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Vitali, Giulia <1995>. "Crowdfunding for film festival: a Colombian case." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14897.
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The work focuses on the analysis of crowdfunding applied to the Colombian case. The first chapter deals with the financial situation of the Latin American region for the creative industries in general, and then descends in detail to the selected country, analyzing problems and opportunites. Crowdfunding was analyzed closely, related to all the problems related to the Colombian socio-economic situation. Furthermore, the most important film festivals in the country were analyzed closely, focusing on a particular case of crowdfunding application, CineIsla.
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Paola, Adarve-Zuluaga. "Facing Medusa : (intimate) art and resistance in the Colombian armed conflict." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54177.
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The Colombian armed conflict is one of the oldest conflicts in the world. Numbers hardly explain the damage it has caused. Artistic responses to war emerge in this context, sometimes with the purpose of exerting some form of resistance to violence. I examine the ways in which similar responses operate and can produce social change, by tracing the work of three Colombian visual creators: Erika Diettes, Jesús Abad Colorado, and Juan Manuel Echavarría. This study reveals how their practice (re) configures certain spaces as intimate public scenarios of collective spectatorship/witnessing. The investigation also speaks of the inmost relation between the victims and survivors that they work with, spectators, and the creators themselves. That relation evidences the creators’ role as companions of the people they work with in conflicted contexts. Resistance becomes a central concept with which to understand both spectatorship/witnessing acts and the companionship relation mentioned above. Ultimately, their visual practice allows publics to resist emotional paralysis when looking at the horrors of war; that is to resist “turning into stone” when looking at Medusa.Arts, Faculty of
Gender, Race, Sexuality and Social Justice, Institute for
Graduate
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Arango, Juan C. "Modern warfare from the Colombian perspective." Quantico, VA : Marine Corps Command and Staff College, 2008. http://handle.dtic.mil/100.2/ADA491149.
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Posse, Emiliani Maria Elvira. "From the Colombian Caribbean to the South Pacific: Cultural hybridity and resistance in film, music and art." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/14146.
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This investigation traces relations between colonial histories and contemporary expressions in the Colombian Caribbean in order to understand cultural transformations on the South Pacific island of Tanna. It identifies gaps in colonial histories to analyse cultural transformations such as hybridity, globalisation, resistance and syncretisation and evidence points of convergence and divergence. The contribution to knowledge is that, from a postcolonial perspective and using comparative analysis it interconnects multiple disciplines (history, linguistics, critical theory, cultural studies, social anthropology) to underline the importance of preserving traditional knowledges and the re-vitalisation of indigenous and diasporic cultures in a globalised world, exploring the role that film and video can play in the process. The comparative analysis between colonial, traditional and contemporary cultural practices based on historical difference offers a contrasted perspective and a critical lens within a postcolonial framework, to explore relations between the colonial historical past and the contemporary globalised, nomadic present that challenges traditional knowledges and cultures. In the age of information, non-place and massive consumption of culture, this thesis underlines the importance of constructing intercultural and intersubjective spaces for creative collaboration, cultural negotiation and exchange facilitated by documentary film.
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Suescun, Pozas María del Carmen. "Modern femininity, shattered masculinity : the scandal of the female nude during political crisis in Colombia, 1930-1948." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85958.
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This dissertation examines two controversies involving paintings of the female nude by artists Debora Arango and Carlos Correa during a period of political crisis in Bogota (Colombia) in order to open the political to cultural analysis and thus shed light on scenarios of change in the 1930s and 1940s. Unpacking the controversies lends insight into the unique ways in which modernity, the body, its representations, sexuality, gender and politics came together in Colombia during this period. Such an approach also shows that modernity in Colombia involved shifts in religious and secular frames of sense-making and morality. This dissertation argues that the controversies and the female nudes provide a window into the Liberal regime's creation of culture as an autonomous sphere as part of its cultural program, which bridged high and popular culture, as well as on aspects of private life concerned with sexuality and gender. It shows how such changes registered in the lives of the artists and how the artists translated the changes they experienced into modes of pictorial expression. This dissertation argues that the demands of the aesthetic and the demands of politics during this period pressed on each other, resulting in the wide-spread perception of moral breach that came to a head in the "scandals of the female nudes." This dissertation thus sheds light on dimensions of both the political and the private during this period.Because art and politics were thus entangled, this dissertation shows that, in this particular Colombian modernity, society was not polarized, that the private and the private overlapped, that issues of intimacy surfaced in the public realm, and that Catholicism was the idiom shared by men and women who were grappling with change. It shows that the cultural program of the Liberal regime was the immediate referent for criticism in these events and, through it, of the Liberal regime's reforms of education of 1934 and 1936. Finally, it shows that this modernity and its attendant anxieties were played out through the body in the public and the private realms, within, not against, the Catholic tradition, in unprecedented ways. This thesis demonstrates that politics and issues of sexuality and gender were entangled in the public sphere and converged in the female nudes, turning them into a major threat to morality within both religious and secular frameworks. By unpacking the controversies, this dissertation marks a seminal break with historical accounts that describe Colombia's as a failed modernity, its society as polarized, and debates over sexuality and gender as the product of politics. This dissertation also contradicts art historical writings that account for the production of images and the reception of art in this period solely in political terms.
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Romero, Barragán Rocío. "Clamor de la Razón; Iconomía, Hiperbarroco y Transhistorias en la Obra de José Alejandro Restrepo." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/276163.
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La obra del colombiano José Alejandro Restrepo es monumental. No solo por la hondura y complejidad de los problemas estéticos, históricos y artísticos que aborda, sino porque su actividad creadora es incansable, constante y llena de sorpresivos encuentros con lo real y con lo absurdo de lo real.
La investigación parte de los inicios en el arte de Restrepo, indagando en las razones por las que ha llegado al escenario de la producción artística y cultural.
José Alejandro Restrepo nació en Paris, quizás por la casualidad de la vida que llevo a su padre a vivir en la ciudad de los poetas y los artistas en 1959. Pese a que es parisino de nacimiento su trabajo se ha centrado en Bogotá, la capital de la Republica de Colombia.
Inició sus estudios en Medicina, de donde se extrae ese interés perpetuo en el cuerpo como escenario de los encuentros, no solo de los circuitos y los tendones y fluidos, sino de las narrativas, los símbolos y las historias. En Paris asiste a los seminarios de Michel Foucault, historiador y filósofo francés que encabeza la lista de una buena cantidad de intelectuales nacidos en la posguerra con intereses renovados que se enmarcan en una filosofía del desencanto frente al proyecto moderno, son sus grandes ideales y grandes palabras: progreso, libertad, felicidad. Allí también conocerá al filósofo Gilles Deleuze, una de las personalidades más interesantes en esta pléyade de pensadores que inician una auténtica revolución en el pensamiento de su época.
Con estos intereses descubiertos al lado de los pensadores franceses, regresa a Colombia, para trabajar con artistas de gran auge en el momento como Maria Teresa Hincapie, allí descubrirá su interés por la música, el teatro, el tiempo-duración y también las paradojas.
La investigación busca ahondar en tres ejes del largo y riguroso despliegue artístico de Restrepo. El primero es Transhistorias, una autentica fabulación de lo que es el poder de la narrativa y la descripción y clasificación, en la escritura de la historia y la afectación que tiene esta en Colombia. La mirada sobre América cambia a la luz de quien esté narrando el discurso. Del mismo modo, la ciencia europea se pone en contradicción frente a las ficciones que se mezclan al factico conocimiento de la naturaleza que los grandes sabios proponen.
El segundo módulo plantea siguiendo el contrapunteo del módulo anterior, la idea de que la historia es repetición y persistencia y que el progreso no es más que una entelequia. En este caso la fase de interés para Jose Alejandro Restrepo es el Barroco, no estudiado como un periodo de la historia del arte que va de 1600 a 1740, sino como acto operativo y así mismo como un aura fría, es decir, un Barroco que circula y que conecta creando chispas sorprendentes con asuntos como la violencia en Colombia. El Barroco es un estilo de pliegues abiertos y laberintos que se arraiga al modo de vida de los colombianos y puede percibirse en la literatura, la gastronomía, los usos cotidianos pero también en los absurdos de la guerra.
La Gran Obra de José Alejandro Restrepo es Iconomia del año 2,000, esta obra engloba las anteriores investigaciones que el artista ha realizado con suma paciencia y rigor de arqueólogo de los relatos. Se divide en: Iconoclastia e Iconofilia. En esta obra se entretejen y se reviven los problemas históricos desarrollados en los inicios del cristianismo, cuando se desató la pugna iconoclasta en Bizancio. Restrepo llega a la conclusión de que el primer sistema económico es así mismo la administración de la imagen de Dios. De ello se sigue que en la Bizancio del siglo VIII, era lo mismo iconomia que economía, se administraba igual el flujo de dinero que el flujo de la imagen. Los iconoclastas, bando político contrario a quienes apoyan la idea de que las imágenes ayuda a los iletrados a comprender las escrituras, no eran muy diferentes de ellos. Ambos en si se muestran como grandes iconólatras y como grandes escritores y descriptores de signos visuales.
Los tres ejes de trabajo se hallan conectados por los problemas de: la escritura de la historia, las grietas y rupturas de los discursos y los intersticios por donde se fugan los relatos que el poder construye.
El clamor de la razón remite a ese teatro mundo donde la razón ha soñado y en este caso clama por una nueva voz y un pensamiento propio donde puede ser hallada más allá de la historia contada hasta ahora.The work of Colombian José Alejandro Restrepo is monumental. Not only for the depth and complexity of the aesthetic, historic and artistic issues addressed, but because his creative activity is tireless, constant and full of surprising encounters with reality and the absurdity reality. Research in the early part of the art of Restrepo, investigating the reasons why it has reached the stage of artistic and cultural production. José Alejandro Restrepo was born in Paris, perhaps by chance in life that led his father to live in the city of poets and artists in 1959. Though birth is Paris has focused its work in Bogota, the capital of the Republic of Colombia. He began his studies in medicine, where the perpetual interest is extracted in the body as the scene of the encounters, not just circuits and tendons and fluids, but the narratives, symbols and stories. In Paris attends seminars Michel Foucault, French historian and philosopher who tops the list of a good number of intellectuals born after the war with renewed interest that are part of a philosophy of disenchantment with the modern project, are its high ideals and great words, progress, freedom, happiness. There will also meet the philosopher Gilles Deleuze, one of the most interesting personalities in this galaxy of thinkers that initiate a revolution in the thinking of his time . With these discovered interests alongside the French thinkers, returns to Colombia to work with artists of boom at the time as Maria Teresa Hincapie, there discover their interest in music, theater, time-duration and paradoxes. The research aims to delve into three axes of long and rigorous artistic display of Restrepo. The first is TransHistorias, a real fantasy of what the power of narrative and description and classification, in the writing of history and the effects that has this in Colombia. The look on America changed in the light of who is narrating the speech. Similarly, European science is put at odds against the fictions that mix the factual knowledge of nature that the great sages proposed. The second module poses following the counterpoint of the previous module, the idea that history is repeating and persistence and that progress is but a pipe dream. In this case the phase of interest to Jose Alejandro Restrepo is the Baroque, not studied as a period of art history ranging from 1600 to 1740, but as operative act and himself as a cold aura, ie a Baroque that flows and creating amazing sparks connecting with issues such as violence in Colombia. The Baroque is a style of open folds and mazes that is rooted way of life of the citizens and can be seen in the literature, gastronomy, but also in everyday uses the absurdities of war. The Great Work of José Alejandro Restrepo is Iconomía the year 2000, this Investigation covers the latest research that the artist has done with great patience and rigor of archaeologist stories. It is divided into: Iconoclasm and Iconophilia. In this work are interwoven and developed historical problems are revived in the early days of Christianity, when the iconoclastic conflict in Byzantium broke. Restrepo concludes that the first economic system is likewise managing the image of God. It follows that in the eighth century Byzantium, which was the same Iconomía economy, the flow of money flow in. administered equally. The iconoclasts, opposite political side to support the idea that the images helps to understand the scriptures illiterate, were not very different from them. Both in itself is as great as iconolaters descriptors great writers and visual signs. The three areas of work are connected with the problems of: the writing of history, the cracks and ruptures of the speeches and the interstices where the stories are leaking power constructs. The clamour of reason refers to the theater world where reason has dreamed and in this case cries out for a new voice and a thought which itself can be found beyond the story told so far.
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Cabrera, Marta Jimena. "Writing civilisation the historical novel in the Colombian national project /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050307.143257/index.html.
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Arbelaez, Natalia. ""Insignificant Grandeur"." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1435530944.
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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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Vidal, Ortega Antonino. "Cartagena de Indias en la articulación del espacio regional Caribe, 1580-1640 : la producción agraria /." Lebrija : Cadiz : Muy illustre, antigua y real hermandad de los Santos de Lebrija ; Agrija ediciones, 1998. http://catalogue.bnf.fr/ark:/12148/cb39062194s.
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Duque, Cuartas Alejandro. "Colombia's Classical Guitar Repertoire: Traditional, Traditional-Popular, and Art Music Idioms." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/394724.
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This research explores the diversity of Colombia’s classical guitar repertoire (CCGR). Using musicological and artistic approaches, it aims to expand understanding of the wide stylistic range and diversity of CCGR. In particular, building on previous categorisations of Colombian music, this project offers a three-part framework for better understanding the diversity of CCGR idioms in their contemporary manifestations: namely, traditional, traditional-popular, and art music. Drawing on methods characteristic of historical musicology and artistic research, this research contributes to new understandings of these CCGR idioms through (1) inductive thematic analysis of academic and non-academic publications, including creative outputs such as compositional scores and recordings related to CCGR and the music genres involved; and (2) a CD I recorded for this research that showcases repertoire—including a world premiere piece—displaying the diversity of CCGR across the three idioms outlined above. It is hoped that the research outcomes will (a) expand current knowledge of the nature and diversity of CCGR, (b) help to profile and disseminate relatively unknown CCGR, and (c) inform future research on Colombian music and CCGR. In these ways, these outcomes may be of interest and benefit to composers, guitarists, and researchers, particularly but not only those from Colombia, in understanding, identifying and contextualising the diversity of CCGR.Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
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Martin, Florez Camilo Andres <1980>. "Lineamenti di storia del cinema muto in Colombia." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amsdottorato.unibo.it/9555/1/Tesi_di_dottorato_CamiloMartinFlorez%20%28finale%29.pdf.
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"Lineamenti di storia del cinema muto in Colombia" nasce da un particolare interesse volto a determinare in che misura i colombiani parteciparono allo sviluppo del proprio cinema nazionale tra il 1897 e il 1926. Al fine di conseguire tale obiettivo, questo lavoro si prefigge come scopo la realizzazione di una rassegna critica dei lineamenti di storia del cinema muto colombiano. Inoltre, e considerando la forte partecipazione di impresari e cineasti italiani nel cinema muto colombiano tra il 1909 e il 1926, si presta particolare attenzione al loro contributo, a cui è dedicato il capitolo 4 e alcune sezioni dei capitoli 2, 3, 5 e 7. Preme mettere in evidenza che analizzare il contributo dei cineasti locali smentisce gran parte della bibliografia esistente sul cinema muto, dal momento che nessun testo colombiano o straniero ha mai constatato il loro contributo alla cinematografia locale o internazionale. Infatti, in questa ricerca si approfondiscono le nozioni di policentrismo, polimorfismo e polivalenza cinematografica, con l’obiettivo di realizzare uno studio documentato e aggiornato del cinema muto colombiano. Si auspica di poter dimostrare che il contributo di questi ultimi alla cinematografia muta colombiana e latino-americana –e in parte a quella italiana– fu consistente e di vasta portata, sia in termini di quantità che di contenuto. Infine, la presente ricerca si propone non soltanto di definire il contributo dei cineasti colombiani allo sviluppo del proprio cinema nazionale, ma anche, e soprattutto, di individuare l’origine di alcuni degli elementi che caratterizzano il cinema colombiano."Outlining the History of Silent Cinema in Colombia" stems from a particular interest aimed at determining to what extent Colombians participated in the development of their national cinema between 1897 and 1926. In order to achieve this goal, this work aims to create a critical review of the lineament of the history of Colombian silent cinema. Furthermore, and considering the strong participation of Italian entrepreneurs and filmmakers in Colombian silent cinema between 1909 and 1926, particular attention is paid to their contribution, to which chapter 4 is fully devoted as well as some sections of chapters 2, 3, 5 and 7. It is important to point out that analyzing the contribution of local filmmakers denies much of the existing bibliography on silent cinema since no Colombian or foreign text has ever established their contribution to local or international cinema. In fact, in this research, the notions of polycentrism, polymorphism, and cinematographic versatility are studied in-depth, with the aim of creating a documented and updated study of Colombian silent cinema. It is aimed to be able to demonstrate that the contribution of the latter to Colombian and Latin American silent cinema - and in part to the Italian one - was substantial and far-reaching, both in terms of quantity and content. Finally, this research aims not only to define the contribution of Colombian filmmakers to the development of their national cinema but also, and above all, to identify the origin of some of the elements that characterize Colombian cinema.
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Gonzalez-Ayala, Sofia Natalia. "Black, Afro-Colombian, Raizal and Palenquero communities at the National Museum of Colombia : a reflexive ethnography of (in)visibility, documentation and participatory collaboration." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/black-afrocolombian-raizal-and-palenquero-communities-at-the-national-museum-of-colombia-a-reflexive-ethnography-of-invisibility-documentation-and-participatory-collaboration(e40c8594-35c7-49b9-af1c-ccca82cb335f).html.
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The subject of this thesis is the temporary and travelling exhibition Velorios y santos vivos: comunidades negras, afrocolombianas, raizales y palenqueras [Wakes and living saints: Black, Afro-Colombian, Raizal and Palenquero communities]. ‘Velorios,’ as many people involved in the project referred to it, portrayed Afro-Colombian funerals and devotions to Catholic saints, and was on display in the temporary exhibitions hall in the National Museum of Colombia, in Bogotá, from 21 August to 3 November 2008. Before it closed, a travelling version was designed that began to go around the country in 2009. When I wrote this thesis, ‘the Itinerante,’ as the travelling version was referred to at the Museum, was still available as one of the displays that its Travelling Exhibitions Programme (TEP) offered to the public. I use Velorios and the Itinerante as the main ‘characters’ in an ethnography of the National Museum of Colombia, where I explore the different instances in which this major exhibition produced visibilities and invisibilities regarding the place of Afro-Colombian people in the nation. As a museum, this institution is responsible for managing, researching and displaying its four collections (of art, history, ethnography and archaeology) but also, as one of the Ministry of Culture’s ‘special administrative units,’ it is in charge of designing and implementing policies that regulate all the other museums in Colombia. This is in keeping with national and international official legislation regarding cultural heritage, like the National Culture Plan and UNESCO’s resolutions, and in support of the development and strengthening of museums, museology and museum design in the whole country. Here I show what these responsibilities and duties translate into on the ground. The themes that the thesis explores are i) (in)visibility, ii) participatory collaboration and, also as the means to approach these themes, iii) documents and documentation. They are all components of the kind of curatorship that this museum exhibition conveyed.
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Devis, Esteban. "The construction of identity and community - performing ethnicity : who are the Colombian-Lebanese?" Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/366613/.
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The aim of this thesis is to investigate the Colombian-Lebanese community in Bogota, and specifically the identities of a particular group of Colombian-Lebanese. I explore the role of ethnicity in the construction of their identities, through the concepts of space, performance and community. The Colombian-Lebanese community has a particular position within Bogota society as part of Bogota’s elite. This privileged position means the Colombian-Lebanese community is a confident group that does not have to endure the negative aspects of ethnic labelling that other less privileged communities may have to sustain. Most of the Colombian-Lebanese participants in this study have been successfully upwardly socially mobile whilst keeping a connection with their ethnic community. At the same time, less upwardly mobile descendants of Lebanese immigrants are more likely to completely assimilate into Colombian society, or if they are recent Muslim immigrants, maintain their religious identity but their ethnic identity is likely to gradually dilute. By adopting an ethnographic approach, with an emphasis on interviews and participant observation, I focus on the Colombian-Lebanese organisations that work within this ethnic community, including a social club, a Maronite parish, a charitable organisation, and a cultural association. I analyse a number of activities and events organised by the Colombian-Lebanese, observing the locations where these take place, their participation in the events, as well as how identity is performed within them. There have been few studies of the Colombian-Lebanese in Colombia, most of those focussing on the history of migration and settlement. This thesis aims to address this by adding a contemporary view of the Colombian-Lebanese in Bogota. Moreover, it contributes to the growing literature on migrant communities investigating whether upward mobility is compatible with ethnic identification. I argue that social status is as important to Colombian-Lebanese identity as ethnicity, and that the two combine in order to belong to the organisations that work within the community. The social positioning of the Colombian-Lebanese in Bogota’s society positively influences their relationship with their ethnic identity, which they can choose deliberately when and where to perform.
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Posada-Carbó, Eduardo. "The Colombian Caribbean : a regional history, 1870-1950 /." Oxford : Clarendon press, 1996. http://catalogue.bnf.fr/ark:/12148/cb374905368.
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Calderon, Mario. "Conflits dans le catholicisme colombien." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375962184.
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Quevedo, Emilio, and mikewood@deakin edu au. "El tránsito desde la higiene hacia la salud la pública en Colombia en el contexto de las interacciones internactionales." Deakin University. School of Social Inquiry, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051118.110705.
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Martina, Aileen. "The Traditional Bambuco in Nineteenth and Twentieth-Century Colombian Composition." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500243/.
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Disputes concerning the origin of the term bambuco persist among scholars in Colombia, as well as controversies regarding the process of notating the traditional bambuco (3/4 or 6/8), when it penetrates the written tradition of popular music. Composers writing popular and salon bambucos increasingly perceived the advantage of notating it in 6/8. This study investigates the traditional bambuco and its assimilation into nineteenth and twentieth-century cultivated tradition, with emphasis on piano pieces by representative Colombian composers of art music. I include specific analyses of Cuatro preguntas (ca. 1890) by Pedro Morales Pino (1863-1926), ChirimÍa y bambuco (1930) by Antonio MarÍa Valencia (1902-1952), Bambuco en si menor by Adolf o MejÍa (1905-1970), El bambuco by Manuel MarÍa Párraga (c. 1826-1895), and Trozos Nos. 6 and 158 (1927-1970) by Guillermo Uribe HolguÍn (1880-1971).
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Ortiz, Lucía. "La novela colombiana hacia finales del siglo veinte : una nueva aproximación a la historia /." New York ; Washington (Wash.) ; Paris [etc.] : Peter Lang, 1997. http://catalogue.bnf.fr/ark:/12148/cb37532031k.
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Sánchez, Efraín. "Gobierno y geografía : Agustín Codazzi y la Comisión corográfica de la Nueva Granada /." Bogotá : Banco de la República : El Áncora ed, 1998. http://catalogue.bnf.fr/ark:/12148/cb37194540z.
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Biller, Achim M., and Jorge Galindo Cardenas. "Venezuelan Bolivarian missions in Colombia: what are the real, underlying reasons for their existence?" Monterey, California: Naval Postgraduate School, 2013. http://hdl.handle.net/10945/34630.
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Approved for public release; distribution is unlimitedThe Bolivarian government of Venezuela and the government of Cuba use the legitimate status of Bolivarian Missions in Colombia for both legitimate and illegitimate state activities. The overall aim is to undermine the Colombian state and increase the influence of political movements sympathetic to Bolivarianism in Colombian politics with the overall goal of weakening a historical international rival to Venezuela in Latin America. A comparative case study method is applied to four Venezuelan-sponsored Bolivarian missions in Colombia: Robinson, Milagro, Guacaipuro, and Identidad. A review of former Venezuelan President Hugo Chvezs ideology of Bolivarianism is also included. The case study analysis is complemented by fieldwork in Colombia: interviews with many key figures including former insurgents, intelligence officials of both Venezuela and Colombia, as well as politicians and analysts who have direct and indirect knowledge of the missions. This constitutes a unique and up-close perspective on the true nature of Bolivarian missions in Colombia. The Bolivarian government of Venezuela and the government of Cuba consistently seek to expand their anti-U.S. influence throughout Latin America; understanding their ideology and mechanisms for doing so yields important policy implications for the U.S. and Colombian governments, as well as democracy proponents.
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Brasher, Michael C. "Blessed are the Peacemakers: Transnational Alliance, Protective Accompaniment and the Presbyterian Church of Colombia." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/885.
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The purpose of this thesis was to explore how Christian networks enable strategies of transnational alliance, whereby groups in different nations strive to strengthen one another’s leverage and credibility in order to resolve conflicts and elaborate new possibilities. This research does so by analyzing the case of the Presbyterian Church of Colombia (IPC). The project examines the historical development of the IPC from the initial missionary period of the 1850s until the present. Specifically, the purpose of the study was to consider how the historical struggle to articulate autonomy and equality vis-à-vis the U.S. Presbyterians (PCUSA) and paternalist models of ecclesial relations has affected recent political strategies pursued by the IPC.
Despite the paternalism of the early missionary model, changing conceptions of social transformation during the 60s contributed to a shift in relations. Over time the IPC and PCUSA negotiated relationships in which groups both acknowledge a problematic history and insist upon an ethnic of partnership and respect. Today, PCUSA groups, in concert with the IPC, collaborate on a range of transnational political strategies aimed at strengthening the IPC’s leverage in local struggles for justice and peace.
A review of this case suggests that long-established Christian networks may have an advantage over other civil society groups such as NGOs in facilitating strategies of transnational alliance. Although civil society organizations often have better access to important resources needed for international advocacy initiatives, Christian networks, such as the one established between the IPC and U.S. Presbyterian communities, rely on a history of negotiating power-disparity in order to elaborate relationships based on listening and partnership. Such findings prove important not only to how we conceptualize transnational alliance but also to the ways that we think about the history and future of Christian networks.
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Willey, Paul F. "The art of riverine warfare from an asymmetrical approach." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2004. http://library.nps.navy.mil/uhtbin/hyperion/04Mar%5FWilley.pdf.
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Thibaud, Clément. "Républiques en armes : les armées de Bolívar dans les guerres d'indépendance du Venezuela et de la Colombie /." Rennes : Presses universitaires de Rennes, 2006. http://catalogue.bnf.fr/ark:/12148/cb40182766n.
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Texte remanié de: Thèse de doctorat--Histoire--Paris 1, 2001. Titre de soutenance : Guerre et révolution : les armées bolivariennes dans la guerre d'indépendance en Colombie-Venezuela, 1810-1821.Bibliogr. p. 393-401. Glossaire. Index.
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Valencia-Tobon, Alejandro. "Your love hurts down to my bones : exploring public understandings of dengue fever in Medellin, Colombia, through an anthropology-art-science investigation." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/your-love-hurts-down-to-my-bones-exploring-public-understandings-of-dengue-fever-in-medellin-colombia-through-an-anthropologyartscience-investigation(d3f04ff7-a8e5-47c6-ac80-d8bb54d346c8).html.
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This is a study of the creation and negotiation of different forms of knowledge about dengue fever. I explore how anthropology, in collaboration with ideas and practices drawn from science and art, may transform public understandings of dengue. Dengue is a vector-borne disease transmitted to humans by the bite of a mosquito which is infected with the dengue virus. Mosquito-borne diseases have normally been treated through vector control and the elimination of breeding sites. Until 1960, the use of the pesticide DDT allowed the virtual eradication of Aedes aegypti (Ae. aegypti) in many places of the world. DDT was banned in most of the world by 1970 and by 1980 the focus on vector-control was replaced by a discourse of sanitation, in which health authorities tried to ‘educate’ populations and ‘teach’ proper hygienic habits to avoid mosquito-human contact. At present, these practices are changing again. The World Health Organisation (WHO) suggests that dengue incidence could be reduced at least 50% by 2020 through applying health campaigns and social interventions that involve having people participating in the control of dengue outbreaks. In this thesis I explore how WHO guidelines are applied in the control of dengue in Medellín, and how we can think about the concepts of ‘knowledge’, ‘education’ and public health campaigns through ethnographic methods. My project has been about looking at how different understandings – or different forms of knowledge – are part of interactions of different ‘publics’, non-expert citizens, virologists, entomologists and artists. My argument is that health campaigns should be re-designed – privileging relations and stimulating debate – by focusing on experience and moving towards managing the disease and living with the mosquito. Contrary to the different models enacted in health campaigns – which neglect the value of everyday experiences – I advocate for interdisciplinary collaboration as a relational art strategy that can generate an intersubjective exchange of experiences.
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Castro-Herrera, Fernando. "Niche Structure of an Anole Community in a Tropical Rain Forest within the Choco Region of Colombia." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc798407/.
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Ten species of anoles at Bajo Calima within the Choco of Western Colombia separate into two principal microhabitat groups: forest species, and those inhabiting openings and edges. The ten anoles further separate according to ground and vegetation dwellers. There is a relation at Bajo Calima between the number of anole species and vegetational structural diversity. Anole diversity within a given macrohabitat is by perch microsite/microclimate heterogeneity. These are the two major ecological dimensions along which similarity is limited or resources are partitioned.
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Giraldo, Clara. "The Social Construction of Huntington's Disease Caregivers in Colombia, South America." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4966/.
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This study is a multi-method, two-city, intensive, in-depth qualitative study of Huntington's disease (HD) caregivers (HDCs) in Colombia. I explored the Colombia HDCs' experience through the Hispanic culture of caring. I develop the theory of the subrogate agency based on 5 functional stages of HD from Shoulson and Fanh (1979). This study was conducted in two different regions of Colombia, Medellin and Juan de Acosta, in which high rates of HD cases have been identified. The data were collected through three methods: (a) 56 interviews with HDCs and 8 with physicians; (b) 28 participant observations of Huntington's disease sufferers (HDSs); (c) 4 interviews and 8 focus groups of 6 members each with HDCs of late HDSs. Human agency is the ability to monitor one's own action. This study showed that the gradual and serious loss of all capabilities in HDSs has a social effect on the HDSs' agency. HDSs' survival depends on the subrogation that the HDC offers to the HDS. The HDS retains self-hood, i.e. agency, through the HDC's action. This subrogation causes a paradoxical consequence, resulting in both negative and positive effects on the caregiver. The theory of surrogate agency is supported by the data. Through the progressive phases, the capacity of the sufferer for expressing suffering, and social embarrassment, as well as the capacity to fight against the illness and provide reciprocity to their caregivers, deceases. The reason is that physical and cognitive impairments, as well as depression and anger, continue to increase. The study also documented important socio-cultural differences among the study regions. For instance, HDC's solidarity was based on blood and friendship; in larger cities, HD fragmented families. The study also found that HD is taking an immense toll on caregivers, sufferers and families because they are excluded from the Colombia's Basic Health Plan.
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Pöppel, Hubert. "Tradición y modernidad en Colombia : corrientes poéticas en los años veinte /." Medellín (Colombia) : Universidad de Antioquia, 2000. http://catalogue.bnf.fr/ark:/12148/cb377595395.
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Velasquez, Angel Ana Milena. "Le jeu du clown dans la Colombie contemporaine : la renaissance du clown, un acteur social et politique et le rire du spectateur de résistance et de liberté." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030005/document.
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Le jeu du clown dans la Colombie contemporaine est en voie de développement. Bien que la figure du clown n’ait jamais cessé d’exister dans la société, quelles que fussent ses formes à travers l’histoire, on assiste à la renaissance de l’art du clown dans notre pays depuis ces dix dernières années. L’art du clown devient une possibilité de revalorisation du langage comique et poétique de l’artiste dans la société colombienne actuelle, conférant à l’acteur clown un rôle social et politique et permettant au spectateur de vivre une forme de résistance et de libération de sa réalité quotidienne violente.La mise en perspective historique du cirque comme langage artistique moderne permet de comprendre comment le clown va se constituer et se développer tout au long des XIXe et XXe siècles jusqu’à devenir un art autonome avec son incursion dans le théâtre et les écoles de formation théâtrale. Cette démarche vise à donner les fondements théoriques de la naissance et de l’évolution du cirque et du clown dans le cirque depuis l’époque de l’Amérique préhispanique jusqu’à la Colombie contemporaine. La perspective historique remarque que, bien avant l’arrivée des clowns dans les cirques modernes après le XVIIIe siècle, on peut constater l’existence de personnages comiques et clownesques dans la culture précolombienne et pendant la période de la colonisation. L’histoire des fêtes populaires de l’Amérique latine, les personnages itinérants et comiques vont se développer parallèlement aux formes spectaculaires religieuses de l’idéologie espagnole. Les cirques européens et américains arriveront dans une atmosphère de résistance et, plus tard, d’indépendance et commencera à s’écrire l’histoire du cirque en Amérique latine.Le modèle économique latino-américain, la récente industrie culturelle et le manque d’écoles de formation du cirque marqueront l’évolution du cirque comme institution sociale, cherchant à travers la discipline et ses techniques à former des jeunes et enfants en situation de violence. D’autre part, le théâtre subira des divisions entre la tradition et l’apparition d’idéologies modernes sur la formation de l’acteur jusqu’à la consolidation de la méthode artistique de création collective. Le clown du cirque traditionnel deviendra une sorte de stéréotype avec les duos clownesques à la télévision, les clowns dans la rue, les restaurants, et les mendiants habillés en clowns. Cette étude aborde les éléments sémiotiques de la figure des nouveaux clowns en tant qu’art autonome impulsé par la pédagogie du français Jacques Lecoq diffusée dans le monde entier, avec une incidence importante en Amérique latine, où elle rencontre la création collective basée sur l’improvisation. Cette pédagogie arrive à travers les festivals internationaux du théâtre où artistes et public accèdent au panorama de l’art du clown dans le monde, au travers de stages et de spectacles. Rénovant ainsi le phénomène de marginalisation du clown par un changement de statut artistique et social. La pratique enracinée de la création collective, letravail du collectif et l’implication du théâtre dans les transformations sociales et politiques du pays, rencontre le langage des nouveaux clowns, pour donner forme à des créations clownesques collectives tout à fait solides et originales. Nous nous concentrons sur la fonction qu’exercent les clowns contemporains au présent de la société colombienne résultant d’une vaste période de crises marquée par des affrontements et des vagues successives de violence. L’humour comme trait particulier de la culture devenant une forme incontestable d’affronter une réalité douloureuse rencontre le clown que par le rire permettra de récupérer la valeur sacrée du chaman, bobo, bouffons et fous de l’histoire. Ainsi nous reconnaissons l’incursion du langage du clown sur plusieurs terrains (l’hôpital, l’humanitaire et le social) pour admettre que le spectateur vive une forme de libération par la communication établie avec le clown dans le rireClown acting in contemporary Colombia is developing. Even though the figure of clowns has always being present in society, regardless of its forms through history, we are now witnessing the rebirth of the art of clowning in Colombia in the last decade. The art of clowning becomes an enhancement possibility of comic and poetic language of the artist in the current Colombian society, conferring the clown actor a social and political role, and allowing the spectator to live a form of resistance and freedom from their daily violent reality.The historical perspective of the circus as modern artistic language allows understanding how the clown is built up and developed through the XIX and XX centuries until the point of becoming an independent art with its foray into theater and theater schools. This perspective aims to provide the theoretical foundations of the birth and evolution of the circus and the clown in the circus since the time of pre-Hispanic America until contemporary Colombia. The historical perspective points out that the existence of comic and clownesque characters in the Pre-Columbian culture and during the colonization era can be recorded even before the clowns’ arrival to the modern circus after the XVIII century. The history of Latin America popular celebrations and the itinerant and comic characters are developed at the same time as the spectacular religious forms of the Spanish ideology. The European and American circuses arrived amid an atmosphere of resistance and, later, of independence. The history of the circus in Latin America begins to be written.The Latin American economic model, the recent cultural industry and the lack of schools for circus training mark the circus evolution as a social institution which, through its discipline and techniques, looks to form young people and children that are in violence situations. On the other hand, the theater is subjected to divisions between tradition and the emergence of modern ideologies on actor’s training until the consolidation of the artistic method of collective creation. The traditional circus clown becomes a kind of stereotype with the clownesque duos on T.V., the clowns in the streets and restaurants, and the beggars dressed up as clowns.This study approaches the semiotic elements of the new clowns’ figure as an independent art encouraged by French Jacques Lecoq’s pedagogy, spread all around the world with an important impact in Latin America, where this pedagogy meets the collective creation based on improvisation. It arrives through international theater festivals, where artists and spectators have access to the panorama of the clown art around the world, by means of courses and shows renewing the clown’s marginalization phenomenon through an artistic and social status change. The established practice of collective creation, the collective work and the involvement of theater in social and political transformation of the country, meet the language of the new clowns to give shape to absolutely strong and original collective clownesque creations.We will focus on the function performed by the contemporary clowns in the current Colombian society resulting from a large period of crisis marked by confrontations and successive waves of violence. Humor, as a particular feature of the culture and becoming an unquestionable way of facing a painful reality, meets the clown, who makes possible to recover the sacred value of the shaman, bobo, buffoons and mad characters of history. Thus, recognizing the foray of clown language into different fields (the hospital, the humanitarian and the social ones) in Colombia, it is possible to accept that the spectator lives a form of freedom through the communication established with the clown in the laughing
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Salazar, Carolina. "The Art of Managing the Arts: How to Establish Sustainable Arts Organizations in Medellin, Colombia, By Applying The United States of America Fundraising Model." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1321548792.
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Månsson, Josefin, and Meilin Hedén. "Are you sick, poor or just having fun? : A study of drug discourses in the world´s largest cocaine producing country, Colombia." Thesis, Stockholms universitet, Institutionen för socialt arbete - Socialhögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-88041.
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In this study we explore the present discourses on drugs and drug consumption in Colombia, a country known for its drugs, and foremost its cocaine production. Interviewing and analyzing the statements according to discourse theory made by the professional key actors in the country, the study asserts that three discourses are present in the Colombian context, namely the public health discourse, the deprivation discourse and the pleasure discourse. These discourses, it is demonstrated, view the consumer of psychoactive substances from different perspectives and relate consumption to different causes, consequences and solutions. While the public health discourse is closely connected to viewing the consumer as a sick person, and describes consumption mainly as addiction, the deprivation discourse rather speaks of the consumer as a marginalised person consuming to escape a harsh reality. According to the third perspective, the pleasure discourse, it is focal that the consumption is related to socialising and recreation. In the course of the exploration of this context and its discourses, attention is paid to the fact that the discourses are many times described as being in opposition to one another although the respondents commonly refer to different social classes while describing the consumer and that each discourse this way is related to certain groups in society. This study presents different Colombian perspectives on drug consumption, a so far scarcely researched area in the otherwise so scrutinized drug issue, viewed from a social work perspective.
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Barrera, Monroy Eduardo. "Mestizaje, comercio y resistencia : La Guajira durante la segunda mitad del siglo XVIII /." [Santafé de Bogotá] : Instituto colombiano de antropología e historia, 2000. http://catalogue.bnf.fr/ark:/12148/cb37627177b.
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Cavallini, Vincent. "Villes et bourgs du Haut Magdalena, Colombie." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37594595x.
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Sauloy, Mylène. "Colombie drogue, mafia et pouvoir, 1970-1985 /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37618452v.
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Soto, Francisco José. "La Recherche et l'exploitation des hydrocarbures terrestres en droit français et colombien." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb376013024.
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Durán, Gamba Mildred. "L'expression de la violence dans l'art actuel en Amérique Latine : notamment en Colombie, à Cuba et au Chili de 1995 à 2005 (dessin, peinture, sculpture, photographie, vidéo, installation et performance)." Paris 1, 2008. http://www.theses.fr/2008PA010587.
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La force destructrice dans tout état de violence mais aussi les énergies créatrices implicites a ce phénomène sont a l'origine de cette étude. L'analyse des phénomènes de violence, ces fameux « objets de passion» dont parle Yves Michaud, a 1'exegese de toute création nous a permis d'aborder le sujet sous un certain angle. La vie au quotidien a influence les productions latino-americaines, nous verrons comment elle rentre en interaction avec différentes violences, crée des points d'impacts, des accrocs avec le sens, et rend ces oeuvres détentrices d' expressions. Une analyse iconologique est l'outil essentiel de ce travail compose de deux parties. La première, axée sur la récuperation et la préservation de la mémoire est intitulée : Stratégies pour échapper a l 'amnésie et est divisée en trois chapitres (Le corps souillé, De la dégradation et la décomposition et Absence/Présence: la violence suspendue). La deuxième, Autres tactiques de résistance, porte sus les stratégies qui abordent autrement ces phénomènes politico-sociaux en proposant des tactiques subversives, originales et subtiles face a des contextes difficiles. A première vue, les tensions que ces oeuvres véhiculent ne sont pas très manifestes
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De, Costa Ravindra Noel John, and decosta@mcmaster ca. "New relationships, old certainties : Australia's reconciliation and treaty-making in British Colombia." Swinburne University of Technology, 2002. http://adt.lib.swin.edu.au./public/adt-VSWT20050627.092937.
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This thesis investigates the search for new relationships between indigenous and settler peoples in Australia and Canada. Both reconciliation and the treaty-making process in British Columbia are understood as attempts to build such relationships. Yetthese are policies that have arisen in response to the persistence of indigenous claims for recognition of rights and respect for identity. Consequently, I consider what the purpose of new relationships might be: is the creation of new relationships to be the means by which settlers recognise and respect indigenous rights and identities, or is
there some other goal? To answer this, I analyse the two policies as the opening of negotiations over indigenous claims for recognition. That is, the opening of new political spaces in which indigenous people�s voices and claims may be heard. Reconciliation opened a space to rethink Australian attitudes to history and culture, to renegotiate Australian identity. Treaties in British Columbia primarily seek to renegotiate ownership and control of lands and resources. Both policies attempt to relegitimise the polities in which they operate, by making new relationships that provide for mutual recognition. However, the thesis establishes that these new spaces are not nearly as expansive or inclusive as they are made out to be. They are in fact defined by the internal struggles of settler society to make life more certain: to resume identities that are secure and satisfying, and to restore territorial control and economic security. This takes place with little regard for the legitimate claims of indigenous peoples to be recognised as people and to enjoy dynamic, flourishing identities of their own. Building new relationships becomes the path to entrenching old certainties.
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Lake, Donald John. "Are there Colombian-type emeralds in Canada's Northern Cordillera? Insights from regional silt geochemistry, and the genesis of emerald at Lened, NWT." University of British Columbia, 2017. http://hdl.handle.net/2429/63764.
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The unusual black shale hosted emerald deposits of Colombia are an important source of the finest quality emeralds. The majority of world emerald deposits are related to granite pegmatites and metamorphic environments, however Colombian-type emerald is amagmatic and is associated with sedimentary-hydrothermal brines of largely evaporitic origin where the key emerald-forming elements are remobilized from black shale during regional compressional tectonism. The valuable gem quality mineralization of Colombian emerald deposits is so far unique, however the basic geological conditions that led to mineralization may not be as unusual. Similar black shale basins hosting evaporites are found worldwide, and could be prospective for Colombian-type emerald mineralization. Canada’s Selwyn Basin and periphery is one similar setting with the distinction of hosting two interesting beryl showings: the Mountain River Beryl (a variation of the Colombian beryl model) and the Lened emerald showing (in which black shale provided vanadium as an emerald chromophore). This thesis presents the results of applying Colombian-type emerald exploration criteria to Selwyn Basin stream sediment geochemistry data, in addition to clarifying the origin of emerald at the Lened showing located within the Selwyn Basin.
The unusual black shale hosted emerald deposits of Colombia are an important source of the finest quality emeralds. The majority of world emerald deposits are related to granite pegmatites and metamorphic environments, however Colombian-type emerald is amagmatic and is associated with sedimentary-hydrothermal brines of largely evaporitic origin where the key emerald-forming elements are remobilized from black shale during regional compressional tectonism. The valuable gem quality mineralization of Colombian emerald deposits is so far unique, however the basic geological conditions that led to mineralization may not be as unusual. Similar black shale basins hosting evaporites are found worldwide, and could be prospective for Colombian-type emerald mineralization. Canada’s Selwyn Basin and periphery is one similar setting with the distinction of hosting two interesting beryl showings: the Mountain River Beryl (a variation of the Colombian beryl model) and the Lened emerald showing (in which black shale provided vanadium as an emerald chromophore). This thesis presents the results of applying Colombian-type emerald exploration criteria to Selwyn Basin stream sediment geochemistry data, in addition to clarifying the origin of emerald at the Lened showing located within the Selwyn Basin.
We identified several prospective areas in Selwyn basin for further Colombian-type emerald exploration based on Na, K, Be, Cr/V, and rare earth element values, however there are important caveats regarding analytical techniques and the regional nature of silt sampling. We found that Lened is a unique skarn-hosted hydrothermal emerald occurrence (~100 Ma) in which Be was provided by a nearby granite pluton of similar age. The chromophore V was provided by local black shale/mudstone.Science, Faculty of
Earth, Ocean and Atmospheric Sciences, Department of
Graduate
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Escobar, Mesa Augusto. "La Violence à travers la production littéraire de l'écrivain colombien Arturo Echeverri Mejia." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37604903v.
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Mirga-Kruszelnicka, Anna. ""The associations are all we have”. Comparative study of the romani associationism and ethnic mobilization in Spain and Colombia." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/400198.
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El objetivo de esta tesis es explorar la naturaleza de la movilización étnica, su dinámica, los elementos característicos que la componen y para evaluar cómo el entorno político (asociado con el surgimiento y variación en la estructura de oportunidades políticas) influye en el nacimiento y el desarrollo de los movimientos étnicos. Con el fin de hacerlo, he desarrollado un estudio comparativo del movimiento asociativo gitano en dos ubicaciones geográficas diferentes - España y Colombia.
En un intento de superar las divisiones teóricas existentes, como medio de simplificación y síntesis, he desarrollado un modelo teórico-analítico que me permitió poner en práctica el concepto de movilización ética para fines analíticos. En este proceso, he establecido cinco elementos clave que componen la movilización étnica y que trato como macro-variables. Dividir el concepto de movilización étnica en estos ingredientes permite un análisis detallado de los elementos relevantes de una manera más transparente, y al mismo tiempo permite explorar la relación que se establece entre estos componentes de una manera dinámica. Por otra parte, una importante contribución de este modelo radica en la conceptualización de la movilización étnica como un proceso complejo, dinámico y multi-nivel que se plasma en múltiples direcciones, es decir: movilización interna (hacia las adherentes), la movilización lateral (dirigida hacia a los aliados y espectadores) y la movilización externa hacia arriba (dirigida hacia al oponente, sobre todo el Estado).
Esta investigación comparativa e interdisciplinaria se basa en estudios de casos y se inspira en el enfoque de etnografía multi-situada. Durante el trabajo de campo en Colombia y España, me he basado principalmente en métodos cualitativos y he incorporado elementos de la etnografía, observando los patrones de liderazgo y representación, en la intersección de las esfera pública y privada, entre los protagonistas gitanos de movilización étnica vis-a-vis las miembros no-asociados de la comunidad gitana.
Esta tesis se divide en ocho capítulos. En el primer capítulo presento reflexiones iniciales. En el segundo capítulo, se analizan los conceptos y se presenta el marco teórico. Proporciono una conceptualización inicial del activismo gitano, para situar mi discusión en lo que considero como expresiones de movilización étnica. También esbozo el modelo teórico-analítico. En el capítulo tres, presento mi metodología de la investigación, describo en detalle el proceso de trabajo de campo y explico el proceso de análisis de datos. En el capítulo cuatro, proporciono la necesaria descripción del entorno en Europa y América Latina, lo que permite situar los estudios de casos de movilización étnica gitana en un contexto más amplio. Los capítulos cinco y seis presentan los resultados de los estudios de caso en España y Colombia, respectivamente. Ambos capítulos tienen una estructura similar: presento los actores y las estructuras de movilización étnica gitanos, analizo los encuadros (frames) de identidad e intereses colectivos, las estrategias de acción colectiva y discuto los factores externos del entorno que condicionan el fenómeno de la movilización étnica. El capítulo siete se dedica a discutir mis conclusiones de ambos estudios de casos desde una perspectiva comparativa, mediante la identificación de similitudes y diferencias, las sinergias, así como sus causas. También presento mis contribuciones al campo con respecto a la conceptualización de la movilización étnica como un proceso multidireccional. El capítulo final, que recapitula los resultados y conclusiones de esta tesis, proporciona una breve síntesis. También considero el posible impacto académico y social de mi investigación y presento de las posibles futuras líneas de investigación.The objective of this thesis is to explore the nature of ethnic mobilization, its underlying dynamics, the characteristic elements that compose it and to assess how the political environment (associated with emerging and shifting political opportunities) influences the birth and development of ethnic movements. In order to do so, I developed a comparative study of Romani associative movement in two different geographical locations – Spain and Colombia. In an attempt to overcome the existing theoretical divisions, as a means of simplification and synthesis I developed a theoretical-analytical model which allowed me to operationalize the concept of ethic mobilization for analytical purposes. In this process, I established five key elements which compose ethnic mobilization and which I treat as macro-variables. Breaking down the concept of ethnic mobilization into these ingredients enables a detailed analysis of relevant elements in a more transparent way, at the same time allowing for an insight into relationships which these components establish between each other in a rather dynamic manner. Furthermore, a major contribution of this model lies in conceptualizing ethnic mobilization as a complex, dynamic and multi-level process which takes place in multiple directions, namely: internal mobilization (towards the constituencies), external sideways mobilization (targeting allies and bystanders) and external upward mobilization (targeting the opponent, mostly the State). This comparative and inter-disciplinary investigation is based on case studies and draws from a multi-sited ethnography approach. During field-work in Colombia and Spain, I relied mainly on qualitative methods and incorporated elements of ethnography, observing patterns of leadership and representation, on the intersection of public and private spheres among Romani actors of ethnic mobilization vis-a-vis un-associated members of the Romani community. This thesis is divided into eight chapters. In the first chapter I present initial reflections. In the second chapter, I provide insight into the concepts and their underlying theoretical conceptualization of the key terms relevant for the object of study. I provide an initial framing of Romani activism, to situate my discussion in what I consider as expressions of Romani ethnic mobilization. I also outline the theoretical-analytical model. In chapter three, I outline my methodology and research design, describe in detail the process of field-work and provide an insight into the process of data analysis and triangulation. In chapter four I “set the scene” by produce the necessary description of a broad and complex environment in Europe and Latin America, which allows to situate specific case-studies of Romani ethnic mobilization to in a wider context. Chapters five and six present the findings from the case-studies in Spain and Colombia, respectively. I provide empirical evidence, discuss and contextualize my findings with regards to Romani ethnic mobilization. Both chapters have a similar composition in which I discuss the actors and structures of Romani ethnic mobilization, the frames of collective identity and collective interests, strategies of collective action and the question of timing and external factors conditioning the phenomenon of ethnic mobilization. Chapter seven is dedicated to discussing my findings from both case-studies from a comparative perspective, by identifying similarities, synergies and differences as well as their causes; I also discuss my contributions to the field with regards to the understanding of ethnic mobilization as a multi-directional process. The final chapter, I recapitulate the findings and conclusions of this dissertation, providing a brief synthesis. I also consider the possible academic and social impact of my research and outline the potential future lines of research.
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David, A. C. "Are price-based capital account regulations effective? : evidence from the experiences of Brazil, Chile and Colombia in the 1990s." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598309.
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Large and volatile capital flows pose serious challenges for macroeconomic management in developing countries. Our main objective in the first chapter is to assess both the role of capital controls in helping to prevent financial instability, and there adequacy for the management of financial stress. We consider theoretical approaches that introduce distortions to capital markets, moral hazards, information asymmetries, bounded rationality and endogenous financial instability, making a strong case for the use of capital account management policies. Furthermore, we analyse whether dollarisation could help to deliver financial stability and therefore constitute an alternative to capital controls. In the second chapter, we examine the price-based capital account management policies adopted in the 1990s by Chile, Colombia and Brazil. In addition, we evaluate the effectiveness of those regulations, concentrating on their impact on net capital flows, on the maturity structure of flows and on the real exchange rate. In the case of Chile, according to our analysis and evidence capital controls succeeded in reducing net short-term flows; however, they did not affect long-term flows or the real exchange rate. As far as Colombia is concerned, the regulations seem to have been more effective, as they were capable of reducing not only short-term flows but also long-term ones, as well as affecting the real exchange rate. In turn, in the case of Brazil, taxes on inflows were only directed at portfolio inflows and the evidence shows that they succeeded in having a significant impact on them. Finally, in the third chapter, we analyse whether price-based controls on capital inflows were successful in insulating these economies against external shocks. Our results indicate that capital controls did help to shield Chile and Colombia against external disturbances in the 1990s. We conclude that the experiences of Chile, Colombia and Brazil present strong evidence that capital account regulations help to provide greater policy autonomy.
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Cabrales, Eusebio Jose. "Assessment of the Current Status of Informatics in Colombia's Universities and Society." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc278429/.
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This study tries to delineate the paradigms of opinion among Colombian Computer Industrialists with respect to the role of informatics in national development especially (1) their estimation of the performance of the informatics in the modernization process, (2) the perceptions on which this attitude was based, (3) their ability to integrate the informatics instruction into the development process, (4) their ability to establish the need of doctoral programs in informatics into the development process, and (5) their ability to recognize the importance of the network communication as a medium of knowledge exchange among higher education institutions.
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Torres, Navarrete Manuel Ignacio. "Etude de l'agriculture paysanne traditionnelle de Boyaca en Colombie." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37618968m.
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Ramírez, Bacca Renzo. "History of labour on a coffee plantation : La Aurora plantation, Tolima-Colombia, 1882-1982 /." Göteborg : University of Göteborg, 2002. http://catalogue.bnf.fr/ark:/12148/cb389558621.
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Romero, Armando. "Las palabras estan en situación : un estudio de la poesía colombiana de 1940 a 1960 /." Bogotá : Procultura, 1985. http://catalogue.bnf.fr/ark:/12148/cb355451874.
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Scapin, Gessica. "«Il s'agit d'être». Teoria e pratiche di formazione dell'attore secondo Jacques Copeau." Doctoral thesis, Università degli studi di Padova, 2012. http://hdl.handle.net/11577/3422148.
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This PhD dissertation on metteur en scène Jacques Copeau deals with a subject-matter that has not been studied enough in depth yet. By skipping topics that have already been widely covered by various essays and treatises on the author, this research focuses on looking into that part of poetics concerning the outsets of dramatic art education, more specifically of the comédien, and the process of creating a character.
The starting point for this research work is the study of how an actor’s training in France has evolved since the 18th century. This point of departure has given us the opportunity to recognize the outsets and innovative practice of the Vieux-Colombier-style dramatic art education; especially when we take into consideration the links and influence between Copeau’s theories and the ideas and practice of some sections of human pedagogy, that both in the 1800s and particularly in the 20th century reviewed the previous concept of didactics and training in order to add new concepts related to the learning process and the teacher-student relationship.
In order to give in-depth study to the subject-matter of acting schools and pedagogy, I have also looked into and drawn the analogy between Gordon Craig’s Arena Goldoni and l'École du Vieux-Colombier, the similarity with the Russians (in particular Vachtangov), the French unanimism movement and some of Delsarte’s theories.
Much detail has been given to the section regarding the survey on an actor’s talent, its nature and physical training at the École du Vieux-Colombier.
In reference to the player’s work, this research studies in depth the script / acting-the-part combination that characterizes Copeau’s whole work and that has often been considered a contradictory point in his poetics. The organic nature of his thought on creating a character and staging has been reconstructed without leaving out the analysis of the playwright’s and the director’s role.
This research work ends with an annotated bibliography, in which Copeau’s scripts are selected according to the subject-matter dealt with in the thesis.La presente tesi di dottorato sul regista francese Jacques Copeau affronta un argomento i cui studi sono ancora poco approfonditi. Tralasciando infatti questioni già ampiamente trattate in varie monografie dedicate all’autore, la ricerca si occupa di indagare la parte della poetica che riguarda i principi dell’educazione drammatica, in particolare del comédien, e il processo di costruzione del personaggio. Il punto di partenza del lavoro è l’indagine di come si sia evoluta la formazione dell’attore in ambito francese a partire dal Settecento. Questo punto di partenza ha permesso di riconoscere i principi e le pratiche innovative dell’educazione drammatica al Vieux-Colombier. Ciò in particolare se si considerano i legami e le influenze tra le teorie di Copeau e le idee e le pratiche di certa pedagogia dell’uomo, che sia nell’Ottocento che, in particolare, nel Novecento rivedono la precedente concezione della didattica e dell’educazione, per inserire concetti nuovi in relazione al processo di apprendimento e al rapporto educatore-educando. Per approfondire l’argomento della scuola e della pedagogia d’attore, vengono indagate anche le somiglianze fra l’École du Vieux-Colombier e l’Arena Goldoni di Gordon Craig, i russi, in particolare Vachtangov, il movimento dell’unanimismo francese e alcune teorie di Delsarte. Particolarmente approfondita anche la sezione che riguarda l’indagine sull’origine e la natura della vocazione drammatica e sull’allenamento fisico all’École du Vieux-Colombier. Per quanto riguarda nello specifico il lavoro d’attore, la ricerca ha consentito di indagare il binomio testo/improvvisazione, che caratterizza tutto il lavoro di Copeau e che è spesso stato considerato un punto contraddittorio nella sua poetica. L’organicità del suo pensiero sul lavoro di costruzione del personaggio e messinscena è stata ricostruita senza tralasciare l’analisi del ruolo dell’autore né di quello assunto dal regista. Il lavoro di ricerca si conclude con una bibliografia ragionata, in cui i testi di Copeau sono selezionati in linea con l’oggetto di indagine della tesi.
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Le, Blé Serge. "Influence des apports terrigènes sur l'archipel corallien du Rosaire (Colombie)." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37607141x.
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Nieuwenhuis, Channah José. "Traces on tropical tools : a functional study of chert artefacts from preceramic sites in Colombia /." Leiden : Faculty of archaelogy, University of Leiden, 2002. http://catalogue.bnf.fr/ark:/12148/cb390886585.
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Silva, Renán. "Los ilustrados de Nueva Granada, 1760-1808 : genealogía de una comunidad de interpretación /." Medellín : Banco de la República, 2002. http://catalogue.bnf.fr/ark:/12148/cb40951455p.
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Vignaux, Hélène. "Esclavage et rébellion : la construction sociale des noirs et des mulâtres, Nouvelle-Grenade, XVIIe siècle /." Montpellier : Presses universitaires de la Méditerranée, 2007. http://catalogue.bnf.fr/ark:/12148/cb411122737.
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Extr. de: Thèse de doctorat--Études ibériques et ibéroaméricaines--Paris 10, 2003. Titre de soutenance : Esclavage, traite et évangélisation des noirs dans le nouveau royaume de Grenade au XVIIe siècle.En appendice, choix de documents en espagnol. Bibliogr. p. 321-343. Notes bibliogr. Glossaire. Index.