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Artykuły w czasopismach na temat „Latin american photography”

Autor: Grafiati

Data publikacji: 15 lutego 2025

Data aktualizacji: 31 lipca 2025

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1

Rincón García, Wifredo. "Images of the New World. Iberoamerican Art in the CSIC Photography Archive." Culture & History Digital Journal 6, no. 2 (2017): 020. http://dx.doi.org/10.3989/chdj.2017.020.

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The “Tomás Navarro Tomás” Library in the CSIC keeps an important photographic collection on Ibero-American art granted by the historians Diego Angulo, Enrique Marco Dorta and Santiago Sebastián particularly interesting for the research on Art and Photography History in Latin America.

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Ranney, Edward. "Recent Latin American Photography Books." Latin American Research Review 26, no. 3 (1991): 235–46. http://dx.doi.org/10.1017/s0023879100024031.

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Hopkinson, Amanda. "‘Mediated Worlds’: Latin American Photography." Bulletin of Latin American Research 20, no. 4 (2001): 520–27. http://dx.doi.org/10.1111/1470-9856.00028.

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Scorer, James. "Photography and Latin American Ruins." Journal of Latin American Cultural Studies 26, no. 2 (2017): 141–64. http://dx.doi.org/10.1080/13569325.2017.1309316.

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Duarte, German A., and Justin Michael Battin. "Latin America in Focus." Review of International American Studies 15, no. 2 (2022): 19–23. http://dx.doi.org/10.31261/rias.14917.

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A key distinction of Review of International American Studies is its commitment to the notion that the Americas are a hemispheric and transoceanic communicating vessel. This angle provides a unique path to de-center the American Studies discipline, which has become tantamount to studies of the United States. This angle also expands the discipline beyond its traditional literary roots, inviting critical investigations into other forms of communicative media, such as cinema, television, and photography. Informed and inspired by this conceptualization of the discipline, this issue of RIAS is comp

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Coronado, Jorge. "Instances of Agency: Julio Cordero’s Archive and Photographic Portraits." Bolivian Studies Journal/Revista de Estudios Bolivianos 23 (December 19, 2018): 24–45. http://dx.doi.org/10.5195/bsj.2018.195.

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In this article, I discuss the notion of agency in relationship to Julio Cordero’s photographs. Julio Cordero (1879-1961) owned a photography studio in La Paz in the first half of the twentieth century and produced an array of images both inside and outside of the studio. I also offer a sense of the rich documentation that exists in the complete Cordero archive as well as the insights that it opens up concerning the interventions in self-representation made possible by photographic portraiture. Essentially, these interventions lead us to conceptualize image culture as a prime space for enactin

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Beezley, William H. "Images of History: Nineteenth and Twentieth Century Latin American Photography as DocumentsWindows on Latin America: Understanding Society Through Photographs." Hispanic American Historical Review 73, no. 1 (1993): 133–34. http://dx.doi.org/10.1215/00182168-73.1.133.

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Marini, Candela. "War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883)." Fotocinema. Revista científica de cine y fotografía, no. 22 (January 25, 2021): 49–74. http://dx.doi.org/10.24310/fotocinema.2021.vi22.11650.

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In the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a language of state power was not the point of departure. In most of the earlier examples of war photography, it was private photographers who first ventured into military conflicts almost as soon as the new visual technology was made available. They saw war as both an important historical event and

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Alvarez Velasco, Soledad, and Nicholas De Genova. "“A Mass Exodus in Rebellion” – The Migrant Caravans: A View from the Eyes of Honduran Journalist Inmer Gerardo Chévez." Studies in Social Justice 17, no. 1 (2023): 28–47. http://dx.doi.org/10.26522/ssj.v17i1.4157.

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This article analyzes the migrant caravans as a strategy of resistance to the war against migrants in transit to the United States, exacerbated during the pandemic. This is the edited transcript of an interview conducted with Honduran journalist Inmer Gerardo Chevez, correspondent of Radio Progreso. Having travelled the Central American and Mexican routes accompanying on foot the transit of thousands of migrants since 2018, Chevez is a notable eyewitness and expert in situ of the Caravans. The interview confirms that the caravan has become one of the premier forms in which Latin American migra

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Freire, Mela Dávila, and Pamela Sepúlveda Arancibia. "Artwork or document? Latin American materials at the Study Centre of the Museum of Contemporary Art of Barcelona (MACBA)." Art Libraries Journal 37, no. 4 (2012): 15–20. http://dx.doi.org/10.1017/s0307472200017685.

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The Study Centre at the Museum of Contemporary Art of Barcelona has, since its inception in 2007, amassed a wealth of material relating to Latin American art. Its collecting policy addresses the relationship of contemporary works of art to their documentation and aims to compensate for the lack of a tradition of public collecting of documentary and bibliographic material relating to 20th-century contemporary art practices. The collection now includes influential artist publications such as concrete poetry, magazines, mail art, books of photography and even fiction written by artists, as well a

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Beezley, William H., and Robert M. Levine. "Images of History: Nineteenth and Twentieth Century Latin American Photography as Documents." Hispanic American Historical Review 73, no. 1 (1993): 133. http://dx.doi.org/10.2307/2517638.

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Ramírez, Naomi Elena. "Conforming Line." TDR/The Drama Review 62, no. 2 (2018): 2–3. http://dx.doi.org/10.1162/dram_a_00742.

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A practice of experimental graphic scoring for performance explores the ambiguity and transformation at the conflation of boundaries between dance/performance and photography. Within the score, fragments of the moving gestural body are photographed and then placed upon the page in relation to and modified by lines. Naomi Elena Ramírez (b. Hermosillo, Mexico) is a multidisciplinary artist whose work encompasses visual art, video art, and performance, and the process by which the different mediums can inform each other. Her work has been presented by A.I.R. Gallery, the Institute of (Im)Possible

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Kent, James Clifford. "Through a Cuban Lens: Storytelling and Surrealism in the Work of Raúl Cañibano." Modernist Cultures 20, no. 1 (2025): 100–127. https://doi.org/10.3366/mod.2025.0449.

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Raúl Cañibano’s photography offers a richly textured visual account of contemporary Cuba, characterised by an interplay of modernist and surrealist aesthetics. This article examines how his work engages with and expands upon Latin American photographic traditions, exploring tensions between past and present, urban and rural, the everyday and the unusual. Through a documentary approach that incorporates abrupt juxtapositions, unconventional perspectives and striking use of light and shadow, Cañibano’s images challenge linear representations of Cuban culture and identity. This article situates h

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Durneen, Lucy Dawes. "‘Into the woods’: In conversation with Carolina Brown." Short Fiction in Theory & Practice 12, no. 2 (2022): 261–71. http://dx.doi.org/10.1386/fict_00068_7.

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A conversation between acclaimed Chilean short story writer and novelist, Carolina Brown and Lucy Dawes Durneen, including a focused reflection on the writing process for the accompanying short story, ‘House of the Red Deer’. Brown discusses aspects of her creative practice, touching on the relationship of her writing to photography, as well as the contemporary Latin American short story, the portrayal of the body, and the importance of nature and place in her work.

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Georgieva, Rada. "“Lifting the Lid”." Latin American and Latinx Visual Culture 7, no. 3 (2025): 42–57. https://doi.org/10.1525/lavc.2025.7.3.42.

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This paper presents a critical discussion of the Chilean photobook La manzana de Adán/Adam’s Apple, a collaborative work between the photographer Paz Errázuriz and the writer Claudia Donoso. The photobook was conceived during the military dictatorship of General Augusto Pinochet (1973–90). Through photography and text, Adam’s Apple traces the everyday lives of cross-dressing and transgender sex workers living in Santiago de Chile’s and Talca’s brothels. This essay attempts to establish the mechanisms that allow Adam’s Apple to function as an effective political critique and a constructive elem

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Sánchez-Fung, José R. "Examining the life-cycle artistic productivity of latin american photographers: álvarez bravo, larraín, and salgado." Ciencia, Economía y Negocios 4, no. 1 (2020): 85–119. http://dx.doi.org/10.22206/ceyn.2020.v4i1.pp85-119.

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The paper examines the life-cycle artistic productivity of three leading Latin American photographers of the twentieth century: Manuel Álvarez Bravo (Mexico), Sergio Larraín (Chile), and Sebastião Salgado (Brazil). The analysis constructs narratives using art books and other sources of expert commentary, following the approach in earlier contributions to the economics literature on the subject [David W. Galenson, 2007, Old masters and young geniuses: The two life cycles of artistic creativity, Princeton University Press]. The research identifies Manuel Álvarez Bravo as a ‘conceptual innovator’

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López Gehrke, Ingrid, Andrés Eloy Soto Montenegro, Erick Santaella, Yaneth Prada Castellanos, and Jorge López Berroa. "Degree of Satisfaction of Patients Treated Cosmetically with Recombinant Enzymes; Clinical Experience." Latin american journal of clinical sciences and medical technology 6, no. 1 (2024): 47–55. http://dx.doi.org/10.34141/ljcs6976254.

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Introduction. The recombinant enzymes, produced through biotechnological processes, have different medical applications. Recently, though poorly documented, they have been applied in aesthetic medicine to improve certain conditions that significantly affect patients' appearance, image, and quality of life. Objective. To document the use of recombinant enzymes in cosmetic dermatology regarding indicators of patient satisfaction with the procedure. Material and Methods. In this article, a series of cases have been brought together to document the use of recombinant enzymes in managing flaccidity

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López Gehrke, Ingrid, Andrés Eloy Soto Montenegro, Erick Santaella, Yaneth Prada Castellanos, and Jorge López Berroa. "Grado de satisfacción de pacientes tratados estéticamente con enzimas recombinantes; experiencia clínica." Latin american journal of clinical sciences and medical technology 6, no. 1 (2024): 30–38. http://dx.doi.org/10.34141/ljcs9643178.

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Introduction. The recombinant enzymes, produced through biotechnological processes, have different medical applications. Recently, though poorly documented, they have been applied in aesthetic medicine to improve certain conditions that significantly affect patients' appearance, image, and quality of life. Objective. To document the use of recombinant enzymes in cosmetic dermatology regarding indicators of patient satisfaction with the procedure. Material and Methods. In this article, a series of cases have been brought together to document the use of recombinant enzymes in managing flaccidity

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Herrera Cano, Anahí N., Clara A. Tomasini, Milagros Córdova, et al. "Accessible Non-Invasive Techniques for Museums: Extending Sustainability to Resource-Limited Institutions." Sustainability 17, no. 3 (2025): 1208. https://doi.org/10.3390/su17031208.

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This work provides a synthesis of an initial experience in the development of accessible imaging techniques and their implementation on a real case: the analysis of colonial Hispano-American paintings at the Complejo Museográfico Provincial “Enrique Udaondo” (Luján, Buenos Aires). It discusses different aspects related to the possibilities of obtaining, using, and reusing equipment and materials locally, as well as details of the ways of acquiring images for photography on site. It also provides information about the composition and conservation state of selected artworks, complementing image

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Lima Santos, Ana Carolina. "Sobre essa tal de fotografia latinoamericana: uma análise do processo de demarcação de uma suposta essência fotográfica latina / About such a Latin American photography: an analysis on the demarcation process of an alleged Latin Photographic Essence." Revista Contracampo, no. 29 (April 30, 2014): 153. http://dx.doi.org/10.22409/contracampo.v0i29.627.

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Este artigo examina o processo de delimitação de um tipo específico de fotodocumentário, aquele politicamente engajado com os problemas sociais da América Latina, como suposta essência da fotografia da região. Investigam-se, em particular, os antecedentes de um projeto de identidade estabelecido nas décadas de 1970 e 1980 e a influência que as atuações do Consejo Mexicano de Fotografía e do seu então presidente Pedro Meyer exerceu na conformação de tal projeto, em especial durante as duas primeiras edições do Coloquio Latinoamericano de Fotografía, nas quais essa identidade para a fotografia l

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Anderson, Jill. "The deportability continuum as activist research." Cultural Dynamics 31, no. 1-2 (2019): 125–39. http://dx.doi.org/10.1177/0921374019826203.

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This essay explores the aftermath of deportation and the concept of a deportability continuum from the perspective of a transnational, activist researcher. Retracing the process of becoming an activist and researcher via the successful though measured impact of a book of first-person testimonios and photography titled Los Otros Dreamers, this article argues for the significance of the “deportability continuum” as a concept in need of dissemination and debate beyond academe. This analysis of the deportability continuum in a US–Mexico context also renders more clear and concrete the transnationa

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Vorontsova, Yu V. "Transcultural transformation in cinema." Vestnik Universiteta, no. 10 (December 1, 2021): 55–58. http://dx.doi.org/10.26425/1816-4277-2021-10-55-58.

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The article presents a study of transcultural transformation in cinema, considering the filmmaker as a transnational figure. This is the gradual creation of a cinematic map based on affinitive transnationalism, which integrates forms of expression that are now considered archetypal. Members of the “imagined” cultural community construct a mosaic of shared references that transcend national boundaries. Based on this concept, a study of the organisational practices of filmmaker Carlos Saura has been conducted. This concept was the basis for a study of the organisational practices of director Car

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Stapff, Andrés. "Fotografía de Andrés Stapff." Dixit, no. 17 (September 18, 2012): 49–54. http://dx.doi.org/10.22235/d.v0i17.357.

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Andrés Stapff (Montevideo, 1972) es fotógrafo de la agencia de noticias Reuters en Uruguay desde 1999. Desde allí ha participado en varias coberturas de una amplia variedad de acontecimientos en diferentes situaciones y países tales como la crisis política y económica en Argentina durante el 2001 y 2002, la Copa América en Colombia, Perú y Argentina, los Juegos Panamericanos de Brasil, cumbres de las Américas y del G20, mundiales de fútbol y otros deportes, además de varios procesos eleccionarios en Uruguay y el resto de América Latina. Sus fotos han sido publicadas en medios nacionales y del

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Linares Sánchez, Malely. "Photography as a tool for sociocultural analysis. Visual approaches in Latin America." Revista de Antropologia Visual 2, no. 29 (2021): 1–18. http://dx.doi.org/10.47725/rav.029.10.

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Photography goes far beyond just shutting down any device that captures an image. Since its creation at the beginning of the 19th century, different uses and meanings have been attributed to it; from art, information, archives and of course as a cultural product. However, in addition to these functionalities, in this article we propose photography as a useful instrument for socio-cultural interpretation. For this, a map of contemporary photographic projects in Latin America is presented that we consider disruptive, novel and that contribute to the understanding of current debates in the social

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Kempe, Deborah, Deirdre E. Lawrence, and Milan R. Hughston. "Latin American art resources north of the border: an overview of the collections of the New York Art Resources Consortium (NYARC)." Art Libraries Journal 37, no. 4 (2012): 5–14. http://dx.doi.org/10.1017/s0307472200017673.

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The New York Art Resources Consortium (NYARC), consisting of The Frick Art Reference Library and the libraries of the Brooklyn Museum and the Museum of Modern Art (MoMA), houses significant collections of material on Latin American art that document the cultural history of Mexico, Central America, the Caribbean and South America, as well as the foundation of New York City as an epicenter of US Latino and Latin American cultural production since the 19th century. Ranging from historic archeological photographs to contemporary artists’ books, the holdings of the NYARC libraries are varied in the

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Constantakos, Milena. "Between the concept of archive and the photographic status. Walter Benjamin, Roland Barthes and Jacques Derrida, some relations for the analysis of contemporary artistic practices." Revista de Antropologia Visual 2, no. 29 (2021): 1–18. http://dx.doi.org/10.47725/rav.029.05.

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This paper propose to relate writings by Walter Benjamin, Roland Barthes and Jacques Derrida, in order to review some considerations on the archive paradigm in conjunction with the photographic status. Propose to rethink these notions and open some problems for the analysis of contemporary artistic practices that use photographic archives as a strategy for the appropriation and rereading of representations, experiences and historical meanings. Finally, there are also some intersections between these reflections and a series of Latin American contemporary projects that propose creating collecti

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Pernia, E. "Small-format aerial photographic systems for the evaluation of forest resources in Latin America." Forest Systems 6, no. 1 (1997): 229–45. http://dx.doi.org/10.5424/585.

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For several decades, 35 and 70 mm aerial photographic systems have been used in North America, Europe and other regions, for the acquisition of forest resources information on relatively small extension areas. On the contrary, in Latin America, where there is a lack of information about those resources, the small-format systems have recieved limited use. In part, this is situation is due to the scant knowledge that exists in the region about the potential these systems have and the ways of using them. The purpose of this article is to provide personnel and institutions involved in the evaluati

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Pérez-Sánchez, Gema. "David Trullo’s queer revisionist photography." Journal of Language and Sexuality 5, no. 2 (2016): 197–221. http://dx.doi.org/10.1075/jls.5.2.04per.

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Working with the theoretical notions of “homonationalism” (Puar 2013) and “pinkwashing” (Schulman 2011, 2012, Spade 2013) and using as a case study two photographic series by contemporary Spanish gay photographer David Trullo, I illuminate the complex situation in which contemporary queer Spanish visual artists must produce their work: they resist homonationalism and homonormativity at the same time that they must work within the very frames of homonationalism and homonormativity to fund, produce, and disseminate their particularly subversive queer politics. In analyzing Trullo’s series, Alter

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Mansilla, Juan Guillermo, and José Rubens Lima Jardilino. "Pueblos originários y educación: De la colonialidad a las experiências decoloniales en Brasil y Chile." education policy analysis archives 28 (November 2, 2020): 163. http://dx.doi.org/10.14507/epaa.28.4751.

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This article on the education of indigenous peoples in Latin America is a synthesis of an approximation of studies on the history of Education of indigenous peoples (schooling), taking Brazil and Chile as a case study. It represents an effort of reflection of two researchers of the History of Latin American Education Society (SHELA), who have been studying Indigenous Education or Indigenous School Education in Chile and Brazil, from the theoretical perspective of “coloniality and decoloniality” of indigenous peoples in Latin America. The research is based on a comprehensive-interpretative para

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Schmiedecke, Natália Ayo, Erika Zerwes, and Lídia Generoso. "Reframing Revolution and Solidarity: Photography and Visual Culture in ospaaal Poster Art (1967–1990)." Bandung 11, no. 1 (2024): 102–40. http://dx.doi.org/10.1163/21983534-11010001.

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Abstract This article analyses the uses of photography in the posters produced and distributed by the Organisation of solidarity of the Peoples of Africa, Asia and Latin America (ospaaal) between 1967 and 1990. Founded during the Tricontinental Conference of 1966, ospaaal was active until 2019 and had as one of its main tasks the creation of propaganda materials helping promote causes supported by the Cuban government across the three continents. The organisation produced over 300 posters distributed globally along with its official magazine, the Tricontinental. We combine thematic and visual

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Hernandez, Daniel. "<em>Traces of the Unseen: Photography, Violence, and Modernization in Early Twentieth-Century Latin America</em>. By Carolina Sá Carvalho. Evanston, Illinois: Northwestern University Press, 2023. 310 pages.         ." Latin American Literary Review 51, no. 103 (2024): 178–79. http://dx.doi.org/10.26824/lalr.531.

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Rosenblum, Naomi. "Recent Latin American Photographic Publishing Changes Below the Border." Afterimage 15, no. 1 (1987): 6–7. http://dx.doi.org/10.1525/aft.1987.15.1.6.

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Duany, Jorge. "Images of History: Nineteenth and Early Twentieth Century Latin American Photographs as Documents:Images of History: Nineteenth and Early Twentieth Century Latin American Photographs as Documents." Latin American Anthropology Review 4, no. 1 (1992): 50. http://dx.doi.org/10.1525/jlat.1992.4.1.50.

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Birkenmaier, Anke. "Valeria Luiselli's Desierto sonoro and the Sonic Registers of the Novel." Revista de Estudios Hispánicos 57, no. 3 (2023): 519–38. http://dx.doi.org/10.1353/rvs.2023.a924211.

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Abstract: Desierto sonoro (2019), Valeria Luiselli's first novel written in English and published both in English and Spanish translation, has been read by critics as an anglophone novel of "sentimental activism" (David James), with focus on the literary representation of an ongoing refugee crisis of children migrating across the southern border of the United States. This essay argues that the multiple archival registers of the novel—listening and recording devices as well as books, notes, photographs—suggest a hemispheric dimension, enabling a reading of the novel situated both in the Latin A

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Ferrer, Lorena Cervera. "Tracing the archive of Franca Donda and the Venezuelan film collectives Cine Urgente (Urgent Cinema) and Grupo Feminista Miércoles (Wednesday’s Feminist Group)." Studies in Spanish & Latin American Cinemas 20, no. 3 (2023): 195–205. https://doi.org/10.1386/slac_00117_1.

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Franca Donda (Italy, 1933–2017) was an activist, filmmaker and photographer who lived in Caracas for the most part of the second half of the twentieth century. During these decades, she made several short films with the Venezuelan collectives Cine Urgente (Urgent Cinema, 1968–73) and Grupo Feminista Miércoles (Wednesday’s Feminist Group, 1979–88). Throughout her life, she also took thousands of photographs of women across Latin America. However, her work has received little scholarly attention, and her archive has not been properly preserved. This article demonstrates the importance of protect

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Hendricks, Craig, and Robert M. Levine. "Images of History: Nineteenth- and Twentieth-Century Latin American Photographs as Documents." History Teacher 25, no. 3 (1992): 387. http://dx.doi.org/10.2307/494260.

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Bradley, Peter T., and Robert M. Levine. "Images of History: Nineteenth and Twentieth Century Latin American Photographs as Documents." Bulletin of Latin American Research 9, no. 2 (1990): 286. http://dx.doi.org/10.2307/3338485.

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Paolantonio, Santiago, and Beatriz García. "The Carte du Ciel and the Latin American Observatories." Proceedings of the International Astronomical Union 13, S349 (2018): 494–501. http://dx.doi.org/10.1017/s1743921319000668.

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Abstract2017 marked the 130th anniversary of the start of the Carte du Ciel project, an ambitious proposal by the Paris Observatory to map the entire sky using photographiy, which required the joint work of numerous observatories in the world. For this endeavour, an impressive organization was designed that included congresses, commissions and publications, which lasted through many years. The Carte du Ciel finally became one of the immediate antecedents of the International Astronomical Union, which in 2019 celebrates its first century. In Latin America, the observatories of Santiago de Chile

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Grosvenor, Ian Daniel. "‘We seek revelation with our eyes’: engaging with school cultures through montage." Encounters in Theory and History of Education 17 (November 29, 2016): 2–26. http://dx.doi.org/10.24908/eoe-ese-rse.v17i0.6315.

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This article approaches the issue of school culture[s] through Walter Benjamin’s project method of ‘montage.’ Five historians of education drawn from Europe and Latin America were presented with a series of school photographs and commentaries and were asked to use their knowledge and expertise to share their insights into past school culture[s].

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Harper, Douglas, and Robert M. Levine. "Images of History: Nineteenth and Early Twentieth Century Latin American Photographs as Documents." Contemporary Sociology 19, no. 2 (1990): 275. http://dx.doi.org/10.2307/2072618.

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McElroy, Keith, and Robert M. Levine. "Images of History: Nineteenth and Early Twentieth-Century Latin American Photographs as Documents." American Historical Review 96, no. 2 (1991): 642. http://dx.doi.org/10.2307/2163460.

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Duany, Jorge. "Images of History: Nineteenth and Early Twentieth Century Latin American Photographs as Documents." Latin American Anthropology Review 4, no. 1 (2008): 50. http://dx.doi.org/10.1525/jlca.1992.4.1.50.

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Coleman, Kevin. "Photographs of a Prayer: The (Neglected) Visual Archive and Latin American Labor History." Hispanic American Historical Review 95, no. 3 (2015): 459–92. http://dx.doi.org/10.1215/00182168-3088596.

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Romero, Belén. "Digitising the 'Fortaleza de la Mujer Maya' Archive: Images, Possibilities, and Responsibilities. Notes on Cataloguing a Living Cultural Process." ARCHIVO PAPERS 3, no. 2 (2023): 11–29. https://doi.org/10.5281/zenodo.10038009.

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This article will present some notes on the possibilities and limits of archiving or cataloguing living cultural processes based on the experience of digitising the photographic archive <i>Fortaleza de la Mujer Maya</i>. Latin American visual culture studies and the functioning of the association based on dialogic and collaborative learning have been our paths to carry out this study.

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González-Calle, Jorge Luis, César Augusto Sánchez Contreras, and Obdulia Monteserín Abella. "The Nature and Production of Urban Space in Latin America: A Historical Review of the Case of Ibagué (Colombia)." Land 12, no. 9 (2023): 1807. http://dx.doi.org/10.3390/land12091807.

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The production of urban space in Latin America turns out to be a social product resulting from a historical process in which natural space undergoes significant transformations. This paper analyses how the urban history of Ibagué (Colombia) is related to three historical processes crossed by nature, identifying common aspects with other Latin American cities: nature as a limit to urban growth (conquest and colony), nature as an artifice of urban space (modern city), and nature as a transition zone between the city and the countryside (metropolitan edge). Methodologically, the article is approa

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Builes-Vélez, Ana Elena, Lina María Suárez Velásquez, Leonardo Correa Velásquez, and Diana Carolina Gutiérrez Aristizábal. "Analysis of Urban Transformation Through the Use of Expanded Research Tools." SAGE Open 11, no. 3 (2021): 215824402110383. http://dx.doi.org/10.1177/21582440211038307.

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In recent years, urban design development has been an important topic in Latin American cities such as Medellín due to the transformation of their urban spaces, along with the new methods used to evaluate the social, morphological, and, in some cases, economic impacts that have been brought about by the urban development projects. When inquiring about the development process and impact of urban studies, and the inhabitants’ relation to a transformed space, it is important to establish the context within which images, drawings, and photographs are analyzed, using graphical approaches triangulat

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Barata, Ana. "Resources for Latin American art in the Gulbenkian Art Library." Art Libraries Journal 37, no. 4 (2012): 21–23. http://dx.doi.org/10.1017/s0307472200017697.

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From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions.

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Vargas-Cuervo, Germán, Yolanda Teresa Hernández-Peña, and Carlos Alfonso Zafra-Mejía. "Challenges for Sustainable Urban Planning: A Spatiotemporal Analysis of Complex Landslide Risk in a Latin American Megacity." Sustainability 16, no. 8 (2024): 3133. http://dx.doi.org/10.3390/su16083133.

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This paper analyzes the spatiotemporal evolution of a complex landslide risk scenario in a Latin American megacity, underscoring the key challenges it poses for sustainable urban planning in such cities. This research draws upon multiple studies commissioned by the mayor’s office of the megacity of Bogota, Colombia, and utilizes aerial photographs and satellite imagery from diverse sensor types. The methodology used considered six spatiotemporal analysis scenarios: rural/natural, mining, urban, landslide risk, stabilization and environmental park, and informal reoccupation. The findings reveal

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BROTHERS, TIMOTHY S. "Deforestation in the Dominican Republic: a village-level view." Environmental Conservation 24, no. 3 (1997): 213–23. http://dx.doi.org/10.1017/s0376892997000301.

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Deforestation is still rapid in some parts of the Caribbean, though it has attracted much less attention than deforestation in mainland Latin America. This paper examines the history and causes of the recent rapid deforestation of a lowland karst region of the Dominican Republic in the light of models derived from studies in Central America and the Amazon. Investigation was limited to the vicinity of a single village (Los Limones). Information was drawn from interviews, questionnaires and ground reconnaissance, in addition to archival information and aerial photographs. Deforestation at Los Li

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Arceo-Gomez, Eva O., and Raymundo M. Campos-Vazquez. "Race and Marriage in the Labor Market: A Discrimination Correspondence Study in a Developing Country." American Economic Review 104, no. 5 (2014): 376–80. http://dx.doi.org/10.1257/aer.104.5.376.

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In Mexico, as in most Latin American countries with indigenous populations, it is commonly believed that European phenotypes are preferred to mestizo or indigenous phenotypes. However, it is hard to test for such racial biases in the labor market using official statistics since race can only be inferred from native language. The experiment consisted on sending fictitious curriculums responding to job advertisements with randomized information of the applicants. The resumes included photographs representing three distinct phenotypes: Caucasian, mestizo, and indigenous. We find that indigenous l

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