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Journal articles on the topic 'Uruguayan Arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 February 2023

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1

Tomsich, Francisco. "The “Yugoeslavia” Folder." Acta Academiae Artium Vilnensis 105, no. 105 (2022): 295–315. http://dx.doi.org/10.37522/aaav.105.2022.114.

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In 2018, the Uruguayan-Slovene artist Francisco Tomsich launched the artistic research project Give my regards to those you connect, an exploration on connections and dialogues between artists from the former Yugoslavia and the River Plate region corresponding through the Mail Art network from the late 1960s onward. The research’s point of departure was a list of postal addresses from artists in Serbia prepared prior to the dissolution of Yugoslavia by the Uruguayan artist Clemente Padín and expanded in 2019 by Tomsich through the study of the “Yugoeslavia” folder at the General Archive of the University of the Republic of Uruguay. This paper traces the project’s development in Uruguay and Serbia in 2019 and summarises some of its achievements while describing the author’s approach to artistic research and the key issues of method, archive, comparative art histories, institutional context and failure.

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2

Andreev, Anton. "The Evolution of Soviet-Uruguayan Relations in the 1920—1980s." ISTORIYA 13, no. 10 (120) (2022): 0. http://dx.doi.org/10.18254/s207987840023309-8.

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Uruguay was always on the periphery of the foreign policy of the USSR. At the same time, political, economic, party and cultural ties between Moscow and Montevideo since the 1920s was developing, which became a factor in intern policy in Uruguay. Before the Second World War, relations between the two countries were formed in the context of the influence of the Comintern, and during the era of the Cold War — in the context of organizational and ideological ties between the communist parties. The purpose of this article is to show the features of the evolution of relations between the USSR and Uruguay in the 1920—1980s. Based on party documents, documents of the Comintern, documents of Soviet foreign policy, the article examines the stages of the formation of bilateral relations, identifies their main features, draws conclusions about the influence of the left movement on relations between Uruguay and Moscow. Particular attention is paid to the influence of the USSR on the ideology of the Uruguayan communist movement, as well as on the ratio of state and public relations of the two countries.

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3

Martin-Jones, D., and S. Montanez. "Cinema in progress: New Uruguayan Cinema." Screen 50, no. 3 (2009): 334–44. http://dx.doi.org/10.1093/screen/hjp015.

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4

Burton, Julianne. "Review: Pedro and the Captain by Juan E. Garcia, Pedro Torres Castilla." Film Quarterly 39, no. 1 (1985): 30–32. http://dx.doi.org/10.2307/1212279.

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5

Martı́nez, Sergio, Martı́n Ubilla, Mariano Verde, et al. "Paleoecology and Geochronology of Uruguayan Coastal Marine Pleistocene Deposits." Quaternary Research 55, no. 2 (2001): 246–54. http://dx.doi.org/10.1006/qres.2000.2204.

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AbstractMinimum radiocarbon ages of marine Pleistocene molluscs from Uruguay range from 29,500±600 to 35,500±1900 14C yr B.P. Because knowledge of the marine Quaternary stratigraphy of Uruguay remains inadequate, no attempt is made to correlate between these deposits and recognized lithostratigraphic units. Analysis of the temperature and salinity ranges of the various molluscs suggests the establishment of a poly-euhaline fauna that inhabited waters warmer than present at the same latitude. This is supported by a northward retreat in the recent distribution of Chrysallida cf. C. gemmulosa, Nioche subrostrata, and probably Anomalocardia brasiliana. These marine Pleistocene deposits can probably be correlated with the last interglaciation (oxygen-isotopic substage 5e). At that time the fluvial-marine front of the Rio de la Plata was displaced much further northwestward than previously supposed. Chrysallida cf. C. gemmulosa and Limaria sp. are recorded in Uruguayan Quaternary deposits for the first time.

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6

Merchant, Paul. "Uruguayan Cinema, 1960–2010: Text, Materiality, Archive." Hispanic Research Journal 21, no. 1 (2020): 98–99. http://dx.doi.org/10.1080/14682737.2020.1791436.

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7

Weiss, Rachel. "“None of the Art Stuff Makes Sense Anymore”: An Interview with Luis Camnitzer." ARTMargins 10, no. 2 (2021): 7–28. http://dx.doi.org/10.1162/artm_a_00290.

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Abstract Weiss and Camnitzer discuss his ideas about the transformative potential of art in education; his experiences in and thoughts about Cuba and Cuban art; his “Uruguayan Torture” series of prints, and his thoughts about productive anarchy.

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8

Elliott, Matthew David. "Exchanging Engagement: Alternative Arts Engagement in Latin America." Conjunctions. Transdisciplinary Journal of Cultural Participation 3, no. 1 (2016): 1. http://dx.doi.org/10.7146/tjcp.v3i1.23646.

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In 1973, Eduardo Galeano (1940-2015), the Uruguayan writer and journalist concluded his seminal book Open Veins of Latin America with the following: ‘The Latin American cause is above all a social cause: the rebirth of Latin America must start with the overthrow of its masters, country by country. We are entering times of rebellion and change’ (Galeano, 1973, p. 261). As Galeano stated, the oppression of populations and the loss of lives throughout Latin America led to ‘times of rebellion and change’. Artists, activists and the wider community sought to challenge and resist autocratic regimes to seek alternative ways of upholding their democratic and human rights. These methods and practice have transcended the democratisation of the continent in the 1980s and 1990s. The desire to advocate change through the arts has continued to be radical and proposes an alternative way of being to communities in Latin America. How can this practice be transposed to benefit the personal and social development of young people in the UK?The author’s experience of working with young people and his encounters with Latin American arts practice led to a need to intertwine these practices and develop theatre as a model for social change, which engages the political and social rights of young people in the UK.The paper is a product of a six-week practice-based research project in Latin America (Chile, Argentina and Uruguay) that explored innovative arts engagement for marginalised young people. The research was undertaken as a means to develop a high quality arts provision for young people in the UK. The paper focuses on three areas: continuity, sustainability and activism, and asks the reader: How can theatre ethically engage young people in the social and political decisions that shape their society? The research was funded by the Winston Churchill Memorial Trust.

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9

Rocha, Carolina. "Developing a national cinema through co-productions: The Uruguayan case." New Cinemas: Journal of Contemporary Film 16, no. 2 (2018): 171–83. http://dx.doi.org/10.1386/ncin.16.2.171_1.

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10

Machín, Leandro, Jessica Aschemann-Witzel, Angelina Patiño, et al. "Barriers and Facilitators to Implementing the Uruguayan Dietary Guidelines in Everyday Life: A Citizen Perspective." Health Education & Behavior 45, no. 4 (2017): 511–23. http://dx.doi.org/10.1177/1090198117744243.

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An in-depth understanding of the citizen’s perception and behavior is needed for the development of targeted public policies and interventions that can successfully encourage people to shift their dietary patterns and contribute to the prevention of non-communicable diseases. The present work aimed to identify barriers and facilitators for the adoption of the new Uruguayan dietary guidelines from a citizen perspective. Twelve semistructured focus groups were conducted with a total of 91 people (81% female, age 18-64 years) from 3 Uruguayan cities. Findings identified several multifaceted barriers, including lack of value given to food, meals and cooking, taste preferences for unhealthy foods, the unsupportive social context in terms of household preferences, customs and social norms, and lack of control of the situation through insufficient food capabilities, time scarcity, and an adverse food market environment. The potential facilitators discussed in the focus groups were mainly related to policies and regulations to discourage consumption of unhealthful products and the provision of more education and information. In addition, respondents acknowledged the need for own actions in terms of seeking greater cooking skills and enjoyment, incorporating changes in their daily routines and promoting a more supportive social environment. Results suggest that supportive actions are needed to support citizen’s adoption of the new Uruguayan dietary guidelines.

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11

Giunta, Andrea. "Archives, Performance, and Resistance in Uruguayan Art Under Dictatorship." Representations 136, no. 1 (2016): 36–53. http://dx.doi.org/10.1525/rep.2016.136.1.36.

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12

Álvarez Scanniello, Jorge. "Desempeño relativo de la productividad física de la ganadería de Nueva Zelanda y Uruguay, 1870-2010." Historia Agraria Revista de agricultura e historia rural, no. 80 (January 24, 2020): 107–44. http://dx.doi.org/10.26882/histagrar.080e06a.

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In the nineteenth century, New Zealand and Uruguay were new European settler societies and rich in natural resources. Both countries engaged with the world economy as producers and exporters of livestock products. However, these countries exhibited divergent long-term development. The aim of this article is to identify the main historical tendencies associated with the relative physical productivity of livestock in both countries and to understand convergent-divergent processes in light of their technological trajectories. The main synthetic indicators used in agrarian sciences, such as Livestock Units and Meat Equivalents, are reviewed and a series of corrections that account for the specific features of each agrarian system is proposed for the usual aggregation methods. The technological trajectories that affected livestock productivity growth are also compared. The main results indicate that Uruguayan livestock production fell behind that of New Zealand due to the technological trajectory followed by each country. In the nineteenth century, Uruguay had very favourable natural conditions for livestock production. It did not develop technologies to improve soil and land productivity until the second half of the twentieth century. In contrast, New Zealand began to improve grassland productivity during the nineteenth century in order to increase and diversify livestock production.

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13

HENTSCHKE, JENS R. "Artiguista, White, Cosmopolitan and Educated: Constructions of Nationhood in Uruguayan Textbooks and Related Narratives, 1868–1915." Journal of Latin American Studies 44, no. 4 (2012): 733–64. http://dx.doi.org/10.1017/s0022216x12000806.

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AbstractUruguay's late nineteenth- and early twentieth-century economic modernisation and political institutionalisation were accompanied by the education reform led by José Pedro and Jacobo Varela, which was extended to the whole country during the administrations of José Batlle y Ordóñez. Schools were to insert future generations into the capitalist world market and a more liberal polity. This article explores how official manuals and related texts constructed the nation. They invented a foundation narrative that made José Artigas a protagonist of independence; converted Amerindians into extinct ancestors; represented European immigrants as dynamic elements who, rightly mixed, would form a new ethnic group and help the cosmopolitan lettered city to civilise the gaucho; and taught children that hard work and education held the key to prosperity.

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14

Birns, Nicholas. "América invertida: An Anthology of Emerging Uruguayan Poets, Edited by Jesse Lee Kercheval / Never Made in America: Selected Poems from Martín Barea Mattos." Review: Literature and Arts of the Americas 51, no. 1 (2018): 158–60. http://dx.doi.org/10.1080/08905762.2018.1485327.

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15

Mex Ávila, Luis Fernando. "Caso “Gelman vs Uruguay”: una revisión bajo la idea de Razón Pública de John Rawls." Andamios, Revista de Investigación Social 17, no. 42 (2020): 167. http://dx.doi.org/10.29092/uacm.v17i42.739.

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Aquí se desarrollará una crítica a la resolución de la Corte IDH, referente al Caso Gelman vs Uruguay, desde la concepción de “razón pública” de John Rawls, así como su extensión al uso de este por parte de los Tribunales. Lo anterior pretende poner de manifiesto, las “tensiones democráticas” que se hacen presentes en esta sentencia si se le mira bajo una concepción de legitimidad. En este sentido, el texto examina la decisión de la Corte respecto a la Ley de Caducidad uruguaya puesto que, en ella, se termina por declarar inválida una norma que, a pesar de ser polémica, pareciera fungir como una manifestación del “Pueblo Uruguayo” legítima en términos democráticos y constitucionales.

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16

Sordi, Caetano. "Bicho bandido : wild boars, biological invasions and landscape transformations on the Brazilian–Uruguayan border (Pampas region)." Social Anthropology 28, no. 3 (2020): 614–28. http://dx.doi.org/10.1111/1469-8676.12785.

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17

Montez, Noe. "Theatrical Topographies: Spatial Crises in Uruguayan Theater Post-2001. By Sarah M. Misemer. Lewisburg, PA: Bucknell University Press, 2017; pp. xix + 215, 5 illustrations. $90 cloth, $85.50 e-book." Theatre Survey 59, no. 3 (2018): 437–39. http://dx.doi.org/10.1017/s004055741800042x.

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18

Román, Gustavo San. "Posmorriña in Ángel Rama’s Tierra sin mapa." Journal of Romance Studies 20, no. 3 (2020): 461–88. http://dx.doi.org/10.3828/jrs.2020.25.

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The Uruguayan Ángel Rama (1926-1983) is widely recognized as a pioneer in the development of cultural studies in Latin America. This article proposes that there was a lesser-known side to the socially conscious, historicist Rama that was expressed mostly in intimate writings: a romantic, essentialist Rama. The focus is a semi-fictional work, Tierra sin mapa (1959), which recounts the stories Rama’s inmigrant mother told him in Montevideo about her childhood in rural Galicia. In retelling her reminiscences, which were triggered by the homesickness that in Galician is termed morriña, Rama relives his mother’s experiences as his own. This process is here called posmorriña, in an echo of the term ‘postmemory’, coined by Marianne Hirsch to denote the experience of children of victims of trauma. The article argues that this maternal Galicia left a mark on the young intellectual that played a key role in his understanding of Latin American cultural identity. It further suggests that Rama’s experience may be paradigmatic of those of other writers in his time and place.

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19

Eisner-Sagüés, Federico. "Technology-assisted close listening to sound poetry vocal practices for creative musical collaboration." Journal of Interdisciplinary Voice Studies 6, no. 2 (2021): 181–99. http://dx.doi.org/10.1386/jivs_00046_1.

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As part of a sustained increase in interest in voice studies from all kinds of fields of knowledge and from a post-humanistic comprehension of voice as an assemblage, this investigation understands vocal practices as the pivot of artistic collaboration between music and sound poetry. It presents a method for analysing vocal practices in sound poetry in a creative context of artistic research in collaboration with electroacoustic music. The method involves a mixture of close listening, audio information retrieval, phonetics and morphology. It is based on a standard voice analysis of a sound poet (i.e. prepared samples) and a case-specific vocal practice (i.e. actual sound poem) with a creative rather than comparativist aim. After discussing the principle of differentiation between analysing and creating, the text offers two concrete artistic outputs of electroacoustic interventions over the vocal practice of the Uruguayan sound poet Luis Bravo’s sound poem ‘Descubrimiento del Fuego’. Finally, a set of compositive ideas based on this method are classified as either mimetic or metaphoric, according to their relationship with the obtained data. Both the concrete examples and the compositive ideas provoke unavoidable questions about current electroacoustic and vocal practices and point to discussions on voice studies about issues such as presence, virtuality, identification and materiality.

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20

Nudelman, Jorge. "Un muerto político." A&P Continuidad 5, no. 8 (2018): 58–73. http://dx.doi.org/10.35305/23626097v5i8.104.

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Este artículo proviene de la tesis doctoral Tres visitantes en París. Los colaboradores uruguayos de Le Corbusier, leída en Madrid en 2013 y publicada en Montevideo en 2015. En esta se sostiene que el patrimonio lecorbusieriano se construye en Uruguay a partir de una serie casi accidental de acontecimientos. De una teoría basada en la tradición beaux arts enriquecida por los aportes alemanes, sobre todo en el campo de la urbanística, hasta al menos los años cuarenta, se pasaría en la posguerra a la adaptación dogmática de la grille CIAM, de la que cada protagonista genera su propia versión. Todo se clausura militarmente en 1973. El relato comienza en 1951, con el episodio del concurso para la Sinagoga sefaradí en la Ciudad Vieja de Montevideo, donde confluyen todos los colaboradores uruguayos de Le Corbusier, primera y quizás única ocasión en que trabajan juntos, y cuyo proyecto ha sido descubierto en 2013, después de la presentación de la tesis.

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21

Ares, Gastón, Leandro Machín, Leticia Vidal, et al. "How Can We Motivate People to Use Nutritional Warnings in Decision Making? Citizen Co-Created Insights for the Development of Communication Campaigns." Health Education & Behavior 47, no. 2 (2019): 321–31. http://dx.doi.org/10.1177/1090198119889086.

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Nutritional warnings are intended to enable citizens to make informed choice by clearly identifying food products with excessive content of nutrients associated with noncommunicable diseases. The efficacy of this public policy is expected to improve if accompanied by communication campaigns that raise awareness of the existence of nutritional warnings, as well as encourage citizens to take them into account in decision making. Because ordinary citizens have been shown to generate significantly more creative and valuable ideas than advanced users and professional developers, the aim of the present work was to obtain qualitative, citizen co-created insights for the design of a communication campaign. An online study was conducted with 518 Uruguayan citizens, recruited using a Facebook advertisement. Participants were asked to answer a series of open-ended questions about how they would encourage other people to use the warnings for making their food choices, as well as the key contents of a communication campaign. Responses were analyzed using content analysis. Results showed that, according to the participants’ accounts, an effective public awareness campaign aimed at promoting the use of nutritional warnings in decision making should include three main concepts: (a) position warnings as a cue to action for improving eating habits by enabling informed choices; (b) emphasize the benefits of using the warnings for avoiding consumption of unhealthy food and, consequently, achieving a healthier diet and an improvement in health status and quality of life; and (c) increase the perceived susceptibility and severity of the negative consequences of consumption of foods with excessive content of sugar, fat, and sodium. A communication campaign based on these key concepts could contribute to increasing the efficacy of nutritional warnings.

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22

Rey Ashfield, William. "En París también fuimos modernos. El pabellón uruguayo en la Exposición Internacional de las Artes y Técnicas en la Vida Moderna de 1937." Atrio. Revista de Historia del Arte, no. 28 (December 21, 2022): 252–69. http://dx.doi.org/10.46661/atrio.7530.

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La arquitectura moderna en Uruguay no surge de actores de élite tendientes a adoptar líneas y formas de actualidad, tal como sucedió en otros países de Latinoamérica. Ya en los años veinte se puede apreciar un compromiso moderno que se consolida entre 1930 y 1940, cuando el Estado uruguayo construye casi todas sus arquitecturas representativas a partir de dicha experiencia. En Europa, esta se verá afectada hacia los años treinta por la reintroducción de tendencias clásicas y de ciertos monumentalismos, adoptados por distintos regímenes de izquierda y de derecha y por muchos gobiernos liberales. Entre estas manifestaciones, alternativas a la experiencia vanguardista de las dos primeras décadas, el gobierno uruguayo monta en la Exposición Universal de 1937 en París un pequeño pabellón, ajeno y descontaminado de tales transformaciones.

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23

De Brito, Alexandra Barahona. "Saúl Sosnowski and Louise B. Popkin (eds.), translated by Louise B. Popkin, Repression, Exile and Democracy: Uruguayan Culture (Durham, NC and London: Duke University Press, 1993), pp. viii + 259." Journal of Latin American Studies 26, no. 1 (1994): 250–51. http://dx.doi.org/10.1017/s0022216x00019015.

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24

Burone, Leticia, Paula Franco-Fraguas, Michel Mahiques, and Leonardo Ortega. "GEOMORPHOLOGICAL AND SEDIMENTOLOGICAL CHARACTERIZATION OF THE URUGUAYAN CONTINENTAL MARGIN: A REVIEW AND STATE OF ART / CARACTERIZAÇÃO GEOMORFOLÓGICA E SEDIMENTOLÓGICA DA MARGEM CONTINENTAL DO URUGUAI: UMA REVISÃO E ESTADO DA ARTE." Journal of Sedimentary Environments 3, no. 4 (2018): 253–64. http://dx.doi.org/10.12957/jse.2018.39150.

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The Uruguayan Continental Margin is located in a strategic location of great relevance to understand the dynamics of the regional and global climate and to study the sedimentary processes. The Río de la Plata represents the largest fluvial discharge of the Southwest Atlantic (23.000 m3/s of water and 57.000.000 m3/year of sediment for the South Atlantic Ocean). The sub-surface and deep circulation are characterized by the confluence of water masses with contrasting thermohaline characteristics that determine the formation of well-marked hydrological fronts. In the continental shelf, this characteristic is represented by the Subtropical Shelf Front, as a shallow extension of the Brazil-Malvinas Confluence that occurs in deep water off the shelf. Although the knowledge of the regional circulation is acceptable, there are significant gaps in the knowledge related to the influence of this complex hydrological system on sedimentation processes. The objective of this work is to synthesize the present knowledge about the morpho-sedimentary characteristics of the Uruguayan Continental Margin and the processes involved in its formation. It also aims to discuss some knowledge gaps that are the subject of current research in the region. The knowledge reflects the scientific-technological evolution at a global level that is translated in the increase of recent works on the continental slope. Nowadays, most of the available information is associated with the inner shelf and upper slope. Starting from the basis of the close relationship between bathymetry and sedimentological distribution it is clear that efforts should be concentrated on the better understanding of the interaction between the shelf and the slope. The scientific knowledge regarding sedimentology and geochemistry along the Uruguayan Continental Margin is still, scarce and heterogeneous. However, it indicates complexity in the sedimentary coverture present both in the continental shelf and slope. The Uruguayan Continental Margin can be considered as an in situ laboratory to improve the understanding of the influence of oceanic hydrodynamics on the margin configuration, a key point to achieve better paleoceanographic interpretations. In this sense, due to the complexity of both modern hydrology and morphological configuration of the margin, it would be interesting to understand the relative importance of the control of each environment on surface sedimentation. A better understanding of the processes that link the near bottom circulation and continental slope features is needed. At the same time, this will allow deepening a new field of research in Uruguay, considering the joint and interrelated vision between sedimentary and oceanographic processes. ResumoA Margem Continental do Uruguai está localizada num local estratégico de grande relevância para entender a dinâmica do clima regional e global e para estudar os processos sedimentares. O Río de la Plata representa a maior descarga fluvial do Atlântico Sudoeste (23.000 m3/s de água e 57.000.000 m3/ano de sedimento para o Oceano Atlântico Sul). A circulação de subsuperfície e profunda são caracterizadas pela confluência de massas de água com características termohalinas contrastantes que determinam a formação de frentes hidrográficas bem marcadas. Na plataforma continental, essa característica é representada pela Frente Subtropical da Plataforma, uma extensão rasa da Confluência Brasil-Malvinas que ocorre em águas profundas ao largo da plataforma. Embora seja considerável o conhecimento da circulação regional, existem lacunas significativas no conhecimento da influência deste complexo sistema hidrológico nos processos de sedimentação. O objetivo deste trabalho é sintetizar o conhecimento atual sobre as características morfo-sedimentares da Margem Continental Uruguaia e os processos envolvidos na sua formação. Também pretende discutir algumas lacunas de conhecimento que são objeto de pesquisas atuais na região. O conhecimento reflete a evolução científico-tecnológica a nível global, que se traduz no aumento de trabalhos recentes na vertente continental. Atualmente, a maior parte da informação disponível está associada à plataforma continental interna e ao talude continental superior. Partindo da base da estreita relação entre a batimetria e a distribuição sedimentológica, torna-se claro que os esforços devem ser concentrados na melhor compreensão da interação entre a plataforma e o talude continental. O conhecimento científico sobre sedimentologia e geoquímica ao longo da Margem Continental do Uruguai é ainda escasso e heterogêneo. No entanto, os dados existentes indicam que a cobertura sedimentar presente tanto na plataforma quanto no talude continental é complexa. A Margem Continental do Uruguai pode ser considerada um laboratório in situ para melhorar a compreensão da influência da hidrodinâmica oceânica na configuração da margem, ponto chave para se obterem melhores interpretações paleoceanográficas. Nesse sentido, devido à complexidade da hidrologia moderna e da configuração morfológica da margem, seria interessante entender a importância relativa do controle de cada ambiente sobre a sedimentação superficial. É necessário um melhor entendimento dos processos que ligam as características de circulação próxima do continente à que ocorre no talude continental. Este conhecimento permitirá aprofundar um novo campo de pesquisa no Uruguai, considerando a visão conjunta e inter-relacionada entre processos sedimentares e oceanográficos.

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25

Martínez Carril, Manuel. "Uruguay." Cinémas d’Amérique latine, no. 18 (December 1, 2010): 136–41. http://dx.doi.org/10.4000/cinelatino.1436.

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Martínez Carril, Manuel. "Uruguay." Cinémas d’Amérique latine, no. 18 (December 1, 2010): 142–417. http://dx.doi.org/10.4000/cinelatino.1444.

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27

Fornaro Bordolli, Marita. "El viento en la escollera: aire y agua en la música popular uruguaya." Cuadernos de Música, Artes Visuales y Artes Escénicas 15, no. 2 (2020): 168–89. http://dx.doi.org/10.11144/javeriana.mavae15-2.evel.

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El artículo propone un análisis de la presencia del aire en la música y el teatro musical popular de Uruguay, en especial de las décadas de 1980 y de 1990. Interesa establecer cómo las metáforas y alegorías del aire se encuentran con el agua física y simbólica de la bahía de Montevideo, ciudad que fue el puerto natural por excelencia del Atlántico Sur durante la Colonia y hasta hoy es punto de encuentros de tradiciones. A partir de la propuesta de Steven Connor en Matter of Air (2010), se atiende a la presencia simbólica del aire; se integran elementos de la antropología de las emociones y del análisis desde la retórica de las diversas artes. Para el caso de las canciones, se analizan los textos y su relación con la música, en especial aquellos rasgos vinculados con el contenido literario (características de la emisión vocal, instrumentación y arreglos), y en el caso de la murga, género de teatro musical carnavalesco, la vinculación entre literatura, música, coreografías, vestuario, escenografía y maquillaje. El análisis se profundiza para el espectáculo El planeador de la escollera Sarandí, producido por la murga Curtidores de hongos durante el carnaval montevideano de 2005, en que texto literario y vestuario se complementan en la producción de sentido, y para dos canciones interpretadas por Eduardo Darnauchans, figura relevante de la música popular uruguaya. Se incluye también una breve presentación de otras canciones que elaboran metafóricamente el paisaje visual y sonoro de la ciudad, con el aire como centro temático.

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Meerhoff, Mariana, and Rafael Bernardi. "Climate Report from Uruguay." Performance Research 23, no. 3 (2018): 56–58. http://dx.doi.org/10.1080/13528165.2018.1495949.

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Lo, Patrick, and Bradley Allard. "Supporting the Needs of Children through Arts and Culture: An Interview with Anabel Negrín (Librarian of El Parnaso, Uruguay Services for Children and Teenagers)." International Journal of Education and Literacy Studies 9, no. 3 (2021): 200. http://dx.doi.org/10.7575/aiac.ijels.v.9n.3p.200.

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El Parnaso is an interesting cultural center in the small city of Young, which is located a bit north of Trinidad, Uruguay. This center is a non-profit organization dedicated to meeting the information needs of its population, and it contains a children’s library and a music library. El Parnaso hosts a wide variety of activities for children and young people, including music, origami, and even Greek language. Anabel Negrín is the librarian of El Parnaso, and she is responsible for managing the library’s resources and offers information services to users who visit. A native Youngenese, Negrín has returned to her birthplace after working in various academic libraries in Uruguay. In this interview, she introduces her library, gives an overview of various education issues in Uruguay, and provides interesting stories about her experience at El Parnaso.

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Menacho, Luis. "Ficciones verdaderas. Intersecciones entre Arte e Historia." Clang, no. 6 (April 21, 2020): e011. http://dx.doi.org/10.24215/25249215e011.

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El presente artículo intenta explorar diferentes modos de pensar el entrecruzamiento entre arte e historia. Se analizará la obra Homenaje a la flecha clavada en el pecho de Don Juan Díaz de Solís, pieza electroacústica del año 1974 del compositor uruguayo Coriún Aharonián, y se indagará en la teoría de la historia del filósofo francés Michel Foucault. Observando la relación entre arte e historia, y los conceptos de verdad y de ficción en Aristóteles y en Heidegger, estudiaremos la posibilidad de elaborar una arqueología en la historia de la música como discurso contra-histórico y genealógico que interpela a la historia de la música tradicional.

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Contreira Domingo, Luciana, and Renan Cardozo Gomes da Silva. "Arte para bailar: el Candombe de Rada para Figari." Fórum Linguístico 19, no. 2 (2022): 7855–69. http://dx.doi.org/10.5007/1984-8412.2022.e83664.

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Esta unidad didáctica muestra el arte rioplatense en diferentes expresiones. Con muestras auténticas de lengua buscamos auxiliar el profesorado en su tarea de enseñar español en Brasil, inspirarlos a crear sus propios materiales desde informaciones y contenidos accesibles en Internet y, finalmente, pero no menos importante, expandir el razonamiento de los alumnos de Brasil sobre la cultura afro uruguaya, estimulándolos a pensar sobre puntos de su propia cultura. La unidad está estructurada en tres momentos: el primero se apoya en una breve actividad de precalentamiento y acercamiento al campo semántico con el que se encontrarán durante toda la iniciativa. El objetivo es desarrollar la competencia léxica fundamental para las labores que se realizarán luego; el segundo momento muestra diez labores que conjugan diferentes destrezas comunicativas; el tercero y último culmina en una actividad de escritura que privilegia el género carta personal.

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Mytskan, Bogdan, Tetiana Mytskan, Yuryj Oliinyk, et al. "Martial Arts and Doping (the case of Sambo)." Teorìâ ta Metodika Fìzičnogo Vihovannâ 22, no. 2 (2022): 276–81. http://dx.doi.org/10.17309/tmfv.2022.2.19.

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Background. Today, the problem of doping is the most well-known negative phenomenon in modern sport, which has become widespread in response to its active commercialization. The majority of people would agree that doping issue has moral and ethical basis, therefore the educational component of anti-doping policies is most promising in achieving the desired result – doping-free sport.  Research purpose. The study was aimed to investigate the peculiarities of the ideas sambo athletes may have about the problem of doping in modern sport. Materials and methods. The study involved 97 highly professional sambo athletes from 21 countries, namely Russia, Ukraine, Mexico, Japan, the USA, Canada, Cuba, Guatemala, Republic of Korea, Colombia, Paraguay, Venezuela, Peru, Brazil, Nicaragua, El Salvador, Dominican Republic, Puerto Rico, Honduras, Uruguay, and Costa Rica. Results. A survey conducted among the professional sambo athletes, participants of the 2018 World Cup, made it possible to establish their knowledge about and their attitude to doping. It became known that 76.29% of the athletes were well familiar with the doping control procedure, while 23.71% were not. At the same time, 78.35% of the respondents believed that they knew their rights and responsibilities during the doping control procedure, and 21.65% of the athletes did not. 77.32% of the respondents knew the organizer of doping control and 22.68% did not. Conclusions. The analysis of the study results and WADA statistics give grounds to state that the problem of doping in modern athletes remains an urgent problem in professional sports, including sambo.

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Aguiar, Sofía, Ernesto Beretta, Miriam Hojman, et al. "Arte, técnica y oficio en metal. Herrería artística en el patrimonio arquitectónico de Montevideo, 1780-1950." Astrolabio, no. 27 (July 7, 2021): 154–92. http://dx.doi.org/10.55441/1668.7515.n27.30976.

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Este artículo sintetiza algunos aspectos del proyecto “Hierro y bronce. Criterios para la valoración y conservación de la herrería artística en el patrimonio arquitectónico del Uruguay”[i], cuyo objetivo es establecer los atributos patrimoniales de los elementos ornamentales metálicos asociados a fachadas del patrimonio arquitectónico nacional y contribuir a su difusión, puesta en valor y conservación. A lo largo de la investigación se abordan los aspectos socioculturales, artísticos, formales, técnicos y, por último, los relativos al deterioro de estos elementos y las pautas para su preservación y restauración. La metodología se basa en el estudio de fuentes primarias, éditas e inéditas, en la revisión de bibliografía especializada y en el trabajo de campo sobre una muestra representativa de elementos ornamentales metálicos aplicados a las fachadas de la arquitectura montevideana. Fue relevado un total de 250 edificios, correspondientes a los distintos períodos que distinguimos en la evolución de la herrería local entre finales del siglo XVIII y mediados del siglo XX. Se trata de un aporte inicial que profundiza en un campo escasamente abordado en nuestro medio acerca del conocimiento y difusión de los trabajos de herrería en el marco del patrimonio arquitectónico y artístico uruguayo, proporcionando información útil a la academia, las instituciones vinculadas a la valoración y conservación patrimonial y el público general. Notas [i] Proyecto concursado y financiado en la modalidad Investigación y Desarrollo (I+D), Comisión Sectorial de Investigación científica (CSIC), Universidad de la República, a realizarse entre marzo de 2018 y marzo de 2020, por un equipo interdisciplinario integrado por docentes e investigadores de las facultades de Arquitectura, Diseño y Urbanismo: Miriam Hojman, Valentina Marchese y Tatiana Rimbaud (Instituto de Historia), Gianella Mussio, Leticia Olivera, Carola Romay y Verónica Ulfe (Instituto de Tecnologías); de la Facultad de Humanidades y Ciencias de la Educación: Ernesto Beretta (Instituto de Ciencias Históricas-Historia del Arte); y de la Facultad de Ingeniería: Sofía Aguiar (Instituto de Ensayo de Materiales). El presente artículo fue elaborado por todos los integrantes del equipo.

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Tadeo, Beatriz. "Les adolescents écoutent-ils ? Des sons qui communiquent dans le cinéma uruguayen." Cinémas d’Amérique latine, no. 23 (June 1, 2015): 164–73. http://dx.doi.org/10.4000/cinelatino.2007.

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Gregory, Stephen. "Between Psychohistory and Modernisation: Roberto Ares Pons's Troubled Search for Uruguay." Journal of the Australasian Universities Language and Literature Association 2004, no. 102 (2004): 39–59. http://dx.doi.org/10.1179/000127904805260547.

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Gilmet-Pagés, Ana Laura, Yanet Fuster Caubet, and Natalia Aguirre-Ligüera. "Revistas académicas de humanidades en Uruguay." Brazilian Journal of Information Science: research trends 16 (February 11, 2022): e02133. http://dx.doi.org/10.36311/1981-1640.2022.v16.e02133.

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La presente contribución aborda el tema de las revistas académicas y su desarrollo en Uruguay. Mediante una investigación que combina aspectos cualitativos y cuantitativos, de carácter exploratorio, se buscó conocer cuáles son las revistas académicas de humanidades que se editan en Uruguay y sus rasgos más salientes. Sumado a ello se procuró obtener información sobre la incidencia que tiene el profesional de la Información en la edición de este tipo de revistas y las oportunidades que se le presentan a los bibliotecólogos en esta área de desempeño. Se analizan los resultados y se observa que la descripción de las revistas estudiadas coincide en general con las características que tienen las revistas académicas en la región. Se exponen estos rasgos definitorios y se presentan algunas consideraciones a modo de cierre sobre el recorrido realizado en aras de problematizar el proceso de transformaciones que en muchos casos han propiciado la consolidación de los equipos editoriales y el desafío que representa el acceso abierto y la apertura hacia la recepción de contribuciones más allá de las fronteras nacionales.

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Viglietti, Ángela. "Le cinéma uruguayen et les mécanismes de développement à partir des années 1990." Cinémas d’Amérique latine, no. 26 (August 1, 2018): 180–91. http://dx.doi.org/10.4000/cinelatino.5304.

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Sefriani, Sefriani. ""GATA" dan Implikasinya terhadap Jasa Angkutan Udara Internasional Pasca Putaran Uruguay." Unisia 15, no. 26 (1995): 63–39. http://dx.doi.org/10.20885/unisia.vol15.iss26.art8.

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Kusumaatmadja, Mochtar. "Investasi di Indonesia dalam Kaitannya dengan Pelaksanaan Perjanjian Hasil Putaran Uruguay." Jurnal Hukum IUS QUIA IUSTUM 3, no. 5 (1996): 1–8. http://dx.doi.org/10.20885/iustum.vol3.iss5.art1.

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Cara, Ana C. "“Aquí me pongo a cantar …”: El arte payadoresco de Argentina y Uruguay." Journal of American Folklore 133, no. 530 (2020): 503–4. http://dx.doi.org/10.5406/jamerfolk.133.530.0503.

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Articardi, Juan, Ana Laura Goñi, and Victoria Sánchez. "Tejiendo tramas entre arte, extensión universitaria y paisaje local en Palmar, Uruguay." +E: Revista de Extensión Universitaria 9, no. 11.Jul-Dic (2019): 171–82. http://dx.doi.org/10.14409/extension.v9i11.jul-dic.8719.

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El presente artículo sistematiza la experiencia de un espacio de formación integral desarrollado desde un Taller de Proyectos de la Licenciatura en Diseño de Paisaje en el Centro Universitario Regional del Este, Universidad de la República, Uruguay. El espacio apunta a la integralidad de las funciones universitarias: extensión, enseñanza e investigación, como tríada articulada.La metáfora de la trama nos permite entrelazar experiencias que hemos ido tejiendo en este espacio en etapas sucesivas que parten de una primera trama localizada en el Parque de Esculturas en Palmar, donde se inicia la interacción entre escultores, docentes universitarios y estudiantes, para luego extender sus filamentos hacia una segunda trama en la Ruta de las Esculturas Palmar–Mercedes, en la cual se expande el mapa de actores incluyendo a gobernantes locales, funcionarios y vecinos, y finalmente, una tercera trama, que denominamos "en transformación", que representa el momento actual del trabajo del colectivo.

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Bing, Dov. "Revisiting the Past: How the Bing Archives Came to Light in Montevideo." Journal of Japonisme 2, no. 2 (2017): 135–53. http://dx.doi.org/10.1163/24054992-00022p03.

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Siegfried Bing (Hamburg 1838-Paris 1905) and August Bing (Hamburg 1852-Kassel 1918) led the West’s exposure to and interpretation of Japanese arts and crafts at the turn of the nineteenth century. Their collecting, curating and sharing gave rise to an epoch of new artistic feeling in Western visual arts (figs 1 and 2). With August managing the family’s enterprises in Japan and China (1879-1889), Siegfried overseeing the Parisian gallery of Asian art which was to become the Maison de l’Art Nouveau in 1895, and Siegfried’s brother-in-law Michael Baer, Germany’s Honorary Consul in Tokyo, also active, the Bing family exhibited a connoisseurship and taste for adventure that redefined the collecting and making of art. The family’s travels, artistic discoveries and collecting of Asian objects became widely known through Siegfried Bing’s writings, the efforts of researchers to retrace the gallery’s inventory, and recent scholarship and exhibitions devoted to Siegfried Bing. My family worked from 2004 to 2009 to continue to preserve the Bing legacy by re-securing the hitherto undiscovered photographic, cartographic, business and personal correspondence archives of Siegfried and August Bing and Michael Baer. The efforts of my son Ira, his wife Genevieve, my wife Maru and me, which between us involved five journeys to Montevideo, Uruguay, are recounted here.

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Fielbaum, Alejandro. "Una estética del genio: arte, literatura y modernismo en Carlos Vaz Ferreira." Káñina 45, no. 3 (2021): 225–50. http://dx.doi.org/10.15517/rk.v45i3.49591.

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Frente a la primacía de los criterios utilitarios del pensamiento positivista de fines del siglo XIX, a principios del siglo XX el pensador uruguayo Carlos Vaz Ferreira concibe la belleza mediante una economía del gasto que abre al sujeto a una nueva experiencia. En ese marco, la literatura se explica desde un uso creativo del lenguaje que, a través de palabras conocidas, ha de crear genialmente una realidad desconocida. Vaz Ferreira clama por una crítica abierta a esas invenciones, también cauta ante eventuales novedades que no lo son, como lo grafica su ambivalente posición ante el modernismo literario.

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Melo de Souza, Tálisson, and Guilherme Marcondes dos Santos. "Sobre Pesquisar e Habitar um Museu: Aspectos Metodológicos das Pesquisas em Sociologia da Arte Contemporânea." Revista Concinnitas 23, no. 43 (2022): 150–74. http://dx.doi.org/10.12957/concinnitas.2022.51405.

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Apresentamos um relato crítico da experiência de fazer pesquisa sociológica sobre arte contemporânea no Uruguai, o projeto “(Joven) Arte (Latinoamericano) en Uruguay: de 1980 a los años 2010”, como dois sociólogos brasileiros vivendo em “residência artística” numa das principais instituições de arte contemporânea de Montevidéu, o Espacio de Arte Contemporáneo, situado em um antigo presídio da cidade.

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Tello D’Elia, Cecilia. "La question mal posée. Jorge Romero Brest y la historia del arte en Uruguay." Armiliar, no. 3 (June 24, 2019): e011. http://dx.doi.org/10.24215/25457888e011.

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ResumenA través del estudio de un caso se buscarán conceptos de diferentes autoresque permitan reposicionar al investigador para formular nuevas preguntaspara el corpus de documentos encontrados. Apuntará a generar un diálogo polifónicoque le dé amplitud y que evite llegar a preguntas sin salida, potenciandolas instancias de interpelación entre el historiador y las fuentes. Se utilizarála investigación referida a Jorge Romero Brest en el campo uruguayo comoplataforma de cuestionamientos y reflexiones, para generar una apertura parapoder visibilizar el proceso interno que atraviesa el investigador a la hora deacercarse al objeto de estudio.

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León, Juan Sebastián Ospina. "La conquista del espacio: cine silente uruguayo (1915‐32), Georgina Torello (2018)." Studies in Spanish & Latin-American Cinemas 18, no. 2 (2021): 237–39. http://dx.doi.org/10.1386/slac_00050_5.

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BORTEIRO, CLAUDIO, FRANCISCO KOLENC, MARTÍN O. PEREYRA, SERGIO ROSSET, and DIEGO BALDO. "A diploid surrounded by polyploids: tadpole description, natural history and cytogenetics of Odontophrynus maisuma Rosset from Uruguay (Anura: Cycloramphidae)." Zootaxa 2611, no. 1 (2010): 1. http://dx.doi.org/10.11646/zootaxa.2611.1.1.

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Odontophrynus maisuma is a recently described diploid species of the diploid-tetraploid O. americanus complex. It inhabits coastal regions of Uruguay and southern Brazil. Tadpoles of O. maisuma at stages 33–36 are about 47 mm of total length, and similarly to that of other Odontophrynus are typical pond dwelling anuran larvae; the oral disc is small and laterally emarginated, bearing a single row of marginal papillae interrupted by a large dorsal gap. The labial tooth row formula is 2(2)/3(1); sometimes A2 and P1 are not divided. The advertisement call consists of notes that last 570– 785 ms, composed of 43–57 pulses, and with a dominant frequency between 1124–1211 Hz. The chromosome complement is composed by 11 biarmed chromosome pairs (2n = 2x = 22; NF = 44), with evident positive C-bands in the centromeric regions of all chromosome pairs, in the short arms of pairs 2 and 4, and in the long arms of pair 6 and 9. Nucleolar Organizer Regions (Ag-NORs) are located interstitially in the short arms of both chromosomes of pair 4. Preliminary data suggests that erythrocyte morphology could be used to discriminate between diploid and tetraploid tadpoles of Odontophrynus.

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Tadeo, Beatriz. "¿Los adolescentes escuchan? Sonidos que se comunican en el cine uruguayo." Cinémas d’Amérique latine, no. 23 (June 1, 2015): 164–73. http://dx.doi.org/10.4000/cinelatino.1989.

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Mirande, Santiago. "GHOSTWRITING O ESCRITURA FANTASMA EN LA FACTORÍA ALIMENTARIA. HIPÓTESIS DE INVESTIGACIÓN JURÍDICA SOBRE UN POSIBLE CONTRATO ATÍPICO." Momba'etéva 1 (November 4, 2020): 4. http://dx.doi.org/10.30972/mom.104536.

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<p>En la actual era de posverdad y sociedad hipermoderna la incerteza ha comenzado a ser prediseñada por actores de la factoría alimentaria en un contexto de ciencia politizada y de capitalismo digital. El ghostwriting refiere a una modalidad autoral o de escritura fantasma mediante la cual un sujeto tiene injerencia sobre una obra que luego es publicada, divulgada y/o difundida con el nombre de otro sujeto. El ghostwriter es el verdadero autor o ideólogo del contenido de la obra pero permanece oculto ante el destinatario o público. El signatory writer es el autor o escritor firmante; es el autor no verdadero pero aparente. Ello define o tipifica la categoría general de ghostwriting. Se ensayan dos subcategorías de ghostwriting que pueden construirse según la incidencia o injerencia del ghostwriter en la obra. Una subcategoría es el ghostwriting literario o artístico, históricamente presente en producciones literarias en que un ghostwriter elabora un contenido y luego un signatorywriter lo difunde con su nombre. A continuación se destaca la otra subcategoría: el ghostwriting <em>pseudocientífico</em>, en el cual el ghostwriter (por ejemplo, una corporación que elabora y comercializa alimentos) crea el contenido medular de un estudio pseudocientífico para que las conclusiones le sean favorables. El signatorywriter (un especialista o experto) escribe la obra e incluye el contenido que le es indicado por aquel. Estos pseudoestudios no son ni objetivos ni independientes, por lo tanto, no son científicos. Implican una manipulación, tergiversación o distorsión de la verdad y de la información. En definitiva, el ghostwriting <em>pseudocientífico </em>genera <em>fake news científicas</em>. Se han realizado estudios científicos que demuestran la existencia cada vez mayor de este hecho por parte de la industria alimentaria, entre otros. A partir de lo dispuesto por el art. 70 de la Constitución R. O. Uruguay (arts. 75.19 y 125 de la Constitución de la Nación Argentina), el cual protege el desarrollo de la investigación científica, y otras normas del sistema jurídico uruguayo, se plantean algunas hipótesis de investigación jurídica.</p>

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Mirande, Santiago. "GHOSTWRITING O ESCRITURA FANTASMA EN LA FACTORÍA ALIMENTARIA. HIPÓTESIS DE INVESTIGACIÓN JURÍDICA SOBRE UN POSIBLE CONTRATO ATÍPICO." Momba'etéva 1, no. 1 (2020): 4. http://dx.doi.org/10.30972/mom.114536.

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<p>En la actual era de posverdad y sociedad hipermoderna la incerteza ha comenzado a ser prediseñada por actores de la factoría alimentaria en un contexto de ciencia politizada y de capitalismo digital. El ghostwriting refiere a una modalidad autoral o de escritura fantasma mediante la cual un sujeto tiene injerencia sobre una obra que luego es publicada, divulgada y/o difundida con el nombre de otro sujeto. El ghostwriter es el verdadero autor o ideólogo del contenido de la obra pero permanece oculto ante el destinatario o público. El signatory writer es el autor o escritor firmante; es el autor no verdadero pero aparente. Ello define o tipifica la categoría general de ghostwriting. Se ensayan dos subcategorías de ghostwriting que pueden construirse según la incidencia o injerencia del ghostwriter en la obra. Una subcategoría es el ghostwriting literario o artístico, históricamente presente en producciones literarias en que un ghostwriter elabora un contenido y luego un signatorywriter lo difunde con su nombre. A continuación se destaca la otra subcategoría: el ghostwriting <em>pseudocientífico</em>, en el cual el ghostwriter (por ejemplo, una corporación que elabora y comercializa alimentos) crea el contenido medular de un estudio pseudocientífico para que las conclusiones le sean favorables. El signatorywriter (un especialista o experto) escribe la obra e incluye el contenido que le es indicado por aquel. Estos pseudoestudios no son ni objetivos ni independientes, por lo tanto, no son científicos. Implican una manipulación, tergiversación o distorsión de la verdad y de la información. En definitiva, el ghostwriting <em>pseudocientífico </em>genera <em>fake news científicas</em>. Se han realizado estudios científicos que demuestran la existencia cada vez mayor de este hecho por parte de la industria alimentaria, entre otros. A partir de lo dispuesto por el art. 70 de la Constitución R. O. Uruguay (arts. 75.19 y 125 de la Constitución de la Nación Argentina), el cual protege el desarrollo de la investigación científica, y otras normas del sistema jurídico uruguayo, se plantean algunas hipótesis de investigación jurídica.</p>

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