Guillermo Rojas Quiceno plantea una investigación ontológica donde la condición humana debe permitir proyectar sus esfuerzos en el ser humano y la naturaleza, estructurados en el Índice de Felicidad y el Buen Vivir. Cabe considerar la necesidad de un cambio civilizatorio, donde el Estado le otorgue el debido reconocimiento a la tierra y a la naturaleza acerca de los derechos constitucionales y propicie el crecimiento de un Índice de Felicidad en los seres humanos para hacer amorosa la vida bajo el principio del Buen Vivir.
Colombia ha vivido grandes crisis a través de los años; crisis que permiten, gracias al aprendizaje que ésta genera, el desarrollo humano y la esperanza espiritual para lograr una reflexión en la convivencia. El problema de pasar de una economía cafetera a una economía minera ha ocasionado, por ejemplo, que los recursos naturales sean hoy la base del mal llamado "desarrollo", "progreso" y "crecimiento". El texto, resultado del proceso de investigación de la tesis doctoral "El estado colombiano y el buen vivir, un proyecto político-educativo", muestra que el problema social de esta crisis civilizatoria es el camino para conscientizar las generaciones presentes, en la búsqueda de incrementar el índice de Felicidad y el Buen Vivir y, con ello, generar espacios que motiven una relación amigable entre el ser humano y la naturaleza. Este texto constituye su cuarto libro después de: "La vida y sus encrucijadas", "Rehenes del miedo" y "Colombia: política, encanto, amor y odio".
La investigación es preguntar y saber lo que pregunto... no es esperar respuestas, sino adquirir conocimiento. Este libro surge de la necesidad de presentar a docentes y estudiantes de Maestrías y Doctorados, ejemplos de lineamientos básicos investigativos de enfoque cualitativo. Considerando que la investigación es creación, propuesta, desafío, nunca la verdad, se muestran cuatro tesis doctorales realizadas en los últimos años en tres países y contextos académicos distintos. Hay elementos que se repiten en cada tesis -son los fundamentos de la investigación cualitativa que, de una u otra manera, deben estar presentes en todo el enfoque. Y, al mismo tiempo, hay diferencias en la manera como cada autor abordó su proyecto. Ahí está la riqueza de este trabajo.
La investigación es preguntar y saber lo que pregunto... no es esperar respuestas, sino adquirir conocimiento. Este libro surge de la necesidad de presentar a docentes y estudiantes de Maestrías y Doctorados, ejemplos de lineamientos básicos investigativos de enfoque cualitativo. Considerando que la investigación es creación, propuesta, desafío, nunca la verdad, se muestran cuatro tesis doctorales realizadas en los últimos años en tres países y contextos académicos distintos. Hay elementos que se repiten en cada tesis -son los fundamentos de la investigación cualitativa que, de una u otra manera, deben estar presentes en todo el enfoque. Y, al mismo tiempo, hay diferencias en la manera como cada autor abordó su proyecto. Ahí está la riqueza de este trabajo.
O medo, estado psicológico e mecanismo natural, está inscrito de forma indelével no mais profundo do nosso ser, mas, por força da aprendizagem e da cultura, pode sofrer alterações nas suas formas de expressão e no seu significado. Quando saudável, pode ser uma chamada para a ação, mas, quando se torna crónico, mesmo que não patológico, afeta a nossa capacidade de desenvolvimento e crescimento pessoal, a nossa relação com os outros e com o mundo. Tendo como base esta preocupação e, como pressupostos, que o homem é um todo, a realidade é múltipla e complexa e a subjetividade é característica essencial do comportamento humano, este trabalho assume e incorpora a necessidade de encarar a pesquisa nas ciências sociais e humanas com um ato criador.
One of the threads that runs through Elena Poniatowska’s oeuvre is that of foreigners who have fallen in love with Mexico and its people. This is certainly the case of Querido Diego, te abraza Quiela--a brief novel (so short it was originally published in its entirety in Octavio Paz’s literary magazine Vuelta). The Russian exile and painter Angelina Beloff writes from the cold and impoverished post-war Paris to Diego Rivera, her spouse of over ten years. Beloff sends these letters to which there is no response during a time when the emancipation of women has broken many of the standard models and the protagonist struggles to fashion her own. Elena Poniatowska has (re)created these letters and within them one finds the unforgettable testimony of an artist and her lover during the valuable crossroads of a new time when Diego Rivera was forging a new life in his native country. In this edition, Nathanial Gardner comments on the truth and fiction Poniatowska has woven together to form this compact, yet rich, modern classic. Using archives in London, Paris and Mexico City (including Angelina’s correspondence held in Frida Kahlo’s own home) as well as interviews from the final remaining characters who knew the real Angelina, Gardner offers a mediation of the text and its historical groundings as well as critical commentary. This edition will appeal to both students and scholars of Latin American Studies as well as lovers of Mexican Literature and Art in general.
A disillusioned writer in San Juan finds himself stalked by a Chinese immigrant student, and as the two realize that they share a similar plight, they move towards bitter-sweet collaborations in passion, grief, literature, and art.
After an astonishing first trip across the country thanks to the tales of Papapa, Alesia and Jose this time ask their grandmother: How is Venezuela?So Lela takes them on a fantastic trip journey where they see all the Venezuelan's traditions showing them that their country is much more than a place, it's their home.
Audible Geographies in Latin America examines the audibility of place as a racialized phenomenon. It argues that place is not just a geographical or political notion, but also a sensorial one, shaped by the specific profile of the senses engaged through different media. Through a series of cases, the book examines racialized listening criteria and practices in the formation of ideas about place at exemplary moments between the 1890s and the 1960s. Through a discussion of Louis Moreau Gottschalk’s last concerts in Rio de Janeiro, and a contemporary sound installation involving telegraphs by Otávio Schipper and Sérgio Krakowski, Chapter 1 proposes a link between a sensorial economy and a political economy for which the racialized and commodified body serves as an essential feature of its operation. Chapter 2 analyzes resonance as a racialized concept through an examination of phonograph demonstrations in Rio de Janeiro and research on dancing manias and hypnosis in Salvador da Bahia in the 1890s. Chapter 3 studies voice and speech as racialized movements, informed by criminology and the proscriptive norms defining “white” Spanish in Cuba. Chapter 4 unpacks conflicting listening criteria for an optics of blackness in “national” sounds, developed according to a gendered set of premises that moved freely between diaspora and empire, national territory and the fraught politics of recorded versus performed music in the early 1930s. Chapter 5, in the context of Cuban Revolutionary cinema of the 1960s, explores the different facets of noise—both as a racialized and socially relevant sense of sound and as a feature and consequence of different reproduction and transmission technologies. Overall, the book argues that these and related instances reveal how sound and listening have played more prominent roles than previously acknowledged in place-making in the specific multi-ethnic, colonial contexts characterized by diasporic populations in Latin America and the Caribbean.
