Journal articles on the topic 'Paco de Lucía'

The close collaboration between Chick Corea and Paco de Lucía shows a clear example of the connection between jazz and flamenco. The release of Corea’s <em>My Spanish Heart </em>(1976), an explicit approach to the Latin and Spanish musical spheres, and the recordings of Paco de Lucía with jazz saxophonist Pedro Iturralde in the late 60’s led Paco and Chick to discover one another. This article offers an analytical perspective of the early years of this collaboration by reviewing Corea’s records <em>My Spanish Heart </em>and <em>Touchstone </em>(1982)<em>, </em>and De Lucía’s <em>Paco de Lucía Interpreta a Manuel de Falla</em> (1978) and <em>Solo Quiero Caminar </em>(1981), not only through the solos of the guitarist and pianist, but also through those played by the musicians who recorded and toured with both of them in the following years: Jorge Pardo and Carles Benavent.

En el presente artículo partimos del supuesto de que el proceso de restructuración capitalista de la economía brasileña, así como las tendencias a la desarticulación del sindicalismo dependiente del Estado desarrollista, dieron comienzo a partir del golpe de Estado en 1964, desactivando el"pacto populista" de los años cincuenta, en donde los sindicatos habían constituido la pieza fundamental, y rompiendo de tajo el proceso ascendente que el movimiento sindical recorría en su lucha por alcanzar su autonomía de clase frente al Estado.

The purpose of this research is to identify the specificity of pop and jazz stylistics as one of the characteristic trends of modern accordion art, using the analysis of the composition „Hommage a Paco” by Frank Angelis. The methods of the proposed scientific article are based on the use of research approaches (genre, style, textual, analytical), which allow to identify the specific embodiment of trends in the current stage of the development of accordion art in the modern repertoire. Scientific novelty. Despite its widespread use in practice, Frank Angelis’s composing work has not been subject to scientific understanding; in particular, his work has not been analyzed in detail in contemporary Ukraine. Conclusions. As a result of the analysis of Frank Angelis’s „Hommage a Pacco”, it was founded that the specificity of the formation is coordinated by the principle of double-frequency (the first part has an expositional character, the second – jazz-improvisational); the individuality and expressiveness of the aesthetics of the theme are determined by the dances of the famous Spanish virtuoso guitarist Paco de Lucia (Allegres, Bulires and Tangos), which underlie the work. The specificity of the harmonic plan is mainly based on alternate septaccords and noncords, and the thematicism is modified by texturing. The dedication to the creator of the „new flamenco” style is reflected in a diverse palette of playing tools, most of which mimic the specificity of guitar techniques (so the specific accordion tremolo gives the music material an expressive, precise, more sonorous sound – the color of the flamenco, and creates an invoice-like texture). Also in the melodic line are reflected specific guitar techniques, including „long picado”, „rasgeado”, „alsapua”. A peculiar feature of the composer’s style is the use of jazz elements such as: „quasi-improvisation”, „mini-solo”. Combining music from different directions, F. Angelis created the unique composition, giving it the characteristic features of Spanish flamenco and jazz music.

Este trabajo aborda el pacto librepensador suscri­to por las autoras Rosario de Acuña y Ángeles López de Ayala. Se examinan sus contribuciones en la prensa librepensadora y su activismo feminista a través de un análisis de sus colabora­ciones en Las dominicales del librepensamiento, El gladiador: órgano de la “Sociedad progresiva femenina” y El gladiador del librepensamiento. La ideología de estas publicaciones les permitió vincular la lucha feminista con la agenda política de ideología progresista. Se parte de dos ejes complementarios cuya intersección permite abordar su pacto de compromiso y transgresión: la lucha por la igualdad social y por la igualdad de género. Se estudian sus reflexiones sobre la explotación del pueblo por las castas, el empoderamiento de la mujer como agente constructor del progreso y la denuncia vehemente de su sometimiento. Se concluye que los escritos de Acuña y Ayala evidencian con el paso de los años una radicalización que pro­picia una postura cada vez más trasgresora y un feminismo más combativo, reflejando así su descontento con la actitud pater­nalista u hostil del librepensamiento y el republicanismo mas­culino en lo que respecta a los derechos de la mujer.

El artículo examina cuatro de los proyectos sobre Confederación debatidos en 1811 en Venezuela con el propósito de mostrar la evolución que se produjo en la manera de concebir el pacto confederal. Una evolución que pone de manifiesto cómo la eventual adaptación-adopción del “modelo” confederal/federal de los Estados Unidos constituyó una estrategia retórica a través de la cual se expresaron distintas interpretaciones sobre tal referente en tanto expresión de la lucha entre algunos representantes de las provincias actuantes en el Congreso General de 1811-1812

<p><span lang="ES">La presente reflexión es un acercamiento que examina el alcance que el Pacto Global de las Naciones Unidas puede observar como herramienta no solamente para ase­gurar la responsabilidad de las empresas en el contexto global, sino su capacidad de articulación frente a los dos aspectos más preocupantes de la sociedad colombiana: la corrupción y la seguridad. En consecuencia, este análisis pretende brindar algunas luces sobre lo que podría ser el <em>efecto bumerang</em> de la RSC en lo que respecta a los cuatro grandes frentes que aborda el Pacto -Derechos Humanos, derechos laborales, medio ambiente y lucha contra la corrupción- y en qué medida, desde la RSC se pueden irradiar transversalmente las iniciativas anticorrupción y garantía de la seguridad. </span></p>

Este artículo analiza la novela Réquiem por un campesino español (1953), de Ramón J. Sender, a la luz del concepto de inocencia, proveniente de los postulados filosóficos de Sören Kierkegaard y Paul Ricoeur. El objetivo es revisar las diferentes connotaciones de este concepto en la novela para demostrar que se configura como un complejo entramado simbólico representativo del conflicto ideológico entre los personajes principales, y que, a su vez, dicho conflicto, implica al lector. La disertación presenta las nociones teóricas que definen la inocencia para analizar algunas síntesis premonitorias de la trama que la toman en cuenta. Después se analizan acciones y símbolos clave que implican a la inocencia en la vida de Paco el del Molino y el papel de Mosén Millán ante ello. Finalmente, se plantea la lucha simbólica entre el bien y el mal que refleja el estado de inocencia en el lector.

El presente artículo, partiendo de la consideración de la violencia contra la mujer como unatentado contra los derechos humanos, analiza el marco jurídico-constitucional español ylos compromisos políticos adquiridos por España tanto en el ámbito interno, especialmentecon la aprobación por el Parlamento en 2017 del primer Pacto de Estado en materia deViolencia de Género, como en el ámbito internacional, mediante la suscripción del Conveniode Estambul, evaluando su cumplimiento e idoneidad a la luz del el primer informe deevaluación del Grupo de Expertas del Consejo de Europa en la Lucha contra la Violenciacontra la Mujer y la Violencia Doméstica (GREVIO).

Pocos espacios naturales representan la lucha por la conservación en nuestro país como el humedal del Parque Nacional de Las Tablas de Daimiel. Desde su declaración en 1973, para evitar su desecación, su historia ha sido un continuo devenir donde hemos visto la desaparición de sus ríos tributarios, Guadiana y Gigüela, por la sobreexplotación de los acuíferos subterráneos, los incendios de turba o episodios de contaminación de sus aguas. Situaciones, muchas veces dramáticas, que en más de una ocasión han provocado serias dudas sobre su futuro. Sin embargo, la reciente recuperación de las aguas del río Guadiana, volviendo a inundar Las Tablas, desde hace casi cuatro años, ha permitido abrir una nueva etapa esperanzadora en su reciente historia.

Este artículo, que tiene como marco referencial la extensión de oportunidades educativas a niños, a jóvenes e incluso a adultos de todos los sectores sociales en América Latina que marcó el siglo xx, muestra cómo el ideario de la Ilustración benefició la ampliación de los servicios educativos en pre-escolar, primaria, secundaria y universidad, generando una expansión educativa de envergadura. Unidad en la diver­sidad de experiencias educativas en la región puede ser la divisa de esta conversación sobre grandezas y miserias en la educación latinoamericana en el siglo pasado. Haciendo un balance de su expansión y crisis, se sintetizan aquí algunas de las grandes propuestas neoliberales en la educación, especialmente la agenda de la privatización que contraviene profundamente los principios de extensión de oportunidades educativas, calidad de la educación, igualdad y acceso predicados por los gobiernos liberales de la región. Con razón el sociólogo y educador argentino Daniel Filmus, quien fuera ministro de Educación, en los comentarios finales de su artículo titulado «Liberales eran los de antes» (Filmus, 1996), ofrece algunas perspectivas críticas sobre las opciones utópicas de la educación a partir de la constatación de que hay una serie de hechos interrelacionados: a) una crisis endémica de los sistemas que se refleja en una dislocación real y simbólica entre los discursos de los maestros y los alumnos; b) una dislocación entre los discursos de las nuevas generaciones y los adultos, y c) una fuerte crisis de legitimidad de los sistemas educativos en términos de su efectividad. Se concluye que la lucha por la educación no es una mera actividad tecnocrática, implementada en los escritorios burocráticos o negociada en los salones escolares, claustros ministeriales y traspatios sindicales. Tampoco es, simplemente, una lucha por mejorar las oportunidades educativas de los individuos, sino que la lucha por la educación es una cuestión de Estado y una lucha por la defensa del pacto democrático.

La lucha contra el cambio climático sigue constituyendo uno de los mayores desafíos de la sociedad y ha de ser abordado también desde una perspectiva iuslaboralista. El cambio de modelo productivo diseñado desde la Unión Europea mediante el Pacto Verde europeo y asumido por el Proyecto de Ley de Cambio Climático y Transición Energética ha de llevarse a cabo respetando los derechos sociales para conseguir una transición justa hacia un desarrollo sostenible y un trabajo decente. Para ello, la investigación desarrollada examina los sectores y actividades afectados y las herramientas propuestas para detectar con antelación los elementos clave a los cuales habrá de prestarse atención desde el diálogo social y la negociación colectiva para anticipar los cambios y evitar errores.

La Constitución de 1978 no considera los derechos sociales como derechos fundamentales. Sin embargo, se han llegado a desarrollar sistemas de protección y el avance de los derechos sociales recoge un proceso histórico. La Globalización económica, la nueva jerarquía de poderes y desmantelamiento del Estado del bienestar parece situarnos en el tránsito del Estado social al Estado penal. Ante esta situación, el autor pone de relieve la ruptura del pacto constitucional y el derecho a la resistencia como remedio extremo. La lucha por los derechos o la democracia entendida como proceso es una forma de acción política.Esta reflexión, desde la perspectiva jurídica, hoy, pretende contribuir al debate dentro de estas jornadas donde la preocupación dominante es cómo hacer valer la dignidad humana y la cohesión social, eje del pensamiento de Concepción Arenal, en el presente.

El proceso colonial español en lo que hoy conocemos como México propició importantes cambios sociales, políticos y económicos, donde los pueblos indígenas fueron activos partícipes de la construcción de su devenir histórico. En el caso de los pueblos nahuas del Altiplano central en particular, las antiguas propiedades de su organización social como unidades productivas o barrios denominados calpultin, que les permitían defender sus intereses colectivos, aunado a los intereses coloniales por la desintegración del poder político y económico de caciques indios y encomenderos españoles, y al creciente malestar social a causa de las crisis, económicas, políticas, sociales y demográficas que aquejaron al territorio durante todo el siglo XVI, se concatenaron para llevar a los indígenas del “común” (campesinos principalmente) a emprender la llamada “Rebelión de los terrazgueros”, lucha “popular” por la reconfiguración del “pacto social”, génesis de la República de Indios en la Nueva España, reinvención ontológica del ser indígena en el contexto colonial y estrategia político-económica de la colonia para establecer las bases que le llevarían a prosperar pos casi tres siglos.

En el presente artículo se intenta mostrar el uso ideológico que los fundadores de la Revista Moderna (1898-1903) hicieron tanto de su relación con científicos cercanos al gobierno de Porfirio Díaz, como del discurso positivista dominante entre estas esferas, con el fin de legitimar su participación en la lucha por el poder literario y cultural. La irrupción de la segunda generación modernista —la de los autodenominados decadentes— en la escena literaria del México finisecular suscitó una serie de acaloradas polémicas, que enfrentó a los jóvenes allegados a esa tendencia estética con los defensores del nacionalismo costumbrista, todavía vigente en ese momento. Después de años de disputas, en las páginas de la Revista Moderna, los editores se valieron de dichas relaciones con el ámbito científico no solo para contrarrestar los argumentos de sus adversarios y “nacionalizar” el Modernismo, sino también para convertir su publicación en una de las principales voceras de ese movimiento a nivel continental. El pacto inicial con ese sector y con sus prácticas discursivas, sin embargo, generaron fuertes tensiones que, finalmente, se resolvieron en favor de la supremacía de la literatura en aquel impreso.

El artículo propone la categoría de ciudades contrapeso como aquellas que logran tanto dinamizar su desarrollo de manera endógena y a su vez impulsar un proceso de descentralización y devolución de poder en contextos de Estados tradicionalmente centralistas y con alta hegemonía de sus capitales. El contrapeso supone una visión federalista o autonomista que logra cambios desde la propia articulación regional con base en una fuerza política territorial de impacto nacional que moviliza dichas ciudades en pacto con sus regiones cercanas. Desde el punto de vista de resultados materiales, implica la capacidad de crecimiento económico y demográfico para ser polo alternativo a la capital, infraestructura de ciudad global con lazos internacionales y capital humano avanzado como polo cultural y universitario. Se concluye el éxito de Guayaquil en Ecuador y Santa Cruz de la Sierra en Bolivia con alianzas público-privadas, fuerza política influyente y alianzas interregionales para movilizarse y lograr procesos de mayor autonomía regional, a diferencia de Concepción en Chile, que muestra mayor dinamismo en lo universitario y en lo cultural. Dichas ciudades complejizan el sistema de ciudades permitiendo contener la macrocefalia del centralismo latinoamericano. Entrevistas en profundidad en los países permitieron comprender el contexto de lucha de estas ciudades contra el centralismo, sus hitos y desafíos en las diversas dimensiones del contrapeso.

Este artículo estudia las novelas Barro (1951) de Paca Navas de Miralda y Aquel año rojo (1973) de Argentina Díaz Lozano desde el Análisis Crítico del Discurso (ACD) de Teun A. van Dijk. En el contexto macro de las plantaciones bananeras en Honduras, las subjetividades en pugna de los personajes femeninos se hallan subestimadas, pues predominan discursos de lucha social como el llamado a huelga, la consecución de los derechos laborales y las denuncias sociales de la masa trabajadora masculina. Es por esto, que las mujeres en los enclaves, desde sus subjetividades luchan consigo mismas y con sus semejantes, en espacios marcados por la violencia y la desigualdad, con el deseo de surgir frente a un espacio predominantemente masculino. Los discursos que enmarcan dichas subjetividades son del conocimiento social en el que los marcos mentales sustentan las creencias. Las protagonistas no escapan al ser tema de conversación y del conocimiento colectivo, que las hace oscilar en variantes ontológicas de aceptación y rechazo. Más que una estimación de sus capacidades laborales, afectivas y de procurar el bien común, los personajes femeninos son valorados por el ser. El corpus ofrece un horizonte que no solo corresponde anotar para los personajes literarios, sino que compete también para Honduras, creando un imaginario acorde con las ideas de etnicidad, moral e identidad.

In 1320, Pope John XXII launched a doctrinal enterprise of some import: the assimilation of practices of black magic into the crime of heresy. As was his custom, John sought the opinion of experts before taking a final decision that would entail, among other consequences, extending the jurisdiction of the inquisition to cover cases of black magic. In his recent study on medieval demonology, Alain Boureau has suggested that the question that truly concerned the pope was not witchcraft or ritual magic per se, but the role of the devil in these practices. Boureau based his thesis on a wide-ranging theory of late medieval representations of individual subjectivity and society, on the principle of “pact” or covenant between two free-willing parties. Away from old, static forms of social hierarchization, the fourteenth century favors a contractual structure that places the emphasis on the voluntary nature of the relation between individuals in society and between humans and God. Boureau develops his argument on the basis of the response offered by one of the members of the 1320 commission, the Franciscan Enrico del Carretto. Bishop of Lucca, Enrico had been among the experts in charge of judging the orthodoxy of the Franciscan Spirituals in 1318, and had also participated in the discussion towards the preparation of the bullCum inter nonnullos. We are thus in the presence of one of John XXII's curial cohort. Boureau accords particular value to Enrico's response because he is the only member of the commission who seems to draw attention to the real efficacity of demonic causality in black magic, thus offering the first explicit evidence of thetournant demonologiquetaking place in the medieval Church between the end of the thirteenth and the beginning of the fourteenth century.

LABURPENA: Europako integrazio prozesuaren oinarrizko helburuetako bat garapen jasangarria da. Testuan azaltzen den bezala, Europar Batasunak helburu hori lortzeko azken urteotan aurrera eraman duen ekintza energia-trantsizioan oinarritzen da. Estrategiak eta arauak aztertuz, ondorioztatzen da energia berriztagarrien eta energia-efizientziaren sustapena bilakatu dela ingurunearen babeserako, klima-aldaketaren kontra borrokatzeko eta ekonomia berdea bultzatzeko tresna. Hala ere, emaitzak ikusita, helburu zehatzen lorpena moteltzen ari dela dirudi, beraz, Europar Batasunak energia-trantsizioa burutzeko aurrera eramaten duen jarduera indartu behar du. Bide horretan, Europako Itun Berdearen garapena oinarrizkoa izango da. ABSTRACT: Sustainable development is one of the objectives of the European integration process. The activity of the EU in recent years to achieve this objective is based on the energy transition. The analysis of European strategies and laws show the promotion of renewable energies and energy efficiency has become a tool that is being used for the protection of the environment, the fight against climate change and the promotion of the green economy. However, given the results, the achievement of the specific objectives seems to be slowing down, so the EU must strengthen its activity to complete the energy transition. The development of the European Green Deal is going to be fundamental. RESUMEN: Uno de los objetivos del proceso de integración europea es el desarrollo sostenible. Tal y como se describe en el texto, la actividad desarrollada durante los últimos años por la UE para su logro se fundamenta en la transición energética. El análisis de las estrategias y normas europeas demuestran que la apuesta por las energías renovables y la eficiencia energética se ha convertido en la herramienta a la que se está recurriendo tanto para la protección del medio ambiente, como para la lucha contra el cambio climático y el impulso de la economía verde. No obstante, vistos los resultados, la consecución de los objetivos específicos parece ralentizarse, por lo que la UE debe reforzar su actividad para completar la transición energética. El desarrollo del Pacto Verde Europeo será fundamental para ello.

El trasfondo del concepto de género viene ya de algunos siglos atrás, cuando François Poullain de la Barre advirtiera, en el año 1673, que “la subordinación de las mujeres no tenía su origen en la naturaleza, sino en la sociedad y que la diferencia no es fundamento de la desigualdad” (Poullain de la Barre, 1673). Y, Mary Wollstonecraft cuando declaró, en 1792, que “la sujeción de las mujeres no era el resultado de una naturaleza inferior a la masculina, sino de perjuicios y tradiciones que se remontaban a la noche de los tiempos” (Wollstonecraft, 1977).A pesar del tiempo transcurrido, sendas declaraciones tienen una viva actualidad, pues aun en la configuración de los Estados democráticos contemporáneos, es latente la desigualdad de hombres y mujeres. Hoy, la discriminación continúa teniendo su escusa -que no causa- en el sexo pero la razón de que se dé reside en el género o en la diferencia social entre el género femenino y el género masculino. La inclusión de ambos géneros es necesaria en la lucha por la igualdad ya que la igualdad de género no es un concepto asociado a las mujeres, sino una cuestión que ha de afectar y beneficiar a hombres y a mujeres en aras de la eliminación de la discriminación y la voluntad de un nuevo pacto. En la erradicación de esta discriminación ha sido imprescindible comprender el significado del género como categoría de análisis jurídico. Su observancia por los poderes públicos en todas sus acciones, disposiciones normativas y políticas, hará posible la efectividad de la igualdad. De este modo, las Instituciones garantes de los derechos, como las Defensorías del pueblo, han de supervisar la acción pública a fin de velar por la efectividad de los derechos que garantiza e incorporar en sus acciones la perspectiva de género o principio feminista. Es por ello, que en la configuración actual de los Estados, se hace preciso dar prioridad a la aplicación transversal del principio feminista o de igualdad efectiva de mujeres y hombres para elaborar un renovado proyecto social, de convivencia y de construcción efectiva de la libertad en igualdad que revierta en la calidad de las democracias y de los Estados sociales de Derecho, como el español.

Esse artigo se propõe a pensar como o lema da Marcha das Mulheres Negras contra o Racismo, a Violência e o pelo Bem Viver (2015) como uma proposição teórico-política de um novo pacto civilizatório para sociedade brasileira proveniente do acúmulo da luta antirracista e feminista negra. Trazemos as organizações das mulheres, representadas aqui pela Marcha, como produtoras de uma gramática que converge para uma pedagogia feminista negra. Tomaremos a Carta das Mulheres Negras, fruto da Marcha das Mulheres Negras, como campo empírico; nela, as mulheres negras, elaboram significados do Bem Viver, de ancestralidade, e reiteram o rompimento com o racismo e todas as formas de discriminação, incluindo o campo educacional. Há nesse processo uma correspondência com as experiências e conhecimentos produzidos por ativistas negras como instrumentos de formulação de políticas públicas. Operamos no primeiro momento com as noções de pedagogia feminista e interseccionalidade como recurso de compreensão do protagonismo das mulheres negras e do entrelaçamento de distintas formas de diferenciações e desigualdades reciprocamente. No entanto, no segundo momento, ao deslocarmos a interseccionalidade, daremos lugar a uma narrativa de assunção de uma política curricular centrada na diferença, ampliando as perguntas que se fazem nos processos de aproximação e distanciamento com as lutas e produções das mulheres negras em direção a uma educação feminista antirracista.Palavras-chave: Currículo. Diferença. Interseccionalidade. Educação antirracista. Marcha das Mulheres Negras. BLACK WOMEN ON THE MARCH AGAINST RACISM, VIOLENCE AND FOR GOOD LIVING:evidence for an anti-racist curriculumAbstractThis article proposes to think the motto of the Black Women's March against Racism, Violence and for Well-Living (2015) as a theoretical-political proposition of a new civilizing covenant for Brazilian society coming from the accumulation of the antiracist and black feminist struggle. We bring up the women's organizations, represented here by the March, as producers of a grammar that converges into a black feminist pedagogy. We will take up the Black Women’s Charter, the fruit of the Black Women's March, as an empirical field; in it, black women elaborate meanings of Well-Living, of ancestry, and reiterate the break with racism and all forms of discrimination, including the educational field. In this process, there is a correspondence with the experiences and knowledge produced by activist black women as tools for formulating public policies. We operate at the first moment with the notions of feminist pedagogy and intersectionality as a resource to understand black women’s protagonism and the intertwining of different forms of differentiation and inequality reciprocally. However, at the second moment, as we move intersectionality forward, we will make room for a narrative of assumption of a curricular policy focused on difference, broadening the questions asked in the processes of approach and distance with the struggles and productions of black women towards an anti-racist feminist education.Keywords: Curriculum. Difference. Interseccionality. Antiracist education. Black Women's March.MUJERES NEGRAS EN LA MARCHA CONTRA EL RACISMO, LA VIOLENCIA Y EL BUEN VIVIR: evidencia de un plan de estudios antirracistaResumen:Este artículo propone pensar el lema de la Marcha de las Mujeres Negras contra el Racismo, la Violencia y por el Bien-Vivir (2015) como una proposición teórico-política de un nuevo pacto civilizador para la sociedad brasileña proveniente de la acumulación de la lucha feminista antirracista y negra. Traemos las organizaciones de mujeres, representadas aquí por la Marcha, como productoras de una gramática que converge en una pedagogía feminista negra. Tomaremos como campo empírico la Carta de la Mujer Negra, fruto de la Marcha de la Mujer Negra; en ella, las mujeres negras elaboran significados de Bien-Vivir, de ascendencia, y reiteran la ruptura con el racismo y todas las formas de discriminación, incluso el campo educativo. En este proceso, hay una correspondencia con las experiencias y conocimientos producidos por las mujeres negras activistas como herramientas para formular políticas públicas. Operamos en un primer momento con las nociones de pedagogía feminista e interseccionalidad como recurso para entender el protagonismo de las mujeres negras y el entrelazamiento de diferentes formas de diferenciación y desigualdad recíprocamente. Sin embargo, en el según momento, mientras avanzamos en la interseccionalidad, daremos lugar para una narrativa de asunción de una política curricular centrada en la diferencia, ampliando las preguntas formuladas en los procesos de acercamiento y distancia con las luchas y producciones de las mujeres negras hacia una educación feminista antirracista.Palabras-clave: Plan de estudios. Diferencia. Interseccionalidad. Educación antirracista. Marcha de las Mujeres Negras.

La jurisprudencia en materia laboral es extensa y por décadas los derechos laborales fueron adquiriendo mayor presencia en los tribunales laborales en México. A partir de la reforma de 2011 la aplicación de la llamada cláusula de no discriminación construyó una línea jurisprudencial que con el paso del tiempo se ve reflejada en las sentencias del máximo Tribunal en México. Estas sentencias presentan un giro interpretativo respecto de dicha cláusula. En este sentido, el texto pretende analizar las decisiones de los jueces del más alto tribunal mexicano en algunos casos que han aplicado directamente el artículo 1. constitucional para proteger los derechos sociales como derechos aut.nomos derivados de este precepto. Palabras clave Derechos humanos, Igualdad, No discriminación, Derecho al trabajo, Derecho a la Seguridad Social. Bibliografía Bayefsky, A. (1990). The principle of Equality or Non Discrimination in International Law. Rights Law Journal, 11(1), 1-34. Montoya Melgar, A. (2018, 12 de marzo). La igualdad como valor, como principio y como derecho fundamental. Thomson Reuters Arazandi, Recuperado de https://parlamento-cantabria.es/sites/default/files/dossieres-legislativos/Montoya.pdf. [Consultado el 8 de enero de 2020]. Morán Navarro, S. y Abundis Rosales M. (2016). El Derecho Humano a la Igualdad en la Constitución Mexicana. Algunas consideraciones. Ciencia Jurídica, (10), 137-154. Jurisprudencia Nacional Suprema Corte de Justicia de la Nación, Amparo directo 9/2018, 5 de diciembre de 2018 Suprema Corte de Justicia de la Nación, Amparo directo en revisión 6043/2016, 26 de abril de 2017 Suprema Corte de Justicia de la Nación, Amparo en revisión 750/2018, 9 de enero de 2019 Suprema Corte de Justicia de la Nación, Amparo en revisión 619/2017, 29 de noviembre de 2017 Suprema Corte de Justicia de la Nación, Amparo en revisión 59/2016, 29 de junio de 2016 Tesis 1ª. CCCLXXXIV/2014 (10ª.), Semanario Judicial de la Federación, Décima Época, tomo I, pág. 720, Registro digital: 2007924. Normativa Internacional Convención Americana sobre Derechos Humanos adoptada por la Organización de los Estados Americanos, 22 noviembre 1969 Convención Interamericana para Prevenir, Sancionar y Erradicar la Violencia contra la Mujer “Convención Belém do Pará” adoptada por la Organización de los Estados Americanos, 9 junio 1994 Convención Internacional sobre la Eliminación de todas las Formas de Discriminación Racial. Adoptada por la Asamblea General de las Naciones Unidas en su resolución 2106 A (XX), de 21 diciembre 1965 Convención Relativa a la Lucha contra las Discriminaciones en la Esfera de la Enseñanza. Adoptada en la undécima reunión de la Conferencia General de la Organización de las Naciones Unidas para la Educación, la Ciencia y la Cultura, 14 diciembre 1960 Convención sobre la Eliminación de todas las formas de Discriminación contra la Mujer. Adoptada por la Asamblea General de las Naciones Unidas en su resolución 34/180, de 18 diciembre 1979 Declaración sobre la Eliminación de todas las Formas de Intolerancia y Discriminación Fundadas en la Religión o las Convicciones. Proclamada por la Asamblea General de las Naciones Unidas en su resolución 36/55 de 25 noviembre 1981 Declaración Universal de Derechos Humanos. Adoptada y proclamada por la Asamblea General en su resolución 217 A (III), de 10 diciembre 1948 Pacto Internacional de Derechos Civiles y Políticos. Adoptado por la Asamblea General en su resolución 2200 A (XXI), de 16 diciembre 1966 Pacto Internacional de Derechos Económicos, Sociales y Culturales. Adoptado por la Asamblea General de las Naciones Unidas en su resolución 2200 A (XXI), de 16 diciembre 1966 Protocolo adicional a la Convención Americana sobre Derechos Humanos en materia de Derechos Económicos, Sociales y Culturales “Protocolo de San Salvador”, 27 enero 1989 Normativa Nacional Constitución Política de los Estados Unidos Mexicanos. Publicada en el Diario Oficial de la Federación el 5 de febrero de 1917 Ley General de Acceso de las Mujeres a una Vida Libre de Violencia. Publicada en el Diario Oficial de la Federación el 1 febrero 2007 Ley General para la Inclusión de las Personas con Discapacidad. Publicada en el Diario Oficial de la Federación el 30 mayo 2011 Ley Federal para Prevenir y Eliminar la Discriminación. Publicada en el Diario Oficial de la Federación el 11 junio 2003 Ley General para la Igualdad entre Mujeres y Hombres. Publicada en el Diario Oficial de la Federación el 2 agosto 2006 Ley General de los Derechos de Niñas, Niños y Adolescentes. Publicada en el Diario Oficial de la Federación el 4 diciembre 2014

Este artículo de reflexión es el resultado de la revisión analítica, interpretativa y crítica de los documentos, leyes y jurisprudencia relacionada con el derecho al olvido de los pederastas, la pedofilia y la pederastia, cumpliendo con los objetivos principales de clarificar los conceptos objeto de discusión y formular posibles alternativas frente a las escasas limitaciones para la vinculación al mercado laboral de quienes han sido condenados por delitos sexuales contra menores de catorce años. Mediante la utilización del tipo de investigación dogmática, descriptiva y de análisis estático de precedente se logró concluir que la pedofilia, al ser una enfermedad incurable, debe ser tratada con el fin de evitar su materialización en la pederastia y, como medida preventiva de delitos, el Congreso de la República de Colombia ostenta la misión de reglar el manejo de las bases de datos de los condenados por estos delitos a través de una ley estatutaria. 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Ley 1336 de 2009, “por medio del cual se adiciona y robustece la Ley 679 de 2001, de lucha contra la explotación, la pornografía y el turismo sexual con niños, niñas y adolescentes”. Recuperado de https://diario-oficial.vlex.com.co/vid/robustece-pornografia-adolescentes-61325313-------. (2016). Proyecto de Ley Estatutaria Nº 112 de 2016 “por medio de la cual se crea el Registro Nacional de Ofensores Sexuales”. Recuperado de http://leyes.senado.gov.co/proyectos/images/documentos/Textos%20Radicados/proyectos%20de%20ley/2016%20-%202017/PL%20112-16%20REGISTRO%20NACIONAL%20DE%20OFENSORES%20SEXUALES.pdf-------. (2018). Ley 1918 de 2018 “por medio de la cual se establece el régimen de inhabilidades a quienes hayan sido condenados por delitos sexuales contra menores, se crea el Registro de inhabilidades y se dicta otras disposiciones”. Bogotá, Colombia. Recuperado de http://www.funcionpublica.gov.co/eva/gestornormativo/norma.php?i=87420Consejo Superior de Política Criminal. (s.f.). 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The effects of biochar and biochar combined with N-fertilizer on the content of soil organic matter in water-stable aggregates were investigated. A field experiment was conducted with different biochar application rates: B0 control (0 t ha-1), B10 (10 t ha-1) and B20 (20 t ha-1) and 0 (no N), 1st and 2nd levels of nitrogen fertilization on silt loam Haplic Luvisol (Dolna Malanta, Slovakia), in 2014. The N doses of level 1 were calculated on required average crop production using balance method. Level 2 included additional 100% of N in year 2014 and additional 50% of N in year 2016. The effects were investigated during the growing seasons of spring barley and spring wheat in 2014 and 2016, respectively. Results indicate that the B20N2 treatment significantly increased the proportion of water-stable macro-aggregates (WSAma) and reduced water-stable micro-aggregates (WSAmi). Aggregate stability increased only in the B20N1 treatment. The B20N2 treatment showed a robust decrease by 27% in the WSAma of 0.5-0.25 mm. On the other hand, an increase by 56% was observed in the content of WSAma with fractions 3-2 mm compared to the B0N0 treatment. The effect of N fertilizer on WSAma was confirmed only in the case of the B10N2 treatment. The proportion of WSAma with fractions 3-2 mm decreased by 42%, while the size fraction of 0.5-0.25 mm increased by 30% compared to the B10N0 treatment. The content of WSAma with fractions 1-0.5 mm decreased with time. On the contrary, the content of WSAma with particle sizes above 5 mm increased with time in all treatments except the B10N2 and B20N2 treatments. A statistically significant trend was identified in the proportion of WSA in the B10N2 and B20N2 treatments, which indicates that biochar with higher application levels of N fertilizer stabilizes the proportion of water-stable aggregates. In all treatments, the content of soil organic carbon (SOC) and labile carbon (CL) in WSAmi was lower than those in WSAma. A considerable decrease of SOC in the WSAma >5 mm and an increase of SOC in WSAmi were observed when biochar was applied at the rate of 10 t ha-1. Contents of SOC in WSAmi increased as a result of adding biochar combined with N fertilizer at first level. CL in WSA significantly increased in all size fractions of WSA.References Abiven S., Hund A., Martinsen V., Cornelissen G., 2015. Biochar amendment increases maize root surface areas and branching: a shovelomics study in Zambia. Plant Soil, 342, 1-11. Agegnehu G., Bass A.M., Nelson P.N., and Bird M.I., 2016. Benefits of biochar, compost and biochar–compost for soil quality, maize yield and greenhouse gas emissions in a tropical agricultural soil. Sci. Tot. Environ., 543, 295-306. Angers D.A., Samson N., Legere A., 1993. 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DA PRISÃO POR DÍVIDA ALIMENTAR E O PACTO SAN JOSÉ DA COSTA RICA IMPRISONMENT FOR NONCOMPLIANCE WITH CHILD SUPPORT ORDER AND THE PACT OF SAN JOSE, COSTA RICA Guilherme Domingos de Luca*Laura Bazotte Borges** RESUMO: O presente estudo, inserido na linha de pesquisa “Fundamentos dogmáticos da experiência Jurídica”, visa a analisar o instituto da “Prisão civil por dívida alimentar na relação de parentesco em face do impacto gerado pelo Pacto de San José da Costa Rica”, sob enfoque da aplicação do instituto dos alimentos na relação de parentesco. Em razão das controvérsias, será estudado o status normativo ao qual o Pacto foi elevado no ordenamento jurídico brasileiro, em decorrência da promulgação da Emenda Constitucional nº 45/2004. A pesquisa foi pautada na análise de doutrinas, em especial das obras de direito de família, buscando apontar o status normativo do Pacto, visto que este tratado prevê a prisão civil do inadimplente da obrigação alimentar, após a promulgação da Emenda Constitucional nº 45/2004. Trata-se da metodologia dedutiva, que levou em consideração as comparações bibliográficas, para se concluir qual a real importância desta norma internacional no direito positivo vigente. PALAVRAS-CHAVE: Alimentos. Prisão Civil. Pacto de São José da Costa Rica. ABSTRACT: This study aims to analyze the institute of “civil imprisonment for noncompliance with child support order in face of the impact generated by the Pact of San José, Costa Rica”. Because of the controversy, the legal status of this Pact in the Brazilian legal system and the implications of the enactment of Constitutional Amendment 45/2004 will be studied. The research was based on the analysis of opinions from legal theorists, especially in the family law field, seeking to identify the legal status of the Pact, since this treaty enables the imprisonment for noncompliance with child support order and was enacted after the Constitutional Amendment 45/2004, which forbids civil imprisonment. Through a deductive methodology, which took into account comparative literature, this research will help to dimension the real importance of this Pact in the current positive law. KEYWORDS: Child Support. Civil Imprisonment. Pact of San Jose, Costa Rica. SUMÁRIO: SUMÁRIO: Introdução. 1 Origem e Conceituação. 2 Condições para se Decretar a Prisão Civil. 3 Ingresso dos Tratados no Ordenamento Jurídico Brasileiro. 4 Controvérsias do Status Jurídico da Prisão Civil. 5 Da Análise Jurisprudencial. Considerações Finais. Referências.* Mestre em Teoria do Direito e do Estado pelo Centro Universitário Eurípedes de Marília (UNIVEM), São Paulo. Especialista em Direito do Trabalho e Previdenciário pela Pontifícia Universidade Católica de Minas Gerais. Bolsista CAPES/PROSUP.** Especialista em Direito do Trabalho e Previdenciário pelo Centro Universitário Eurípedes de Marília (UNIVEM), São Paulo.

España, a lo largo de estos cuarenta años de historia constitucional, ha logrado éxitos indudables en la construcción de un sistema al servicio de la erradicación de la violencia contra la mujer por razón de género. Nuestro país es pionero, internacionalmente, por su compromiso, su normativa, su régimen de recogida y difusión de datos y por el entramado institucional y de recursos dedicado a erradicar la violencia contra la mujer. Concebida como una cuestión de Estado, sobre todo a raíz de la aprobación del Pacto de 28 de septiembre de 2017, esta labor se enfrenta a numerosos desafíos: las cifras de la violencia de la mujer continúan siendo alarmantes. Parece claro que haber conseguido la igualdad legal no es óbice para que se mantenga la desigualdad real entre hombres y mujeres, que, en demasiadas ocasiones acaba dañando sus derechos fundamentales a la integridad física y moral e, incluso, a la vida.

Este artículo presenta los resultados del proyecto de investigación encaminado a determinar y describir la manera como los tratados de libre comercio suscritos por Colombia con Estados Unidos y Canadá, promueven la creación de prácticas de Responsabilidad Social en las grandes empresas. Para tal efecto se examinaron aspectos fundamentales asociados al Pacto Global de las Naciones Unidas, desde una aproximación cualitativa por parte de las prácticas de las grandes empresas en la ciudad de Barranquilla en cuatro áreas temáticas: derechos humanos, derechos laborales, medio ambiente y lucha anticorrupción.

Ensayo de interpretación en tomo a los distintos regímenes políticos que se sucedieron en México en el proceso de estructuración del nuevo Estado. Abarca no sólo el modelo jurídico-institucional, sino las modalidades particulares que adoptan las prácticas políticas (ideológicas, forma de organización, representación y realización de intereses, alianzas políticas, etcétera). Después de describir la destrucción del Estado liberal oligárquico, la lucha por la conducción de la Revolución y el nuevo pacto social, el autor analiza cuatro etapas, que inician con el surgimiento del primer gobierno constitucional y finalizan con la renuncia de Calles a la presidencia del Comité Organizador del PNR (Partido Nacional Revolucionario).

La Comisión Europea, en su reciente Comunicación sobre el Pacto Verde Europeo, vinculado estrechamente a la consecución de los Objetivos de Desarrollo Sostenible (ODS) de las Naciones Unidas, contempla un ambicioso plan para que la Unión Europea (UE) lidere efectivamente la lucha contra el cambio climático a escala mundial. Entre las múltiples medidas previstas en el Pacto Verde Europeo, éste programa una drástica reducción de las emisiones de carbono y otros gases de efecto invernadero dentro de la UE e incluye una propuesta para establecer un impuesto o mecanismo de ajuste sobre el carbono en frontera. Esta contribución se dedica a dicha concreta propuesta. Examina su finalidad, tendente a disminuir el riesgo de una fuga de carbono desde la UE por el traslado de empresas o el incremento de importaciones de terceros países menos comprometidos con la reducción de emisiones, y analiza su compatibilidad con las normas de la Organización Mundial del Comercio (OMC), teniendo en cuenta sus principios básicos, excepciones y, particularmente, su regulación sobre ajustes fiscales en frontera.

<p>El objetivo del presente estudio fue evaluar la proporción de sexo de alpacas Huacaya en tres momentos diferentes: Al nacimiento, 8 meses de edad y al año de edad. El estudio se realizó en la estación de investigación Quimsachata sede del banco de germoplasma de alpacas de color y llamas del Instituto Nacional de Innovación Agraria (INIA) ubicado en el distrito de Santa Lucia provincia de Lampa departamento de Puno, Perú, a una altitud de 4190 m.s.n.m. en la zona agroecológica de puna seca. Para este estudio se utilizaron los registros productivos de alpacas Huacaya del periodo 2005-2015. Los datos se analizaron mediante la prueba de Chi-cuadrado utilizando el programa estadístico SAS versión 9.4. Los resultados indican un total de 3961 alpacas Huacaya nacidos en el periodo 2005-2015, de los cuales 1989 alpacas fueron del sexo hembra (50,21%) y 1972 fueron machos (49,79%) siendo la diferencia de estos porcentajes no significativos (p&gt;0.05). A los 8 meses de edad se observó un total de 3656 alpacas Huacaya de los cuales 1862 (50.93%) fueron de sexo hembra y 1794 (49.07%) fueron machos siendo la diferencia de los porcentajes no significativos (p&gt;0.05). La población de alpacas Huacaya de un año de edad del periodo de estudio fue de 3409 de los cuales 1731 (50.78%) fueron hembras y 1678 (49.22%) fueron machos siendo la diferencia de los porcentajes no significativos (p≥0.05). Se concluye que la proporción de sexo al nacimiento, 8 meses de edad y al año de edad de la población de alpacas Huacaya del banco de germoplasma del INIA es de 1:1.</p>

Podremos todavía hoy, y durante cuánto tiempo más, hablar de actividades culturales y de cultura en general? Tengo la impresión de que, entre más impulso recibe la lógica de la velocidad y del beneficio, expresada en la lucha por el máximo provecho en el menor tiempo —como ocurre con la audiencia a, las cifras de venta en librerías y prensa, y la cantidad de público en las nuevas películas— hay menor compatibilidad con la idea de cultura. Si las condiciones ecológicas del arte, de las que hablaba Ernst Gombrich, fueran destruidas, muy pronto el arte y la cultura serían igualmente destruidos. Les recuerdo lo que sucedió con el cine italiano que, habiendo sido uno de los mejores del mundo, actualmente sobrevive gracias a unos cuantos realizadores del cine alemán y de Europa del Este. Les recuerdo la crisis del cine de autor, ya desaparecido de los circuitos de televisión, y el destino de la radio cultural, que cada vez se extingue más, en nombre de la modernidad, de la audiencia y de un pacto secreto con el nuevo mundo de los medios.

Las Rastreadoras forman un grupo de mujeres, madres de desaparecidos del Estado de Sinaloa en México; tienen siete años buscando a sus hijos con palas, picos y todo tipo de recursos que tienen a mano. Recorren caminos, zonas desérticas, cualquier espacio del que se tenga una referencia o indicio de que ahí podría haber fosas clandestinas. Estas mujeres valientes y aguerridas tienen un pacto que subyace su búsqueda. Si alguna de ellas muere, por cualquier motivo, las demás buscarán a su hijo. De igual forma, si encuentran los restos de su familiar, el apoyo no cesa, continúan con las demás en la lucha. El grupo se incrementa de manera exponencial y el número de restos encontrados también. Hay casos en que la misma madre ha cavado el sitio donde estaba enterrado su hijo. Cada mujer puede contar una historia diferente igual de penosa y desgarradora, sin embargo, cada una también relata cómo se unió a este contingente y su sentido de compromiso y responsabilidad social. Indudablemente, su perfil es el de las heroínas que trabajan en un anonimato que la sociedad palpa y quiere hacer público a través de los nuevos recursos de comunicación.

Este trabajo plantea una reflexión sobre la figura del denunciante. No se trata ahora de ahondar en si este reúne o no la condición de interesado en el procedimiento sancionador, ni tampoco de reabrir el debate de en qué medida este estaría legitimado para impugnar una resolución, puesto que ambas cuestiones, aunque sean de permanente interés, ya han sido estudiadas por la doctrina. En la actualidad parece que se pretende impulsar un pacto entre los ciudadanos y los poderes públicos dirigido a conseguir el máximo respeto posible por la legalidad, ofreciendo a los primeros protección. Varias Comunidades Autónomas han legislado recientemente con el cometido de superar las reticencias a denunciar, la Unión Europea acaba de presentar también una propuesta de Directiva en la misma dirección y en el Congreso de los Diputamos tres Proposiciones de Ley se tramitan en estos momentos con idéntica finalidad. Si bien existe una unanimidad sin precedentes respecto al importante papel que podría ejercer el denunciante en la recta aplicación del ordenamiento jurídico y la lucha contra la corrupción, no son pocos los temas que se están abordando de forma ambigua o confusa; por ello, en este estudio nos proponemos identificarlos y realizar algunas propuestas de mejora.

Abstract Background and study aims Since December 2019, the severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2), the causative pathogen of coronavirus disease 2019 (COVID-19), has posed a pandemic threat to global health and has challenged health care system in all affected countries. Patients and methods This is a combined study including a descriptive part about the changes in the daily work routine of an Interdisciplinary Endoscopic Unit (IEU) and a prospective analysis of patients tested positive for SARS-CoV-2 who required endoscopic interventions. Conclusively, we present the finding of a point-prevalence analysis in the staff of the IEU. Results We present effects of the COVID-19-related restructuring of processes in our interdisciplinary endoscopy unit (IEU) with respect to cancelation of examinations, relocation of staff to other departments, impact of SARS-CoV-2 on medical staff of the IEU, and supply of protective clothing. Additionally, we analyzed the cohort of COVID-19 patients: Sixteen endoscopic interventions were done in ten patients. In all patients with confirmed infection with SARS-CoV-2, emergency endoscopies were required for relevant bleeding situations. Re-endoscopies were required only in critically ill COVID-19 patients. Conclusions The restructuring of processes in the IEU was feasible in short time, effective, and can also be applied broadly at least in developed countries [Garbe et al. in Gastroenterology 159:778–780, 2020; Repici A, Pace F, Gabbiadini R, Colombo M, Hassan C, Dinelli M, Group IG-CW, Maselli R, Spadaccini M, Mutignani M, Gabbrielli A, Signorelli C, Spada C, Leoni P, Fabbri C, Segato S, Gaffuri N, Mangiavillano B, Radaelli F, Salerno R, Bargiggia S, Maroni L, Benedetti A, Occhipinti P, De Grazia F, Ferraris L, Cengia G, Greco S, Alvisi C, Scarcelli A, De Luca L, Cereatti F, Testoni PA, Mingotto R, Aragona G, Manes G, Beretta P, Amvrosiadis G, Cennamo V, Lella F, Missale G, Lagoussis P, Triossi O, Giovanardi M, De Roberto G, Cantu P, Buscarini E, Anderloni A, Carrara S, Fugazza A, Galtieri PA, Pellegatta G, Antonelli G, Rosch T, Sharma P (2020) Endoscopy units and the COVID-19 Outbreak: a Multi-Center Experience from Italy. Gastroenterology;]. The endoscopy-related rate of SARS-CoV-2 infection of staff is low, but supply of protective equipment is crucial for this. Endoscopic procedures in COVID-19 patients were not directly related to SARS-CoV-2 infection, but to other underlying diseases or typical complications of long-term ICU treatment.

Os vínculos amorosos passaram por uma intensa reestruturação ao longo dos séculos. Essas reestruturações fizeram com que, segundo Matos (2000), os vínculos amorosos contemporâneos ganhassem novas configurações, incluindo abertura nos relacionamentos, que pode significar desde a mobilidade de papéis para provedor e cuidador do lar, passando por casamentos em que os parceiros vivem em casas separadas até a concepção do poliamor — que quebra o paradigma do casal e insere outras formas (triângulo, quadrilha etc) nas uniões afetivas. Tentando ler essas novas estruturas, este recorte analisa os triângulos amorosos presentes no conto O corpo, de Clarice Lispector, Triângulo em cravo e flauta doce de Caio Fernando Abreu e no filme Os sonhadores , do diretor Bernardo Bertolucci. A partir da leitura e análise bibliográfica de referências como Engels (1984), Matos (2000) e Lins (2012), é possível estabelecer um panorama geral sobre os relacionamentos e o que conhecemos hoje como pacto de abertura nos enlaces amorosos. Busca-se, também, compreender o destino trágico que encerra as narrativas que abordam uniões diferentes, tendo em vista a noção de poliamor que desponta na paisagem contemporânea dos afetos como uma possibilidade. Pretende-se, assim, contribuir na disseminação das pesquisas científicas relacionadas ao estudo de relações amorosas, fomentando as discussões acerca das mudanças dos pactos afetivos. ABREU, Caio Fernando. O ovo apunhalado. São Paulo: Siciliano, 1975.________. Ovelhas negras. Porto Alegre: Sulinas, 1995.BAUMAN, Zygmunt. Amor líquido: sobre a fragilidade dos laços humanos. Rio de Janeiro: Jorge Zahar Editor, 2004.BRANCO, Lucia Castello. Eros travestido: um estudo do erotismo no realismo burguês. Belo Horizonte: UFMG, 1985.CAMARGO, Flávio Pereira. Novas configurações familiares na Literatura Brasileira infantil e juvenil: leitura de Meus dois pais, de Walcyr Carrasco, e de Olívia tem dois papais, de Márcia Leite. Via Atlântica, n. 24. São Paulo: USP. 2013, p. 83-100.ENGELS, Friedrich. A origem da família, da propriedade privada e do Estado. Rio de Janeiro: Editora Civilização Brasileira S.A, 1984.FERRARI, M.; KALOUSTIAN, S. M. A importância da família. In: KALOUSTIAN, S. M. (Org.). Família brasileira: a base de tudo. 5. ed. São Paulo: Cortez: Brasília, DF: UNICEF, 2002.INSTITUTO BLAISE PASCAL: Tecnologia e Educação. Blaise Pascal. Disponível em: http://www.institutopascal.org.br/visao/institucional/blaisepascal.php Acesso em: 06 de dez. 2019.JESUS, André Luiz Gomes de. As representações da morte e do morrer na obra de Caio Fernando Abreu. 2010. 185 f. Dissertação (mestrado) – Universidade Estadual Paulista, Instituto de Biociências, Letras e Ciências Exatas, 2010.LINS, Regina Navarro. O livro do amor: do Iluminismo à atualidade. Rio de Janeiro: Best Seller, 2012.LISPECTOR, Clarice. A via crucis do corpo. Rio de Janeiro: Rocco, 1974.MATOS, Marlise. Reinvenções do vínculo amoroso: cultura e identidade de gênero na modernidade tardia. Belo Horizonte: UFMG, 2000.OS sonhadores. Direção: Bernardo Bertolucci. Produção: Gilbert Adair. Roteiro: Jeremy Thomas. Interpretes: Anna Karina, Eva Green, Greta Garbo, Louis Garrel, Michael Pitt, Robin Renucci e outros. [FRA/UK]: Fox Film, 2003. 130min.PORTO, Luana Teixeira. Ovelhas negras: transgressão, violência e sofrimento. In: Revista Literatura em debate. v. 7. n. 12. Universidade Regional Integrada (URI), 2012. p. 247- 262.RUFFATO, Luiz. Revistas literárias da década de 70. Jornal Rascunho, ed. 111. Disponível em: http://rascunho.com.br/revistas-literarias-da-decada-de-1970-5/. Acesso em: 21 abr. 2020.STERNBERG, R. J. Construct validation of a triangular love scale. European Journal of Social Psychology, 1997, p. 313-335._______. Triangulating love. In: R. J. Sternberg & M. L. Barnes (Eds.). The psychology of Love. New York: Yale University, 1988, p. 119-138.THELMA e Louise. Direção: Ridley Scott. Produção: Ridley Scott, Callie Khouri e Dean O’Brien. Roteiro: Callie Khouri. Interpretes: Susan Sarandon, Geena Davis, Harvey Keitel e outros. [USA]: Fox Films do Brasil, 1991. 2h30m.

“In the performing arts the very absence of a complete score, i.e., of a complete duplicate, enables music, dances and plays to survive. The tension created by the adaptation of a work of yesterday to the style of today is an essential part of the history of the art in progress” (Rudolf Arnheim, “On Duplication”). In his essay “On Duplication”, Rudolf Arnheim proposes the idea that a close look at the life of adaptations indicates that change is not only necessary and inevitable, but also increases our understanding of the adapted work. To Arnheim, the most fruitful approach to adaptations is therefore to investigate the ways in which the various re-interpretations partake of the (initial) work and concretise latent aspects in a new historical and cultural context. This article analyzes how, and to what ends, the re-contextualising of Georges Bizet’s Carmen in other media—flamenco dance and film – changes, distorts and subverts our perception of the opera’s music. The text under analysis is Carlos Saura’s 1983 movie about a flamenco transposition of Bizet’s Carmen. I discuss this film in terms of how flamenco music and dance, on the one hand, and the film camera, on the other hand, gradually demystify the fascinating power of Bizet’s music, as well as its clichéd associations. Although these forms displace and defamiliarise music in many ways, the main argument of the analysis centers on how flamenco dance and the film image foreground the artificiality of the exotic sections from Bizet’s opera, as well as their inadequacy in the Spanish context, and also on how the film translates and self-reflexively comments on the absence of an embodied voice for Carmen. “C’est la Carmen! Non, ce n’est pas celle-là!” As the credits from Carlos Saura’s Carmen are displayed against the backdrop of Gustave Doré’s drawings, we can hear the chorus of the cigarières from Bizet’s opera singing “C’est la Carmen! Non, ce n’est pas celle-là!”. Why did the director choose this particular section of Bizet’s Carmen with which to begin his film? Moreover, what is the significance of combining Doré’s drawings with these words? In a way, we can say that the reality/illusion polarity signified by the sung words informs and gives a preview of one of the movie’s main themes—the futility of an adapter’s attempt at finding a “true” Carmen. The music’s juxtaposition with Doré’s drawings of nineteenth-century espagnolades adds to the idea of artifice and inauthenticity: Saura seems to be dismissing Bizet’s music by pairing it with the work of another one of the creators of a stereotyped (and false) image of Spain. Demystifying the untrue image that foreigners have created of Spain is one of the film director’s main concerns in his adaptation of both Bizet and Mérimée’s Carmen. The movie’s production history reinforces this idea. In his book on the films of Carlos Saura, Marvin D’Lugo notes that in 1981 the French company Gaumont had approached Saura with the project of making a filmed version of Bizet’s Carmen, “with a maximum of fidelity to the original text” (202), an idea which the director clearly rejected. Another important aspect related to the production history is the fact that Antonio Gadés, the film’s choreographer and actor for Don José’s part, had previously created a ballet version of Bizet’s Carmen, based solely on the second act of the opera. The 1983 film production is then the result of Carlos Saura—the film director attempting to reframe the French opera in the Spanish context—and Antonio Gadés—the flamenco troupe director—collaborating to create a Spanish dance version of Carmen. The film’s constant superimposition of its two diegetic levels—the fictional level, consisting in the rehearsal scenes, and the actual level, which coincides with the characters’ lives outside of and in-between rehearsals—and the constant blurring of the lines separating these two worlds, have been the cause of a plethora of varying interpretations. Susan McClary sees the movie as “a brilliant commentary on ‘exoticism’: on the distance between actual ethnic music and the mock-ups Bizet and others produced for their own ideological purposes” (137); to D’Lugo, the film is an illustration and critique of how “the Spaniards, having come under the spell of the foreign, imposter impression of Spain, find themselves seduced by the falsification of their own cultural past” (203). Other notable interpretations come from Marshall H. Leicester, who sees the film as a comment on the fact that Carmen has become a discourse and a cultural artifact, and from Linda M. Willem, who interprets the movie as a metafictional mise en abyme. I will discuss the movie from a somewhat different perspective, bearing in mind, however, McClary and D’Lugo’s readings. Saura’s Carmen is also a story about adaptation, constantly commenting on the failed attempts at perfect fidelity to the source text(s), by the intradiegetic adapter (Antonio) and, at the same time, self-reflexively embedding hints to the presence of the extradiegetic adapter: the filmmaker Saura. On the one hand, as juxtaposed with flamenco music and dance, the opera’s music is made to appear artificial and inadequate; we are presented with an adaptation in the making, in which many of the oddities and difficulties of transposing opera music to flamenco dance are problematised. On the other hand, the film camera, by constantly foregrounding the movie’s materiality—the possibility to cut and edit the images and the soundtrack, its refusal to maintain a realist illusion—displaces and re-codifies music in other contexts, thus bringing to light dormant interpretations of particular sections of Bizet’s opera, or completely altering their significance. One of the film’s most significant departures from Bizet’s opera is the problematised absence of a suitable Carmen character. Bizet’s opera, however revolves around Carmen: it is very hard, if not impossible, to dissociate the opera from the fascinating Carmen personage. Her transgressive nature, her “otherness” and exoticism, are translated in her singing, dancing and bodily presence on the stage, all these leading to the creation of a character that cannot be neglected. The songs that Bizet adapted from the cabaret numéros in order to add exotic flavor to the music, as well as the provocative dances accompanying the Habaňera and the Seguidilla help create this dimension of Carmen’s fascinating power. It is through her singing and dancing that she becomes a true enchantress, inflicting madness or unreason on the ones she chooses to charm. Saura’s Carmen has very few of the charming attributes of her operatic predecessor. Antonio, however, becomes obsessed with her because she is close to his idea of Carmen. The film foregrounds the immense gap between the operatic Carmen and the character interpreted by Laura del Sol. This double instantiation of Carmen has usually been interpreted as a sign of the demystification of the stereotyped and inauthentic image of Bizet’s character. Another way to interpret it could be as a comment on one of the inevitable losses in the transposition of opera to dance: the separation of the body from the voice. Significantly, the recorded music of Bizet’s opera accompanies more the scenes between rehearsals than the flamenco dance sections, which are mostly performed on traditional Spanish music. The re-codification of the music reinforces the gap between Saura and Gadés’ Carmen and Bizet’s character. The character interpreted by Laura del Sol is not a particularly gifted dancer; therefore, her dance translation of the operatic voice fails to convey the charm and self-assuredness that Carmen’s voice and the sung words fully express. Moreover, the musical and dance re-insertion in a Spanish context completely removes the character’s exoticism and alterity. We could say, rather, that in Saura’s movie it is the operatic Carmen who is becoming exotic and distant. In one of the movie’s first scenes, we are shown an image of Paco de Lucia and a group of flamenco singers as they play and sing a traditional Spanish song. This scene is abruptly interrupted by Bizet’s Seguidilla; immediately after, the camera zooms in on Antonio, completely absorbed by the opera, which he is playing on the tape-recorder. The contrast between the live performance of the Spanish song and the recorded Carmen opera reflects the artificiality of the latter. The Seguidilla is also one of the opera’s sections that Bizet adapted so that it would sound authentically exotic, but which was as far from authentic traditional Spanish music as any of the songs that were being played in the cabarets of Paris in the nineteenth century. The contrast between the authentic sound of traditional Spanish music, as played on the guitar by Paco de Lucia, and Bizet’s own version makes us aware, more than ever, of the act of fabrication underlying the opera’s composition. Most of the rehearsal scenes in the movie are interpreted on original flamenco music, Bizet’s opera appearing mostly in the scenes associated with Antonio, to punctuate the evolution of his love for Carmen and to reinforce the impossibility of transposing Bizet’s music to flamenco dance without making significant modifications. This also signifies the mesmerising power the operatic music has on Antonio’s imagination, gradually transposing him in a universe of understanding completely different from that of his troupe, a world in which he becomes unable to distinguish reality from illusion. With Antonio’s delusion, we are reminded of the luring powers of the operatic fabrication. One of the scenes which foregrounds the opera’s charm is when Antonio watches the dancers led by Cristina rehearse some flamenco movements. While watching their bodies reflected in the mirror, Antonio is dissatisfied with their appearance—he doesn’t see any of them as Carmen. The scene ends with an explosion of Bizet’s music heard from off-screen—probably as Antonio keeps hearing it in his head—dramatically symbolising the great distance between flamenco dance and opera music. One of the rehearsal scenes in which Bizet’s music is heard as an accompaniment to the dance is the scene in which the operatic Carmen performs the castaňet dance for Don José. In the Antonio-Carmen interpretation the music that we hear is the Habaňera and not the seductive song that Bizet’s Carmen is singing at this point in the opera. According to Mary Blackwood Collier, the Habaňera song in the opera has the function to define Carmen’s personality as strong, independent, free and enthralling at the same time (119). The purely instrumental Habaňera, combined with the lyrical and tender dance duo of Antonio/José and Carmen in Saura’s film, transforms the former into a sweet love theme. In the opera, this is one of the arias that centralise the image of Carmen in our perception. The dance transposition as a love pas de deux diminishes the impression of freedom and independence connoted by the song’s words and displaces the centrality of Carmen. Our perception of the opera’s music is significantly reshaped by the film camera too. In her book The Hollywood Musical Jane Feuer contends that the use of multiple diegesis in the backstage musical has the function to “mirror within the film the relationship of the spectator to the film. Multiple diegesis in this sense parallels the use of an internal audience” (68). Carlos Saura’s movie preserves and foregrounds this function. The mirrors in which the dancers often reflect themselves hint to an external plane of observation (the audience). The artificial collapse of the boundaries between off-stage and on-stage scenes acts as a reminder of the film’s capacity to compress and distort temporality and chronology. Saura’s film makes full use of its capacity to cut and edit the image and the soundtracks. This allows for the mise-en-scène of meaningful displacements of Bizet’s music, which can be given new significations by the association with unexpected images. One of the sections of Bizet’s opera in the movie is the entr’acte music at the beginning of Act III. Whereas in the opera this part acts as a filler, in Saura’s Carmen it becomes a love motif and is heard several times in the movie. The choice of this particular part as a musical leitmotif in the movie is interesting if we consider the minimal use of Bizet’s music in Saura’s Carmen. Quite significantly however, this tune appears both in association with the rehearsal scenes and the off-stage scenes. It appears at the end of the Tabacalera rehearsal, when Antonio/Don José comes to arrest Carmen; we can hear it again when Carmen arrives at Antonio’s house the night when they make love for the first time and also after the second off-stage love scene, when Antonio gives money to Carmen. In general, this song is used to connote Antonio’s love for Carmen, both on and off stage. This musical bit, which had no particular significance in the opera, is now highlighted and made significant in its association with specific film images. Another one of the operatic themes that recur in the movie is the fate motif which is heard in the opening scene and also at the moment of Carmen’s death. We can also hear it when Carmen visits her husband in prison, immediately after she accepts the money Antonio offers her and when Antonio finds her making love to Tauro. This re-contextualisation alters the significance of the theme. As Mary Blackwood Collier remarks, this motif highlights Carmen’s infidelity rather than her fatality in the movie (120). The repetition of this motif also foregrounds the music’s artificiality in the context of the adaptation; the filmmaker, we are reminded, can cut and edit the soundtrack as he pleases, putting music in the service of his own artistic designs. In Saura’s Carmen, Bizet’s opera appears in the context of flamenco music and dance. This leads to the deconstruction and demystification of the opera’s pretense of exoticism and authenticity. The adaptation of opera to flamenco music and dance also implies a number of necessary alterations in the musical structure that the adapter has to perform so that the music will harmonise with flamenco dance. Saura’s Carmen, if read as an adaptation in the making, foregrounds many of the technical difficulties of translating opera to dance. The second dimension of music re-interpretation is added by the film camera. The embedded camera and the film’s self-reflexivity displace music from its original contexts, thus adding or creating new meanings to the ways in which we perceive it. This way of reframing the music from Bizet’s Carmen adds new dimensions to our perception of the opera. In many of the off-stage scenes, the music seems to appear from nowhere and, then, to inform other sequences than the ones with which it is usually associated in the opera. This produces a momentary disruption in the way we hear Bizet’s music. We could say that it is a very rapid process of de-signification and re-signification—that is, of adaptation—that we undergo almost automatically. Carlos Saura’s adaptation of Carmen self-reflexively puts into play the changes that Bizet’s music has to go through in order to become a flamenco dance and movie. In this process, dance and the film image make us aware of new meanings that we come to associate with Bizet’s score. References Arnheim, Rudolf. “On Duplication”. New Essays on the Psychology of Art. Berkeley: U of California P, 1986: 274-85. Blackwood Collier, Mary. La Carmen Essentielle et sa Réalisation au Spectacle. New York: Peter Lang Publishing, 1994. D’Lugo, Marvin. The Films of Carlos Saura: The Practice of Seeing. Princeton, NJ: Princeton UP, 1991. Feuer, Jane. “Dream Worlds and Dream Stages”. The Hollywood Musical. Bloomington, IN: Indiana UP, 1993: 67-87. Leicester, Marshall H. Jr. “Discourse and the Film Text: Four Readings of ‘Carmen’”. Cambridge Opera Journal 4.3 (1994): 245-82. McClary, Susan. “Carlos Saura: A Flamenco Carmen”. Georges Bizet: Carmen. Cambridge: Cambridge UP, 1992: 135-7. Willem, Linda M. “Metafictional Mise en Abyme in Saura’s Carmen”. Literature/Film Quarterly 24.3 (1996): 267-73. Citation reference for this article MLA Style Furnica, Ioana. "Subverting the “Good, Old Tune”: Carlos Saura’s Carmen." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/10-furnica.php>. APA Style Furnica, I. (May 2007) "Subverting the “Good, Old Tune”: Carlos Saura’s Carmen," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/10-furnica.php>.

Introduction: Game Culture and GenderAs texts with the potential to help mediate specific forms of identity, video games are rich and complex sites for analysis. A tendency, however, still exists in scholarship to treat video games as just another kind of text, and work that explores the expression of masculine identity persists in drawing from cinematic analysis without proper consideration of game design and how these games are played (Triana). For example, insights from studies into horror cinema may illuminate the relationship between players and game systems in survival horror video games (Habel & Kooyman), but further study is needed to explore how people interact with the game.This article aims to build towards a scholarly definition of the term “Power Fantasy”, a concept that seems well established in wider discourse but is not yet well theorised in the scholarly literature. It does so through a case of the most recent reboot of Doom (2016), a game that in its original incarnation established an enduring tradition for high-action Power Fantasy. In the first-person shooter game Doom, the player fills the role of the “Doom Guy”, a faceless hero who shuttles between Earth and Hell with the sole aim of eviscerating demonic hordes as graphically as possible.How, then, do we begin to theorise the kind of automediation that an iconic game text like Doom facilitates? Substantial work has been done to explore player identification in online games (see Taylor; Yee). Shaw (“Rethinking”) suggests that single-player games are unexplored territory compared to the more social spaces of Massively Multiplayer Online games and other multiplayer experiences, but it is important to distinguish between direct identification with the avatar per se and the ways in which the game text mediates broader gender constructions.Abstract theorisation is not enough, though. To effectively understand this kind of automediation we also need a methodology to gain insights into its processes. The final part of this article, therefore, proposes the analysis of “Let’s Play” videos as a kind of gender identity performance which gives insight into the automediation of dominant masculine gender identities through Power Fantasy video games like Doom. This reflexive performance works to denaturalise gender construction rather than reinforce stable hegemonic identities.Power Fantasy and Gender IdentityPower Fantasy has become an established trope in online critiques and discussions of popular culture. It can be simply defined as “character imagines himself taking revenge on his bullies” (TVTropes). This trope takes on special resonance in video games, where the players themselves live out the violent revenge fantasy in the world of the game.The “power fantasy” of games implies escapism and meaninglessness, evoking outsize explosions and equally outsized displays of dominance. A “power gamer” is one who plays with a single-minded determination to win, at the expense of nuance, social relationships between players, or even their own pleasure in play. (Baker)Many examples apply this concept of Power Fantasy in video games: from God of War to Metroid: Prime and Grand Theft Auto, this prevalent trope of game design uses a kind of “agency mechanics” (Habel & Kooyman) to convince the player that they are becoming increasingly skilful in the game, when in reality the game is simply decreasing in difficulty (PBS Digital Studios). The operation of the Power Fantasy trope is also gendered; in a related trope known as “I Just Want To Be a Badass”, “males are somewhat more prone to harbour [the] wish” to feel powerful (TVTropes). More broadly, even though the game world is obviously not real, playing it requires “an investment in and commitment to a type of masculine performance that is based on the Real (particularly if one is interested in ‘winning’, pummelling your opponent, kicking ass, etc.)” (Burrill 2).Indeed, there is a perceived correlation (if not causation) between the widespread presence of Power Fantasy video games and how “game culture as it stands is shot through with sexism, racism, homophobia, and other biases” (Baker). Golding and van Deventer undertake an extended exploration of this disconcerting side of game culture, concluding that games have “become a venue for some of the more unsophisticated forms of patriarchy” (213) evidenced in the highly-publicised GamerGate movement. This saw an alignment between the label of “gamer” and extreme misogyny, abuse and harassment of women and other minorities in the industry.We have, then, a tentative connection between dominant gameplay forms based on high skill that may be loosely characterised as “Power Fantasy” and some of the most virulent toxic gender expressions seen in recent times. More research is needed to gain a clearer understanding of precisely what Power Fantasy is. Baker’s primary argument is that “power” in games can also be characterised as “power to” or “power with”, as well as the more traditional “power over”. Kurt Squire uses the phrase “Power Fantasy” as a castaway framing for a player who seeks an alternative reward to the usual game progression in Sid Meier’s Civilisation. More broadly, much scholarly work concerning gameplay design and gender identity has been focussed on the hot-button question of videogame violence and its connection to real-world violence, a question that this article avoids since it is well covered elsewhere. Here, a better understanding of the mediation of gender identity through Power Fantasy in Doom can help to illuminate how games function as automedia.Auto-Mediating Gender through Performance in Doom (2016) As a franchise, Doom commands near-incomparable respect as a seminal text of the first-person shooter genre. First released in 1993, it set the benchmark for 3D rendered graphics, energetic sound design, and high-paced action gameplay that was visceral and deeply immersive. It is impossible to mention more recent reboots without recourse to its first seminal instalment and related game texts: Kim Justice suggests a personal identification with it in a 29-minute video analysis entitled “A Personal History of Demon Slaughter”. Doom is a cherished game for many players, possibly because it evokes memories of “boyhood” gaming and all its attendant gender identity formation (Burrill).This identification also arises in livestreams and playthroughs of the game. YouTuber and game reviewer Markiplier describes nostalgically and at lengths his formative experiences playing it (and recounts a telling connection with his father who, he explains, introduced him to gaming), saying “Doom is very important to me […] this was the first game that I sat down and played over and over and over again.” In contrast, Wanderbots confesses that he has never really played Doom, but acknowledges its prominent position in the gaming community by designating himself outside the identifying category of “Doom fan”. He states that he has started playing due to “gushing” recommendations from other gamers. The nostalgic personal connection is important, even in absentia.For the most part, the critical and community response to the 2016 version of Doom was approving: Gilroy admits that it “hit all the right power chords”, raising the signature trope in reference to both gameplay and music (a power chord is a particular technique of playing heavy metal guitar often used in heavy metal music). Doom’s Metacritic score is currently a respectable 85, and, the reception is remarkably consistent between critics and players, especially for such a potentially divisive game (Metacritic). Commentators tend to cite its focus on its high action, mobility, immersion, sound design, and general faithfulness to the spirit of the original Doom as reasons for assessments such as “favourite game ever” (Habel). Game critic Yahtzee’s uncharacteristically approving video review in the iconic Zero Punctuation series is very telling in its assessment of the game’s light narrative framing:Doom seems to have a firm understanding of its audience because, while there is a plot going on, the player-character couldn’t give a half an ounce of deep fried shit; if you want to know the plot then pause the game and read all the fluff text in the character and location database, sipping daintily from your pink teacup full of pussy juice, while the game waits patiently for you to strap your bollocks back on and get back in the fray. (Yahtzee)This is a strident expression of the gendered expectations and response to Doom’s narratological refusal, which is here cast as approvingly masculine and opposed to a “feminine” desire for plot or narrative. It also feeds into a discourse which sees the game as one which demands skill, commitment, and an achievement orientation cast within an exclusivist ideology of “toxic meritocracy” (Paul).In addition to examining reception, approaches to understanding how Doom functions as a “Power Fantasy” or “badass” trope could take a variety of forms. It is tempting to undertake a detailed analysis of its design and gameplay, especially since these feed directly into considerations of player interaction. This could direct a critical focus towards gameplay design elements such as traversal and mobility, difficulty settings, “glory kills”, and cinematic techniques in the same vein as Habel and Kooyman’s analysis of survival horror video games in relation to horror cinema. However, Golding and van Deventer warn against a simplistic analysis of decontextualized gameplay (29-30), and there is a much more intriguing possibility hinted at by Harper’s notion of “Play Practice”.It is useful to analyse a theoretical engagement with a video game as a thought-experiment. But with the rise of gaming as spectacle, and particularly gaming as performance through “Let’s Play” livestreams (or video on demand) on platforms such as TwitchTV and YouTube, it becomes possible to analyse embodied performances of the gameplay of such video games. This kind of analysis allows the opportunity for a more nuanced understanding of how such games mediate gender identities. For Judith Butler, gender is not only performed, it is also performative:Because there is neither an “essence” that gender expresses or externalizes nor an objective ideal to which gender aspires, and because gender is not a fact, the various acts of gender create the idea of gender, and without those acts, there would be no gender at all. (214)Let’s Play videos—that show a player playing a game in real time with their commentary overlaying the on screen action—allow us to see the performative aspects of gameplay. Let’s Plays are a highly popular and developing form: they are not simple artefacts by any means, and can be understood as expressive works in their own right (Lee). They are complex and multifaceted, and while they do not necessarily provide direct insights into the player’s perception of their own identification, with sufficient analysis and unpacking they help us to explore both the construction and denaturalisation of gender identity. In this case, we follow Josef Nguyen’s analysis of Let’s Plays as essential for expression of player identity through performance, but instead focus on how some identity construction may narrow rather than expand the diversity range. T.L. Taylor also has a monograph forthcoming in 2018 titled Watch Me Play: Twitch and the Rise of Game Live Streaming, suggesting the time is ripe for such analysis.These performances are clear in ways we have already discussed: for example, both SplatterCat and Markiplier devote significant time to describing their formative experiences playing Doom as a background to their gameplay performance, while Wanderbots is more distanced. There is no doubt that these videos are popular: Markiplier, for example, has attracted nearly 5 million views of his Doom playthrough. If we see gameplay as automediation, though, these videos become useful artefacts for analysis of gendered performance through gameplay.When SplatterCat discovers the suit of armor for the game’s protagonist, Doom Guy, he half-jokingly remarks “let us be all of the Doom Guy that we can possibly be” (3:20). This is an aspirational mantra, a desire for enacting the game’s Power Fantasy. Markiplier speaks at length about his nostalgia for the game, specifically about how his father introduced him to Doom when he was a child, and he expresses hopes that he will again experience “Doom’s original super-fast pace and just pure unadulterated action; Doom Guy is a badass” (4:59). As the action picks up early into the game, Markiplier expresses the exhilaration and adrenaline that accompany performances of this fastpaced, highly mobile kind of gameplay, implying that he is becoming immersed in the character and, by performing Doom Guy, inhabiting the “badass” role and thus enacting a performance of Power Fantasy:Doom guy—and I hope I’m playing Doom guy himself—is just the embodiment of kickass. He destroys everything and he doesn’t give a fuck about what he breaks in the process. (8:45)This performance of gender through the skilled control of Doom Guy is, initially, unambiguously mediated as Power Fantasy: in control, highly skilled, suffused with Paul’s ‘toxic meritocracy. A similar sentiment is expressed in Wanderbots’ playthrough when the player-character dispenses with narrative/conversation by smashing a computer terminal: “Oh I like this guy already! Alright. Doom Guy does not give a shit. It’s like Wolf Blascowicz [sic], but like, plus plus” (Wanderbots). This is a reference to another iconic first-person shooter franchise, Wolfenstein, which also originated in the 1980s and has experienced a recent successful reboot, and which operates in a similar Power Fantasy mode. This close alignment between these two streamers’ performances suggests significant coherence in both genre and gameplay design and the ways in which players engage with the game as a gendered performative space.Nonetheless, there is no simple one-to-one relationship here—there is not enough evidence to argue that this kind of gameplay experience leads directly to the kind of untrammelled misogyny we see in game culture more broadly. While Gabbiadini et al. found evidence in an experimental study that a masculinist ideology combined with violent video game mechanics could lead to a lack of empathy for women and girls who are victims of violence, Ferguson and Donnellan dispute this finding based on poor methodology, arguing that there is no evidence for a causal relationship between gender, game type and lack of empathy for women and girls. This inconclusiveness in the research is mirrored by an ambiguity in the gendered performance of males playing through Doom, where the Power Fantasy is profoundly undercut in multiple ways.Wanderbots’ Doom playthrough is literally titled ‘I have no idea what I’m Dooming’ and he struggles with particular mechanics and relatively simple progression tools early in the game: this reads against masculinist stereotypes of superior and naturalised gameplay skill. Markiplier’s performance of the “badass” Doom Guy is undercut at various stages: in encountering the iconic challenge of the game, he mentions that “I am halfway decent… not that good at video games” (9:58), and on the verge of the protagonist’s death he admits “If I die this early into my first video I’m going to be very disappointed, so I’m going to have to kick it up a notch” (15:30). This suggests that rather than being an unproblematic and simple expression of male power in a fantasy video game world, the gameplay performances of Power Fantasy games are ambiguous and contested, and not always successfully performed via the avatar. They therefore demonstrate a “kind of gender performance [which] will enact and reveal the performativity of gender itself in a way that destabilizes the naturalized categories of identity and desire” (Butler 211). This cuts across the empowered performance of videogame mastery and physical dominance over the game world, and suggests that the automediation of gender identity through playing video games is a complex phenomenon urgently in need of further theorisation.ConclusionUltimately, this kind of analysis of the mediation of hegemonic gender identities is urgent for a cultural product as ubiquitous as video games. The hyper-empowered “badass” digital avatars of Power Fantasy video games can be expected to have some shaping effect on the identities of those who play them, evidenced by the gendered gameplay performance of Doom briefly explored here. This is by no means a simple or unproblematic process, though. Much further research is needed to test the methodological insights possible by using video performances of gameplay as explorations of the auto-mediation of gender identities through video games.ReferencesBaker, Meguey. “Problematizing Power Fantasy.” The Enemy 1.2 (2015). 18 Feb. 2018 <http://theenemyreader.org/problematizing-power-fantasy/>.Burrill, Derrick. Die Tryin’: Video Games, Masculinity, Culture. New York: Peter Lang, 2008.Butler, Judith. Gender Trouble. 10th ed. London: Routledge, 2002.Ferguson, Christopher, and Brent Donellan. “Are Associations between “Sexist” Video Games and Decreased Empathy toward Women Robust? A Reanalysis of Gabbiadini et al. 2016.” Journal of Youth and Adolescence 46.12 (2017): 2446–2459.Gabbiadini, Alessandro, Paolo Riva, Luca Andrighetto, Chiara Volpato, and Brad J. Bushman. “Acting like a Tough Guy: Violent-Sexist Video Games, Identification with Game Characters, Masculine Beliefs, & Empathy for Female Violence Victims.” PloS One 11.4 (2016). 14 Apr. 2018 <http://journals.plos.org/plosone/article?id=10.1371/journal.pone.0152121>.Gilroy, Joab. “Doom: Review.” IGN, 16 May 2016. 22 Feb. 2018 <http://au.ign.com/articles/2016/05/16/doom-review-2?page=1>.Golding, Dan, and Leena van Deventer. Game Changers: From Minecraft to Misogyny, the Fight for the Future of Videogames. South Melbourne: Affirm, 2016.Habel, Chad, and Ben Kooyman. “Agency Mechanics: Gameplay Design in Survival Horror Video Games”. Digital Creativity 25.1 (2014):1-14.Habel, Chad. “Doom: Review (PS4).” Game Truck Australia, 2017. 22 Feb. 2018 <http://www.gametruckaustralia.com.au/review-doom-2016-ps4/>.Harper, Todd. The Culture of Digital Fighting Games: Performance and Practice. London: Routledge, 2013.Kim Justice. “Doom: A Personal History of Demon Slaughter.” YouTube, 16 Jan. 2017. 22 Feb. 2018 <https://www.youtube.com/watch?v=JtvoENhvkys>.Lee, Patrick. “The Best Let’s Play Videos Offer More than Vicarious Playthroughs.” The A.V. Club, 24 Apr. 2015. 22 Feb. 2018 <https://games.avclub.com/the-best-let-s-play-videos-offer-more-than-vicarious-pl-1798279027>.Markiplier. “KNEE-DEEP IN THE DEAD | DOOM – Part 1.” YouTube, 13 May 2016. 21 Feb. 2018 <https://www.youtube.com/watch?v=pCygvprsgIk>.Metacritic. “Doom (PS4).” 22 Feb. 2018 <http://www.metacritic.com/game/playstation-4/doom>.Nguyen, Josef. “Performing as Video Game Players in Let’s Plays.” Transformative Works and Cultures 22 (2016). <http://journal.transformativeworks.org/index.php/twc/article/view/698>.Paul, Christopher. The Toxic Meritocracy of Video Games: Why Gaming Culture Is the Worst. Minneapolis: U of Minnesota P, 2018.PBS Digital Studios. “Do Games Give Us Too Much Power?” 2017. 18 Feb. 2018 <https://www.youtube.com/watch?v=9COt-_3C0xI>.Shaw, Adrienne. “Do You Identify as a Gamer? Gender, Race, Sexuality, and Gamer Identity.” New Media and Society 14.1 (2012): 28-44.———. “Rethinking Game Studies: A Case Study Approach to Video Game Play and Identification.” Critical Studies in Media Communication 30.5 (2013): 347-361.SplatterCatGaming. “DOOM 2016 PC – Gameplay Intro – #01 Let's Play DOOM 2016 Gameplay.” YouTube, 13 May 2016. 21 Feb. 2018 <https://www.youtube.com/watch?v=tusgsunWEIs>.Squire, Kurt. “Open-Ended Video Games: A Model for Developing Learning for the Interactive Age.” The Ecology of Games: Connecting Youth, Games, and Learning. Ed. Katie Salen. Cambridge, MA: MIT P, 2008. 167–198.Boellstorff, Tom, Bonnie Nardi, Celia Pearce, and T.L. Taylor. Ethnography and Virtual Worlds: A Handbook of Method. Princeton, NJ: Princeton UP, 2012.Triana, Benjamin. “Red Dead Maculinity: Constructing a Conceptual Framework for Analysing the Narrative and Message Found in Video Games.” Journal of Games Criticism 2.2 (2015). 12 Apr. 2018 <http://gamescriticism.org/articles/triana-2-2/>.TVTropes. Playing With / Power Fantasy. 18 Feb. 2018 <http://tvtropes.org/pmwiki/pmwiki.php/PlayingWith/PowerFantasy>.———. I Just Want to Be a Badass. 18 Feb. 2018 <http://tvtropes.org/pmwiki/pmwiki.php/Main/IJustWantToBeBadass>.Wanderbots. “Let’s Play Doom (2016) – PC Gameplay Part I – I Have No Idea What I’m Dooming!” YouTube, 18 June 2016. 14 Apr. 2018 <https://www.youtube.com/watch?v=AQSMNhWAf0o>.Yee, Nick. “Maps of Digital Desires: Exploring the Topography of Gender and Play in Online Games.” Beyond Barbie and Mortal Kombat: New Perspectives on Gender and Gaming. Eds. Yasmin B. Kafai, Carrie Heeter, Jill Denner, and Jennifer Sun. Cambridge, MA: MIT P, 2008. 83-96.Yahtzee. “Doom (2016) Review.” Zero Punctuation, 8 June 2016. 14 Apr. 2018 <https://www.youtube.com/watch?v=HQGxC8HKCD4>.

Introduction Eating is one of the most quintessential activities of human life. Because of this primacy, eating is, as food anthropologist Sidney Mintz has observed, “not merely a biological activity, but a vibrantly cultural activity as well” (48). This article posits that the current awareness of climate change in the Western world is animating such cultural activity as the Slow Food movement and is, as a result, stimulating what could be seen as an evolutionary change in popular foodways. Moreover, this paper suggests that, in line with modelling provided by the Slow Food example, an increased awareness of the connections of climate change to the social injustices of food production might better drive social change in such areas. This discussion begins by proposing that contemporary foodways—defined as “not only what is eaten by a particular group of people but also the variety of customs, beliefs and practices surrounding the production, preparation and presentation of food” (Davey 182)—are changing in the West in relation to current concerns about climate change. Such modification has a long history. Since long before the inception of modern Homo sapiens, natural climate change has been a crucial element driving hominidae evolution, both biologically and culturally in terms of social organisation and behaviours. Macroevolutionary theory suggests evolution can dramatically accelerate in response to rapid shifts in an organism’s environment, followed by slow to long periods of stasis once a new level of sustainability has been achieved (Gould and Eldredge). There is evidence that ancient climate change has also dramatically affected the rate and course of cultural evolution. Recent work suggests that the end of the last ice age drove the cultural innovation of animal and plant domestication in the Middle East (Zeder), not only due to warmer temperatures and increased rainfall, but also to a higher level of atmospheric carbon dioxide which made agriculture increasingly viable (McCorriston and Hole, cited in Zeder). Megadroughts during the Paleolithic might well have been stimulating factors behind the migration of hominid populations out of Africa and across Asia (Scholz et al). Thus, it is hardly surprising that modern anthropogenically induced global warming—in all its’ climate altering manifestations—may be driving a new wave of cultural change and even evolution in the West as we seek a sustainable homeostatic equilibrium with the environment of the future. In 1962, Rachel Carson’s Silent Spring exposed some of the threats that modern industrial agriculture poses to environmental sustainability. This prompted a public debate from which the modern environmental movement arose and, with it, an expanding awareness and attendant anxiety about the safety and nutritional quality of contemporary foods, especially those that are grown with chemical pesticides and fertilizers and/or are highly processed. This environmental consciousness led to some modification in eating habits, manifest by some embracing wholefood and vegetarian dietary regimes (or elements of them). Most recently, a widespread awareness of climate change has forced rapid change in contemporary Western foodways, while in other climate related areas of socio-political and economic significance such as energy production and usage, there is little evidence of real acceleration of change. Ongoing research into the effects of this expanding environmental consciousness continues in various disciplinary contexts such as geography (Eshel and Martin) and health (McMichael et al). In food studies, Vileisis has proposed that the 1970s environmental movement’s challenge to the polluting practices of industrial agri-food production, concurrent with the women’s movement (asserting women’s right to know about everything, including food production), has led to both cooks and eaters becoming increasingly knowledgeable about the links between agricultural production and consumer and environmental health, as well as the various social justice issues involved. As a direct result of such awareness, alternatives to the industrialised, global food system are now emerging (Kloppenberg et al.). The Slow Food (R)evolution The tenets of the Slow Food movement, now some two decades old, are today synergetic with the growing consternation about climate change. In 1983, Carlo Petrini formed the Italian non-profit food and wine association Arcigola and, in 1986, founded Slow Food as a response to the opening of a McDonalds in Rome. From these humble beginnings, which were then unashamedly positing a return to the food systems of the past, Slow Food has grown into a global organisation that has much more future focused objectives animating its challenges to the socio-cultural and environmental costs of industrial food. Slow Food does have some elements that could be classed as reactionary and, therefore, the opposite of evolutionary. In response to the increasing homogenisation of culinary habits around the world, for instance, Slow Food’s Foundation for Biodiversity has established the Ark of Taste, which expands upon the idea of a seed bank to preserve not only varieties of food but also local and artisanal culinary traditions. In this, the Ark aims to save foods and food products “threatened by industrial standardization, hygiene laws, the regulations of large-scale distribution and environmental damage” (SFFB). Slow Food International’s overarching goals and activities, however, extend far beyond the preservation of past foodways, extending to the sponsoring of events and activities that are attempting to create new cuisine narratives for contemporary consumers who have an appetite for such innovation. Such events as the Salone del Gusto (Salon of Taste) and Terra Madre (Mother Earth) held in Turin every two years, for example, while celebrating culinary traditions, also focus on contemporary artisanal foods and sustainable food production processes that incorporate the most current of agricultural knowledge and new technologies into this production. Attendees at these events are also driven by both an interest in tradition, and their own very current concerns with health, personal satisfaction and environmental sustainability, to change their consumer behavior through an expanded self-awareness of the consequences of their individual lifestyle choices. Such events have, in turn, inspired such events in other locations, moving Slow Food from local to global relevance, and affecting the intellectual evolution of foodway cultures far beyond its headquarters in Bra in Northern Italy. This includes in the developing world, where millions of farmers continue to follow many traditional agricultural practices by necessity. Slow Food Movement’s forward-looking values are codified in the International Commission on the Future of Food and Agriculture 2006 publication, Manifesto on the Future of Food. This calls for changes to the World Trade Organisation’s rules that promote the globalisation of agri-food production as a direct response to the “climate change [which] threatens to undermine the entire natural basis of ecologically benign agriculture and food preparation, bringing the likelihood of catastrophic outcomes in the near future” (ICFFA 8). It does not call, however, for a complete return to past methods. To further such foodway awareness and evolution, Petrini founded the University of Gastronomic Sciences at Slow Food’s headquarters in 2004. The university offers programs that are analogous with the Slow Food’s overall aim of forging sustainable partnerships between the best of old and new practice: to, in the organisation’s own words, “maintain an organic relationship between gastronomy and agricultural science” (UNISG). In 2004, Slow Food had over sixty thousand members in forty-five countries (Paxson 15), with major events now held each year in many of these countries and membership continuing to grow apace. One of the frequently cited successes of the Slow Food movement is in relation to the tomato. Until recently, supermarkets stocked only a few mass-produced hybrids. These cultivars were bred for their disease resistance, ease of handling, tolerance to artificial ripening techniques, and display consistency, rather than any culinary values such as taste, aroma, texture or variety. In contrast, the vine ripened, ‘farmer’s market’ tomato has become the symbol of an “eco-gastronomically” sustainable, local and humanistic system of food production (Jordan) which melds the best of the past practice with the most up-to-date knowledge regarding such farming matters as water conservation. Although the term ‘heirloom’ is widely used in relation to these tomatoes, there is a distinctively contemporary edge to the way they are produced and consumed (Jordan), and they are, along with other organic and local produce, increasingly available in even the largest supermarket chains. Instead of a wholesale embrace of the past, it is the connection to, and the maintenance of that connection with, the processes of production and, hence, to the environment as a whole, which is the animating premise of the Slow Food movement. ‘Slow’ thus creates a gestalt in which individuals integrate their lifestyles with all levels of the food production cycle and, hence to the environment and, importantly, the inherently related social justice issues. ‘Slow’ approaches emphasise how the accelerated pace of contemporary life has weakened these connections, while offering a path to the restoration of a sense of connectivity to the full cycle of life and its relation to place, nature and climate. In this, the Slow path demands that every consumer takes responsibility for all components of his/her existence—a responsibility that includes becoming cognisant of the full story behind each of the products that are consumed in that life. The Slow movement is not, however, a regime of abstention or self-denial. Instead, the changes in lifestyle necessary to support responsible sustainability, and the sensual and aesthetic pleasure inherent in such a lifestyle, exist in a mutually reinforcing relationship (Pietrykowski 2004). This positive feedback loop enhances the potential for promoting real and long-term evolution in social and cultural behaviour. Indeed, the Slow zeitgeist now informs many areas of contemporary culture, with Slow Travel, Homes, Design, Management, Leadership and Education, and even Slow Email, Exercise, Shopping and Sex attracting adherents. Mainstreaming Concern with Ethical Food Production The role of the media in “forming our consciousness—what we think, how we think, and what we think about” (Cunningham and Turner 12)—is self-evident. It is, therefore, revealing in relation to the above outlined changes that even the most functional cookbooks and cookery magazines (those dedicated to practical information such as recipes and instructional technique) in Western countries such as the USA, UK and Australian are increasingly reflecting and promoting an awareness of ethical food production as part of this cultural change in food habits. While such texts have largely been considered as useful but socio-politically relatively banal publications, they are beginning to be recognised as a valid source of historical and cultural information (Nussel). Cookbooks and cookery magazines commonly include discussion of a surprising range of issues around food production and consumption including sustainable and ethical agricultural methods, biodiversity, genetic modification and food miles. In this context, they indicate how rapidly the recent evolution of foodways has been absorbed into mainstream practice. Much of such food related media content is, at the same time, closely identified with celebrity mass marketing and embodied in the television chef with his or her range of branded products including their syndicated articles and cookbooks. This commercial symbiosis makes each such cuisine-related article in a food or women’s magazine or cookbook, in essence, an advertorial for a celebrity chef and their named products. Yet, at the same time, a number of these mass media food celebrities are raising public discussion that is leading to consequent action around important issues linked to climate change, social justice and the environment. An example is Jamie Oliver’s efforts to influence public behaviour and government policy, a number of which have gained considerable traction. Oliver’s 2004 exposure of the poor quality of school lunches in Britain (see Jamie’s School Dinners), for instance, caused public outrage and pressured the British government to commit considerable extra funding to these programs. A recent study by Essex University has, moreover, found that the academic performance of 11-year-old pupils eating Oliver’s meals improved, while absenteeism fell by 15 per cent (Khan). Oliver’s exposé of the conditions of battery raised hens in 2007 and 2008 (see Fowl Dinners) resulted in increased sales of free-range poultry, decreased sales of factory-farmed chickens across the UK, and complaints that free-range chicken sales were limited by supply. Oliver encouraged viewers to lobby their local councils, and as a result, a number banned battery hen eggs from schools, care homes, town halls and workplace cafeterias (see, for example, LDP). The popular penetration of these ideas needs to be understood in a historical context where industrialised poultry farming has been an issue in Britain since at least 1848 when it was one of the contributing factors to the establishment of the RSPCA (Freeman). A century after Upton Sinclair’s The Jungle (published in 1906) exposed the realities of the slaughterhouse, and several decades since Peter Singer’s landmark Animal Liberation (1975) and Tom Regan’s The Case for Animal Rights (1983) posited the immorality of the mistreatment of animals in food production, it could be suggested that Al Gore’s film An Inconvenient Truth (released in 2006) added considerably to the recent concern regarding the ethics of industrial agriculture. Consciousness-raising bestselling books such as Jim Mason and Peter Singer’s The Ethics of What We Eat and Michael Pollan’s The Omnivore’s Dilemma (both published in 2006), do indeed ‘close the loop’ in this way in their discussions, by concluding that intensive food production methods used since the 1950s are not only inhumane and damage public health, but are also damaging an environment under pressure from climate change. In comparison, the use of forced labour and human trafficking in food production has attracted far less mainstream media, celebrity or public attention. It could be posited that this is, in part, because no direct relationship to the environment and climate change and, therefore, direct link to our own existence in the West, has been popularised. Kevin Bales, who has been described as a modern abolitionist, estimates that there are currently more than 27 million people living in conditions of slavery and exploitation against their wills—twice as many as during the 350-year long trans-Atlantic slave trade. Bales also chillingly reveals that, worldwide, the number of slaves is increasing, with contemporary individuals so inexpensive to purchase in relation to the value of their production that they are disposable once the slaveholder has used them. Alongside sex slavery, many other prevalent examples of contemporary slavery are concerned with food production (Weissbrodt et al; Miers). Bales and Soodalter, for example, describe how across Asia and Africa, adults and children are enslaved to catch and process fish and shellfish for both human consumption and cat food. Other campaigners have similarly exposed how the cocoa in chocolate is largely produced by child slave labour on the Ivory Coast (Chalke; Off), and how considerable amounts of exported sugar, cereals and other crops are slave-produced in certain countries. In 2003, some 32 per cent of US shoppers identified themselves as LOHAS “lifestyles of health and sustainability” consumers, who were, they said, willing to spend more for products that reflected not only ecological, but also social justice responsibility (McLaughlin). Research also confirms that “the pursuit of social objectives … can in fact furnish an organization with the competitive resources to develop effective marketing strategies”, with Doherty and Meehan showing how “social and ethical credibility” are now viable bases of differentiation and competitive positioning in mainstream consumer markets (311, 303). In line with this recognition, Fair Trade Certified goods are now available in British, European, US and, to a lesser extent, Australian supermarkets, and a number of global chains including Dunkin’ Donuts, McDonalds, Starbucks and Virgin airlines utilise Fair Trade coffee and teas in all, or parts of, their operations. Fair Trade Certification indicates that farmers receive a higher than commodity price for their products, workers have the right to organise, men and women receive equal wages, and no child labour is utilised in the production process (McLaughlin). Yet, despite some Western consumers reporting such issues having an impact upon their purchasing decisions, social justice has not become a significant issue of concern for most. The popular cookery publications discussed above devote little space to Fair Trade product marketing, much of which is confined to supermarket-produced adverzines promoting the Fair Trade products they stock, and international celebrity chefs have yet to focus attention on this issue. In Australia, discussion of contemporary slavery in the press is sparse, having surfaced in 2000-2001, prompted by UNICEF campaigns against child labour, and in 2007 and 2008 with the visit of a series of high profile anti-slavery campaigners (including Bales) to the region. The public awareness of food produced by forced labour and the troubling issue of human enslavement in general is still far below the level that climate change and ecological issues have achieved thus far in driving foodway evolution. This may change, however, if a ‘Slow’-inflected connection can be made between Western lifestyles and the plight of peoples hidden from our daily existence, but contributing daily to them. Concluding Remarks At this time of accelerating techno-cultural evolution, due in part to the pressures of climate change, it is the creative potential that human conscious awareness brings to bear on these challenges that is most valuable. Today, as in the caves at Lascaux, humanity is evolving new images and narratives to provide rational solutions to emergent challenges. As an example of this, new foodways and ways of thinking about them are beginning to evolve in response to the perceived problems of climate change. The current conscious transformation of food habits by some in the West might be, therefore, in James Lovelock’s terms, a moment of “revolutionary punctuation” (178), whereby rapid cultural adaption is being induced by the growing public awareness of impending crisis. It remains to be seen whether other urgent human problems can be similarly and creatively embraced, and whether this trend can spread to offer global solutions to them. References An Inconvenient Truth. 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