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Journal articles on the topic 'Solanas'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 March 2023

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1

Rowe, Desirée D. "Negative Affect, SCUM, and the Politics of Possibility." Cultural Studies ↔ Critical Methodologies 20, no. 2 (2019): 176–81. http://dx.doi.org/10.1177/1532708619879204.

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Negativity has been widely framed through Edelman’s “no future” orientation. While being productive, this orientation forecloses the potential negativity to foster coalitional alliances. Building off previous works about Valerie Solanas, I turn toward an investigation of the negative affective traces of her SCUM Manifesto to create paths of meaning-making beyond Edelman’s accounting. First, I examine how Solanas uses negative affect in her work. Second, I build from contemporary re-framings of negativity to imagine a possible reparative reading of SCUM. I argue that through her use of lived ex

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2

Cabezudo, Baltasar, Federico Casimiro-Soriguer Solanas, and Andrés V. Pérez-Latorre. "Sobre el género Armeria en la provincia de Málaga (Andalucía, España)." Acta Botanica Malacitana 40 (July 6, 2017): 57. http://dx.doi.org/10.24310/actabotanicaabm.v40i0.2493.

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Español. Las poblaciones del genero Armeria localizadas en las sierras de Aguas y Alcaparaín, ambas en la provincia de Málaga, se han incluido tradicionalmente en Armeria villosa subsp. carratracensis (Bernis) Nieto Feliner. El estudio del material de ambas sierras ha puesto de manifiesto que en realidad se trata de dos entidades taxonómicas distintas. Las poblaciones de la Sierra de Alcaparaín, sobre dolomías, se identifican como Armeria grajoana Casimiro-Soriguer Solanas & Cabezudo, sp. nov. Las poblaciones de Sierra de Aguas, sobre serpentinas/ peridotitas, se identifican como Armeria v

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Cabezudo, Baltasar, Federico Casimiro-Soriguer Solanas, and Andrés V. Pérez-Latorre. "Sobre el género Armeria en la provincia de Málaga (Andalucía, España)." Acta Botanica Malacitana 40 (December 1, 2015): 57–70. http://dx.doi.org/10.24310/abm.v40i0.2493.

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Las poblaciones del genero Armeria localizadas en las sierras de Aguas y Alcaparaín, ambas en la provincia de Málaga, se han incluido tradicionalmente en Armeria villosa subsp. carratracensis (Bernis) Nieto Feliner. El estudio del material de ambas sierras ha puesto de manifiesto que en realidad se trata de dos entidades taxonómicas distintas. Las poblaciones de la Sierra de Alcaparaín, sobre dolomías, se identifican como Armeria grajoana Casimiro-Soriguer Solanas & Cabezudo, sp. nov. Las poblaciones de Sierra de Aguas, sobre serpentinas/ peridotitas, se identifican como Armeria villosa su

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Pan, Jennifer. "Trasher Feminism: Valerie Solanas and Her Enemies." Dissent 61, no. 2 (2014): 83–86. http://dx.doi.org/10.1353/dss.2014.0029.

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Ledoux-Beaugrand, Evelyne. "Littéralisation et lignée féministe: l'héritage du Scum Manifesto dans Les Mouflettes d'Atropos de Chloé Delaume." Nottingham French Studies 52, no. 3 (2013): 337–49. http://dx.doi.org/10.3366/nfs.2013.0064.

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Récit d'une vengeance fantasmée, Les Mouflettes d'Atropos de Chloé Delaume se construit sur un réseau intertextuel vaste et éclectique où la référence au Scum Manifesto de la féministe radicale américaine Valerie Solanas joue cependant un rôle pivot. À la lumière de l'intertexte du Scum Manifesto dans Les Mouflettes d'Atropos, cet article se penche sur une filiation féministe paradoxale qui s'affirme, dans ce premier récit de Delaume, sous l'angle de la négativité. Il interroge plus spécifiquement les enjeux filiaux d'une appropriation intertextuelle littéralisante et duelle dans laquelle le r

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6

Pageau, Christian. "La imagen como prueba e invención en Solanas, una herramienta de descolonización cultural." Cuadernos de Literatura, no. 13 (August 13, 2013): 29. http://dx.doi.org/10.30972/clt.0133061.

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<p>Este trabajo propon~ un estudio de la representación del subalterno en la cinematografia de Femando E. Solanas. Partimos del concepto doble de imagen que sostiene el cineasta, es decir, la imagen como prueba y como invención. Demostramos que tanto en su vertiente documental como ficcional, este concepto doble no constituye un oxímoron, sino una sinergia. En un primer momento, acudimos a la idea de "esculpir en el tiempo" de Andrer Tarkovsky. Esta idea nos permite indagar en la esencia temporal del cine, y en la necesidad de capturar el tiempo. Abordamos la idea de tiempo nacional que

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7

Rowe, Desireé D., and Karma R. Chávez. "Valerie Solanas and the Queer Performativity of Madness." Cultural Studies ↔ Critical Methodologies 11, no. 3 (2011): 274–84. http://dx.doi.org/10.1177/1532708611409544.

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8

Mestman, Mariano. "A hora dos fornos e o cinema político italiano por volta de 1968." Significação: Revista de Cultura Audiovisual 45, no. 50 (2018): 297. http://dx.doi.org/10.11606/issn.2316-7114.sig.2018.145159.

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A IV Mostra del Nuovo Cinema di Pesaro (Itália) foi um evento-chave no qual confluiu o cinema político latino-americano. Em junho de 1968, entre os festivais de Cannes (maio) e Veneza (agosto-setembro) – sacudidos pelas revoltas do 1968 –, Pesaro também viveu dias agitados, convulsionados. Foi aí que A hora dos fornos (1966-1968), de Solanas e Getino, teve sua estreia internacional. Este artigo reconstrói os eventos de Pesaro a partir de documentos internos da Mostra, além de escritos e testemunhos de seus principais protagonistas italianos: Lino Micciché, Goffredo Fofi, Valentino Orsini, entr

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Harding, James M. "The Simplest Surrealist Act: Valerie Solanas and the (Re) Assertion of Avantgarde Priorities." TDR/The Drama Review 45, no. 4 (2001): 142–62. http://dx.doi.org/10.1162/105420401772990388.

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She shot pop art superstar Andy Warhol—but, really, who was Valerie Solanas? And what was “SCUM”? Answering those questions tells a lot about the radically changing landscape of the American avantgarde of the late 1960a.

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10

Casimiro-Soriguer Solanas, Federico, and Baltasar Cabezudo Artero. "Dos nuevas subespecies de Linaria amethystea (Vent.) Hoffman. & Link en el sur de la Península Ibérica." Acta Botanica Malacitana 44 (September 19, 2019): 35–42. http://dx.doi.org/10.24310/abm.v44i0.6673.

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ResumenSe propone una nueva combinación nomenclatural Linaria amethystea subsp. albiflora (Boiss.) Casimiro-Soriguer Solanas & Cabezudo y un nuevo taxón, L. amethystea subsp. toloxense Casimiro-Soriguer Solanas & Cabezudo. Se aclaran las relaciones de ambos taxones con el resto de subespecies de L. amethystea presentes en el sur de la Península Ibérica y se aporta una clave de identificación para todas las subespecies reconocidas en la Península Ibérica dentro del complejo de L. amethystea.Palabras clave: Linaria, taxonomía, Andalucía, Sierra de las NievesAbstractTwo new subspecies of

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11

Sandberg, Tommy. "A “fucked up” novel, narratology, and the Difference approach to literary fiction." Frontiers of Narrative Studies 3, no. 2 (2017): 256–72. http://dx.doi.org/10.1515/fns-2017-0017.

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AbstractDrömfakulteten (2006) is an experimental novel by the Swedish writer Sara Stridsberg portraying the life of political activist and writer Valerie Solanas. I read Drömfakulteten as a “literary fantasy” where the forms, the themes, and the atmosphere are foregrounded rather than the biography of Solanas, and suggest that it can be viewed as a deliberate work of art filled with affordances for the reader. Central to my analysis is the recurring idea of “fucking up” as a way of disobeying social, political, and literary (narrative) norms. In relation to narratology, I take on the novel wit

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Pereira, Miguel Serpa. "A sala dos intervalos no cinema de Fernando Solanas." Revista Contracampo, no. 15 (December 1, 2006): 127. http://dx.doi.org/10.22409/contracampo.v0i15.549.

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A partir do conceito de intervalo de Dziga Vertov, recuperado por Guies Deleuze, discute-se a possibilidade de sua presença no cinema de Fernando Solarias, em especial nos filmes "La hora de los hornos" (19661 68) e "Tangos, exílio de Gardel" (1985) tentando mostrar como a interferência do autor cria um estranhamento nas fronteiras da linguagem e amplia o sentido de seu trabalho, possibilitando ao espectador novas leituras dos filmes.

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13

Tavares, Denise. "Autoria no documentário: o "filme-ensaio" de Fernando Solanas." Revista Contracampo 2, no. 17 (2007): 75. http://dx.doi.org/10.22409/contracampo.v2i17.352.

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Este artigo insere-se na discussão em torno das definições do que seja documentário e os possíveis - ou não - contornos do gênero, incluindo a configuração da autoria, a partir de "Memoria dei Saque" de Fernando "Pino" Solanas, considerando que o documentário, mesmo observado como objeto de "representação", sustenta-se também pelo grau de adesão à "verdade" ou o "foi assim", tanto em relação ao tema, quanto aos personagens e/ou fatos históricos que apresenta.

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14

Rowe, Desireé D. "“I Should’ve Done Target Practice”: Why Valerie Solanas Missed." Qualitative Inquiry 17, no. 2 (2010): 130–33. http://dx.doi.org/10.1177/1077800410392331.

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15

Heller, Dana. "Shooting Solanas: Radical Feminist History and the Technology of Failure." Feminist Studies 27, no. 1 (2001): 167. http://dx.doi.org/10.2307/3178456.

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Ruetalo, Victoria. "Fernando Solanas’ post‐dictatorial journey into the hollows of the image." Quarterly Review of Film and Video 18, no. 4 (2001): 413–23. http://dx.doi.org/10.1080/10509200109361540.

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Rowe, Desireé D. "The (dis)appearance ofUp Your Ass: Valerie Solanas as abject revolutionary." Rethinking History 17, no. 1 (2013): 74–81. http://dx.doi.org/10.1080/13642529.2012.750783.

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Horta, Mônica Cristina Araujo Lima. "A hora dos fornos, cinquenta anos depois." Significação: Revista de Cultura Audiovisual 47, no. 53 (2020): 337–43. http://dx.doi.org/10.11606/issn.2316-7114.sig.2020.156829.

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A resenha aborda o livro A trail of fire for political cinema: the hour of the furnaces fifty years later (Uma trilha de fogo para o cinema político, a hora dos fornos cinquenta anos depois), organizado por Javier Campo e Humberto Pérez-Blanco. A obra pretende retomar o debate e a análise do filme A hora dos fornos (1968), realizado pelo grupo argentino Cine Liberación, sob direção de Fernando Solanas e Octavio Getino.

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19

Pérez, Oscar. "Escaping the Visual Trap of the Agricultural Frontier: Fernando Solanas’s Viaje a los pueblos fumigados." Latin American Literary Review 48, no. 96 (2021): 79–85. http://dx.doi.org/10.26824/lalr.241.

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In this work, I describe how the film Viaje a los pueblos fumigados, directed by Fernando Solanas, help us escape what I call the ‘visual trap’ of the agricultural frontier. The agricultural frontier, sometimes called farming frontier, is often defined as the division zone between the ranching and farming lands and those that have never been cultivated before. Images of the agricultural frontier, with their symmetric forms and stark color contrasts, form a ‘visual trap’ that prevents us from grasping the numerous processes that take place in these spaces and ecosystems, as well as the effects

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FERRER-GALLEGO, PEDRO PABLO, INMACULADA FERRANDO, and EMILIO LAGUNA. "Typification of the Linnaean name Empetrum album (Ericaceae)." Phytotaxa 273, no. 3 (2016): 215. http://dx.doi.org/10.11646/phytotaxa.273.3.11.

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The genus Corema D. Don (1826: 63) (Ericaceae Jussieu 1789: 159) comprises two species. Corema album (Linnaeus 1753: 1022) D. Don (1830: 460) (incl. C. febrifugum Boissier ex Willkomm & Lange 1877: 512) occurs on the west coast of the Iberian Peninsula (subsp. album) from Gibraltar to Finisterre (Willkomm & Lange 1877, Webb 1972, Cabezudo 1987, Villar 1993, Boratyński & Vera de la Puente 1994, López González 2001, Ruiz de la Torre 2006, Gil-López 2011), the Azores (subsp. azoricum Pinto da Silva 1966: 86), and the Mediterranean Basin (Spain, Alicante province, one population) (Sola

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Akser, Murat. "Cinema, Life and Other Viruses: The Future of Filmmaking, Film Education and Film Studies in the Age of Covid-19 Pandemic." CINEJ Cinema Journal 8, no. 2 (2020): 1–13. http://dx.doi.org/10.5195/cinej.2020.351.

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This issue of CINEJ Cinema Journal witnessed the devastating effects of COVID-19 global pandemic on filmmaking, film distribution and exhibition, and teaching film at HE institutions. Global shifts in production and distribution gave rise to new stars, streaming services. The diversity of film sets was gaining momentum as film productions were halted. Ne reports and new investment for the future of filmmaking are at stake at this juncture. As the year closed there have losses like Fernando Solanas and Sean Connery.

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22

El Khachab, Walid. "Le road movie interculturel comme voyage mystique : Le voyage de Fernando Solanas." Cinémas 18, no. 2-3 (2008): 123–42. http://dx.doi.org/10.7202/018555ar.

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Résumé Le voyage de Fernando Solanas est un road movie interculturel oscillant entre deux tendances opposées : souligner la diversité et la multiplicité irréductibles, et penser l’ultime unité au sein d’une même culture. Les images montrent l’extrême diversité géographique, ethnique, sociale et culturelle de l’Amérique latine, à travers le voyage du jeune Martin qui parcourt le continent sud-américain à la recherche de son père. La transparence du montage participe d’une utopie de l’homogénéité, renforcée au niveau narratif par l’unicité du thème de la quête du père. Cependant, l’hétérogénéité

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Bouhaben, Miguel Alfonso. "Poder, violencia y resistencia de la imagen. Batallas audiovisuales en América Latina." Calle 14 revista de investigación en el campo del arte 12, no. 2 (2017): 41. http://dx.doi.org/10.14483/21450706.12354.

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Poder, violencia y resistencia de la imagen. Batallas audiovisuales en América LatinaMiguel Alfonso BouhabenResumenEl mundo contemporáneo se ha convertido en imagen. El poder controla, por medio de imágenes –cámaras de vigilancia, películas ideológicas, nuevas tecnologías, etc.– lo que se debe pensar y sentir. El presente artículo tiene como objetivo la definición y la evaluación crítica de las relaciones entre el poder, la violencia y las formas de resistencia de las imágenes. A través del análisis de algunas secuencias de La hora de los hornos (Gettino y Solanas, 1968), Sangre de cóndor (Jor

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Peltonen, Salla, Mio Lindman, and Sara Nyman. "Perceiving Shit as Shit: On the Grammar of Patriarchy in Solanas’ SCUM Manifesto." Feminist Encounters: A Journal of Critical Studies in Culture and Politics 1, no. 1 (2017): 1–12. http://dx.doi.org/10.20897/femenc.201709.

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Hernández Falagán, David. "Construcción mínima en la obra de Tous y Fargas." BAc Boletín Académico. Revista de investigación y arquitectura contemporánea 7 (November 20, 2017): 45. http://dx.doi.org/10.17979/bac.2017.7.0.1845.

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Entre la década de 1950 y 1960 dos arquitectos barceloneses exploraron las posibilidades técnicas de la arquitectura en un contexto dominado por el conformismo realista que la situación política determinaba. Fieles a un contacto directo con la fabricación industrial, que sus primeros trabajos había propiciado, el tándem Tous y Fargas se valió de referentes internacionales, especialmente norteamericanos, para la reproducción de soluciones constructivas y metodologías de producción innovadoras. Con la eficiencia técnica como premisa, sus trabajos persiguieron incidir en la industria constructiva

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Aguilar, Gonzalo. "Pulqui, entre la historia y el mito." Culturas del transporte en América Latina. Redes, prácticas, discursos, ficciones, no. 34 (2021): 135–44. http://dx.doi.org/10.35659/designis.i34p135-144.

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Pulqui II, el primer avión argentino a reacción construido durante la primera presidencia de Perón, se convirtió con el tiempo en un mito que expresaba el deseo colectivo de convertir a la Argentina en una potencia mundial. En el siglo XXI, tres films (Perón, sinfonía del sentimiento de Leonardo Favio, Pulqui, un instante en la patria de la felicidad de Alejandro Fernández Mouján y Argentina latente de Fernando Solanas) evocaron al avión y lo ubicaron en diferentes constelaciones de sentido: en este trabajo se analiza la relación entre mito e historia que estas películas suponen haciendo foco

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Shaw, Deborah. "Heroes, Villains and Women: Representations of Latin America in The Voyage by Fernando Solanas." Bulletin of Latin American Research 21, no. 4 (2002): 473–89. http://dx.doi.org/10.1111/1470-9856.00055.

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Garibotto, Vernica, and Antonio Gmez. "Historical stasis: Solanas and the restoration of political film after the 2001 Argentine crisis." Studies in Hispanic Cinema 6, no. 2 (2009): 125–38. http://dx.doi.org/10.1386/shci.6.2.125/1.

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Cossia, Lautaro. "Retóricas del Che muerto. Entre la información y significación." La Trama de la Comunicación 16 (November 26, 2012): 221–32. http://dx.doi.org/10.35305/lt.v16i0.36.

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Este trabajo propone comparar el uso de una misma imagen como estrategias de cierre organizadas sobre diferentes materias significantes: el rostro congelado de Ernesto Che Guevara con que culmina la película “La hora de los hornos”, obra de Octavio Getino y Fernando Solanas estrenada en Italia en 1968, y la imagen del guerrillero asesinado en la viñeta final de la historieta “La vida del Che”, biografía dibujada de Héctor Oesterheld y Alberto Breccia publicada ese mismo año. Dicho recorte analítico tiene el propósito de observar las gramáticas visuales puestas en juego en el marco de un proces

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Védie, Léa. "Hating men will free you? Valerie Solanas in Paris or the discursive politics of misandry." European Journal of Women's Studies 28, no. 3 (2021): 305–19. http://dx.doi.org/10.1177/13505068211028896.

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In the wake of contemporary controversies in France over feminist misandry, this article reflects on claimed hatred of men as a feminist discursive resource. I use the reception of Valerie Solanas’ SCUM Manifesto by some radical French feminists of the 1970s as a privileged case study, along with historian Colette Pipon’s study on misandry within French second-wave feminist movements and Judith Butler’s works on stigma reversal. I contend that in a seemingly paradoxical way, misandry is both an anti-feminist stigma and a feminist discursive strategy: the inhibiting effects of such injurious te

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Moore, Christopher. "Argentine Documentary Film and the Politics of Presence: Jorge Prelorán’s Valle Fértil." Latin American Perspectives 45, no. 3 (2018): 193–207. http://dx.doi.org/10.1177/0094582x18768464.

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Jorge Prelorán’s experiences directing and distributing his 1972 film Valle Fértil force us to reconsider what we regard as the significance of documentary. Far too often the historiography of Argentine and Latin American cinema rests either on director biographies, wherein auteurs’ party allegiances define their work, or on textual analysis of the final cut, wherein we isolate finished products from the history of their making. The case of Valle Fértil suggests that the localized, personal interactions inherent to production and distribution are an equally relevant legacy of the filmmaking ex

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Franciosi, L., M. D’Antonio, L. Fedele, et al. "Petrogenesis of the Solanas gabbro-granodiorite intrusion, Sàrrabus (southeastern Sardinia, Italy): implications for Late Variscan magmatism." International Journal of Earth Sciences 108, no. 3 (2019): 989–1012. http://dx.doi.org/10.1007/s00531-019-01689-8.

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Prysthon, Ângela. "Da Alegoria Continental às Jornadas Interiores: o road movie latino-americano contemporâneo." Ícone 9, no. 2 (2007): 113. http://dx.doi.org/10.34176/icone.v9i2.230099.

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Assim como a literatura de viagem está geralmente associada à expansão do colonialismo europeu, o road movie é normalmente definido como um gênero cinematográfico norte-americano por excelência - aquele ao qual pertencem Easy Rider, Thelma and Louise, Lost Highway, só para mencionar alguns dos mais emblemáticos. O propósito deste artigo é comparar algumas apropriações deste gênero na América Latina. Algumas que exacerbam o caráter alegórico das viagens pelo continente (como El Viaje (1992) de Pino Solanas, Guantanamera (1996) de Tomás Gutierrez Alea e Diários de Motocicleta (2003) de Walter Sa

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Marrone, Gaetana. "Once upon a time in Latin America: An interview with Lorenzo Codelli." Journal of Italian Cinema & Media Studies 10, no. 2 (2022): 181–85. http://dx.doi.org/10.1386/jicms_00120_7.

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In this interview, which was conducted during the COVID-19 pandemic in early March 2021, Lorenzo Codelli reflects on Latin American cinema and its underlying aesthetics, as well as on the global influence of Italian cinema, in particular neorealism, on filmmakers such as Ruy Guerra, Fernando Solanas and Alfonso Cuarón, among others. In recent years, the Latin American film industry has produced commercially successful films, such as Cuarón’s Roma (2018), but few movies receive international distribution in particular if directed by women. For example, Melina Léon’s Cancion sin nombre (Song Wit

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Davis, Kathy. "Valerie Solanas. The defiant life of the woman who wrote SCUM (and shot Andy Warhol) Breanne Fahs." Feminism & Psychology 27, no. 3 (2017): 388–90. http://dx.doi.org/10.1177/0959353516686605.

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Lestiyani, Ayu, Arif Wibowo, and Siti Subandiyah. "Pathogenicity and Detection of Phytohormone (Gibberellic Acid and Indole Acetic Acid) Produced by Fusarium spp. that Causes Twisted Disease in Shallot." JPT : JURNAL PROTEKSI TANAMAN (JOURNAL OF PLANT PROTECTION) 5, no. 1 (2021): 24. http://dx.doi.org/10.25077/jpt.5.1.24-33.2021.

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The twisted disease is one of the essential diseases in shallots caused by Fusarium spp. This study aimed to study pathogenicity and identify Fusarium species isolated from shallot plants with twisted symptoms in Nganjuk and Bantul areas. The Fusarium isolates were identified and then tested for pathogenicity levels and the effect of the hormones GA3 and IAA on shallot symptoms. Molecular identification using NF2 and NF4 successfully identified one isolate of Fusarium oxysporum, three isolates of F. acutatum, and three isolates of F. solani. Each of these species produces different symptoms. P

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Cybil, K. V. "Cinema and the Political: Deleuze and the Desire of Documentation in the Third World." Deleuze and Guattari Studies 12, no. 1 (2018): 84–103. http://dx.doi.org/10.3366/dlgs.2018.0297.

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This paper attempts to analyse the images that animated a political movement called the Odessa Collective in Kerala since 1984. It produced six films – Amma Ariyan (A Report to Mother, 1986), Ithrayum Yathabhagam (Journey So Far, 2003), Vettayadapetta Manasu (Haunted Mind, 2006), Mortuary of Love (2009), Agnirekha (Line of Fire, 2011) and Holy Cow (2015). This paper tries to argue that the twenty-two years of this movement's politics can be studied as an assemblage of the man and machine in a Deleuzian framework on cinema of the Third World. It tries to conceptualise the linkages between the C

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Blanc, Frédéric. "Étude de l'avifaune des milieux ouverts en relation avec la dynamique de végétation des paysages agropastoraux : l'exemple du site pilote Natura 2000 «Madres-Coronat» (Pyrénées-Orientales)." Sud-Ouest européen 16, no. 1 (2003): 75–83. http://dx.doi.org/10.3406/rgpso.2003.2840.

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Estudio de la a vifa una de los medios abiertos en relación con la dinámica de vegetación de los paisajes agropecuarios : el ejemplo del sitio piloto natura 2000 «Madres-Coronat» (Pirineos Orientales). El sitio piloto Natura 2000 Madres-Coronat situado en el departamento de los Pirineos orientales sufre desde finales del siglo XVIII un declive de sus actividades agropecuarias. Dicha evolución se traduce por una uniformización de los paisajes, provocando una modificación notable de los habitats de pájaros de los medios abiertos. La correlación entre el estudio de la avifauna y de las formacione

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Forcinito, Ana. "De la Plaza al Mercado: La Memoria, el Olvido y los Cuerpos Femeninos en Puenzo, Solanas y Aristarain." Chasqui 29, no. 2 (2000): 122. http://dx.doi.org/10.2307/29741607.

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Vallés, Raúl. "XVI Encuentro de la Red Universitaria Latinoamericana de Cátedras de Vivienda (ULACAV). Montevideo, 2010, Sharon Recalde, Marta Solanas Domínguez." Hábitat y Sociedad, no. 1 (2010): 153–60. http://dx.doi.org/10.12795/habitatysociedad.2010.i1.10.

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Hoofd, Ingrid. "Xenofeminist Hope and Dread, or How to Move Beyond Patriarchal Technocapitalism." Hypatia 37, no. 1 (2022): 210–15. http://dx.doi.org/10.1017/hyp.2021.73.

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Who said manifestos are dead? Some thirty years after the publication of Donna Haraway's illustrious A Cyborg Manifesto (Haraway 1991), fifty years after Valerie Solanas's angry and delightful SCUM Manifesto (Solanas 1967), and 170 years after Karl Marx and Friedrich Engels's influential Communist Manifesto (Marx and Engels 1848), a new manifesto in town in fact bears traces of all these and then some: The Xenofeminist Manifesto. This manifesto, which comes in a gorgeously designed booklet version as well as in a colorful and nostalgic 80s computer-culture website with nerdy hexadecimal page n

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Evans, Elliot. "‘Wittig and Davis, Woolf and Solanas (…) simmer within me’: Reading Feminist Archives in the Queer Writing of Paul B. Preciado." Paragraph 41, no. 3 (2018): 285–300. http://dx.doi.org/10.3366/para.2018.0272.

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This article considers the relation between contemporary queer and transgender theory and the ‘second wave’ of feminism. Specifically, it explores the ways in which transgender theorist Paul B. Preciado's Testo Junkie: Sex, Drugs, and Biopolitics (2008) calls on feminist theorists, artists and activists of the second wave to explore transgender experience and embodiment, and to rethink gender in light of the new era of biocapitalism Preciado proposes. The article questions the way in which trajectories of feminism are conceived of (most famously through the ‘waves’ metaphor), and finally calls

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Chanan, Michael. "Revisitando el tercer cine." TOMA UNO, no. 3 (October 7, 2014): 15–27. http://dx.doi.org/10.55442/tomauno.n3.2014.9288.

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RESUMEN DE LOS EDITORESMichael Chanan es profesor de Cine y Video en la Universidad de Roehampton, Londres y un reconocido especialista en cine latinoamericano. Fue uno de los primeros teóricos europeos en historizar y teorizar el Nuevo Cine Latinoamericano, no sólo en sus libros y en numerosos artículos sino también a través de una serie documental realizada para la cadena de televisión inglesa, Channel Four en 1984. Entre sus obras audiovisuales se encuentran, además de ésta, los documentales Detroit: Ruin of a City (2005), Secret City (2012) y Tres cortos sobre Chile (2011). Su último film

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Ribas Ribas, Pedro. "Núñez de Arenas, Manuel: 'Ramón de la Sagra, reformador social'. Pamplona, Urgoiti Editores, 2019. Estudio preliminar de María José Solanas Bagüés. CLI+191 pp." Cuadernos de Historia Contemporánea 42 (November 20, 2020): 419–21. http://dx.doi.org/10.5209/chco.71961.

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Kruk, Aleksandra. "Międzynarodowe role Unii Europejskiej w wypowiedziach Javiera Solany, Catherine Ashton i Federiki Mogherini podczas Monachijskich Konferencji Bezpieczeństwa w latach 2009‑2019." Politeja 17, no. 3(66) (2020): 133–44. http://dx.doi.org/10.12797/politeja.17.2020.66.09.

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European Union’s International Role in Statements of Javier Solana, Catherine Ashton and Frederica Mogherini during the Munich Security Conferences in the Years 2009 until 2019 The aim of the article is an analysis of statements of the European union’s foreign affairs and security policy high representatives during the Munich Security Conference in years 2009 until 2019. The diplomats’ activities resulted from their roles as high representatives, which are programming, initiating action and representing the European Union outside. The Munich Security Conferences were a platform to presen

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Roy, Chapol K., Nafiza Akter, Mohammad K. I. Sarkar, et al. "Control of Early Blight of Tomato Caused by Alternaria Solani and Screening of Tomato Varieties against the Pathogen." Open Microbiology Journal 13, no. 1 (2019): 41–50. http://dx.doi.org/10.2174/1874285801913010041.

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Introduction:Early blight is a common disease of tomato, which is caused byAlternaria solani.Objectives:This work was accompanied to find an alternative to chemical fungicides and to screen tomato varieties againstAlternaria solani.Methods:The infected leaves were collected from five tomato fields of Shere-e-Bangla Agricultural University, Dhaka and were cultured for the identification of the infectious fungus and The phytobiocidal role of six plants againstAlternaria solaniwas evaluatedin vitromodel.Results & Discussion:Alternaria solaniwas identified as the infectious fungus. The growth

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Medeiros, Sérgio Coelho de. "Solange." Revista Literária do Corpo Discente da Universidade Federal de Minas Gerais 19, no. 20 (1988): 41. http://dx.doi.org/10.17851/0103-5878.19.20.41-46.

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D’Argent, Franky. "Solange." Huisarts Nu 46, no. 2 (2017): 94–95. http://dx.doi.org/10.1007/s40954-017-0023-x.

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Kurowska, Xymena. "‘Solana Milieu’: Framing Security Policy." Perspectives on European Politics and Society 10, no. 4 (2009): 523–40. http://dx.doi.org/10.1080/15705850903314817.

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Disney, Dan. "Inquietudes, solaces." Antipodes 32, no. 1-2 (2018): 330–32. http://dx.doi.org/10.1353/apo.2018.0039.

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