacional de Colombia, Sede Bogotá, 2010.

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Of beasts and beauty: Gender, race, and identity in Colombia. University of Texas Press, 2013.

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La novela policíaca en Colombia. Editorial Universidad de Antioquia, 2001.

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Amalia, Salazar-Pöppel, ed. Las vanguardias literarias en Bolivia, Colombia, Peru, Ecuador, Perú: Bibliografía y antología crítica. Iberoamericana, 1999.

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Colombia, Museo Nacional de, ed. Picasso: Museo Nacional de Colombia, mayo 13-agosto 11, Bogotá, 2000. Museo Nacional de Colombia, 2000.

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Pragmatismo y voluntad: La idea de nación de las élites en Colombia y Argentina, 1880-1910. Universidad Nacional de Colombia, Facultad de Ciencias Humanas, 2004.

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Press, Duke University, ed. The politics of taste: Beatriz González and Cold War aesthetics. Duke University Press, 2019.

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Medina, Alvaro. El arte colombiano de los años veinte y treinta. Colcultura, 1995.

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Congreso Colombiano de Filosofía (1st 2006 Bogotá, Colombia). I Congreso Colombiano de Filosofía: Memorias. Sociedad Colombiana de Filosofía, 2008.

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Gerardo, Acosta Pedro, ed. I Congreso Colombiano de Filosofía: Memorias. Sociedad Colombiana de Filosofía, 2008.

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Book chapters on the topic "Aesthetics, Colombia"

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Maglia, Graciela. "Chapter 4. Cultural Text, Aesthetic Resistance, and Oral Literature in San Basilio de Palenque (Colombia)." In Contact Language Library. John Benjamins Publishing Company, 2017. http://dx.doi.org/10.1075/coll.54.04mag.

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Pobutsky, Aldona Bialowas. "Pablo Escobar and Narco Nostalgia." In Pablo Escobar and Colombian Narcoculture. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401513.003.0002.

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Chapter 1 looks into discourses surrounding the Medellín cartel and the present-day value of the Escobar brand. It explores how the popular media in Colombia has reproduced one type of narco, whose flamboyance and caudillo-like attitudes reflect the behaviors associated with Escobar and his ilk, rather than the more discreet figureheads of today’s drug-trafficking. This take on Escobar’s history created a nostalgic version of the hedonistic capos and their conspicuous consumption, thereby strategically resurrecting and fetishizing Colombia’s arguably worst criminal. It also draws attention away from present-day narco alliances that still plague Colombia. The second half of the chapter focuses on narco aesthetics, which appear in every facet of popular culture, from architecture and music to media production, fashion, and the female body ideal. It explores the conflict between Escobar’s tangible legacy (properties, prison) vis-à-vis Medellín’s push toward rebranding itself as a peaceful site of incomparable physical beauty. While the state strives to erase his memory by either neglecting or destroying places of related to Escobar, the latest trends in global tourism are doing exactly the opposite; they promote the exploration of thrilling experiences, thereby reviving Escobar’s popularity worldwide through narco tourism, against the wishes of many locals.

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Cepeda, María Elena. "The Colombian Transcultural Aesthetic Recipe." In Musical ImagiNation. NYU Press, 2010. http://dx.doi.org/10.18574/nyu/9780814716915.003.0006.

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Wylie, Lesley. "‘Fragments of things’: the aesthetics of yagé." In Colombia's Forgotten Frontier. Liverpool University Press, 2013. http://dx.doi.org/10.5949/liverpool/9781846319747.003.0008.

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Fracasso, Liliana, and Francisco Cabanzo. "Lo “patrimoniable”: el patrimonio cultural de lo cotidiano." In Paisajes patrimoniales. Resiliencia, resistencia y metrópoli en América Latina. Universidad Autónoma Metropolitana (México). Unidad Azcapotzalco. División de Ciencias y Artes para el Diseño. Departamento del Medio Ambiente. Área de Investigación Arquitectura del Paisaje., 2020. http://dx.doi.org/10.24275/uama.5821.7593.

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This work stems from a reflection around the conceptual relationship established between heritage education, cultural heritage, popular and contemporary ancestral habitat and artistic practices merging from a researchcreation project “Experiential artistic practices for the recognition of ‘the heritageable’ in Colombia: popular habitat and contemporary ancestral habitat in pilot places (Municipality of Choachí, neihborhoods Pardo Rubio, Minuto de Dios, Las Cruces, El Pañuelito, the locality of Rafael Uribe Uribe). The arguments are formulated from case studies, articulated in the “Heritageable Network”: coformed by observatory places that belong to urban and rural contexts of Bogotá and its edges. The need to confer and defend the significance of places in the ordinary or ancestral world based on aesthetic practices is argued in this chapter. “The heritageable” - recognized by the community - is arbitrated and located in space and time, past, present and future, restoring common sense and social value to territorialization processes.

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Waddell, Calum. "Nation and Location in Cannibal Holocaust." In Cannibal Holocaust. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325116.003.0002.

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This chapter discusses the production of Ruggero Deodato's Cannibal Holocaust in Leticia, a small city of the Amazonas, during the time when the country was experiencing considerable political unrest. It describes the Colombian government that was headed by the liberal Julio César Turbay Ayala, who was engulfed in a battle to collapse guerrilla activity in his country. It also looks at the Italian cannibal genre's use of postcolonial symbolism that ground some of the influences that typify the aesthetic and thematic elements of Deodato's production. This chapter analyzes the Italian cannibal film's presentation of nation and location that is distinct in its onscreen geographical and political manipulation. It reviews the critics of Cannibal Holocaust that suggested that it is a racist and fascist film.

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