scholarly journals Prácticas políticas, poder y geoestrategia en las civilizaciones del siglo XX y primeras décadas del siglo XXI. Practices, power and geostrategy in the civilizations of the 20th century and first decades of the 21st century.

Psicoespacios ◽  
2015 ◽  
Vol 9 (14) ◽  
pp. 367
Author(s):  
Rubén Hernández
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
21St Century ◽  
Political Order ◽  
Past Century ◽  
The Past ◽  
Palabras Clave ◽  
Pan Africanism ◽  
Siglo Xx

Practices, power and geostrategy in the civilizations of the 20th century and first decades of the 21st century. Resumen Este artículo reflexiona respecto a las distintas concepciones geopolíticas y geoestratégicas que orientaron y orientan el discurrir del ordenamiento político mundial  durante el siglo XX y parte del nuevo siglo. Estas geopolíticas y  geoestratégicas puestas en la escena del teatro de la guerra evidencian los distintos intereses agenciados por los Estados que controlan los hilos del poder y la política en la arena internacional y nacional. Se pretende con la reflexión posibilitar una mayor comprensión de los acontecimientos más impactante de la civilización del siglo pasado y parte del presente, de tal manera que hagamos memoria y nos convenzamos que esto no puede volver a ocurrir. Metodológicamente es un artículo soportado por fuentes bibliográficas, documentales y audiovisuales. Palabras clave: Geopolítica, geoestratégia, capitalismo, socialismo, fascismo, panafricanismo, colonialismo.     Abstract This article reflects on the different geopolitical and geostrategic conceptions that guided and directed the flow of the global political order during the twentieth century and part of the new century. These geopolitical and geostrategic placed at the scene of the theater of war show the different interests brokered by States that control the strings of power and politics in the international and national arena. It is intended to enable a greater understanding reflection of the most shocking events of the civilization of the past century and part of this, so we do memory and convince us that this can not happen again. Methodologically it is supported by literature, documentaries and audiovisual resources article. Keywords: Geopolitics, geostrategy, capitalism, socialism, fascism, Pan-Africanism, colonialism.

scholarly journals Garaituen bizipenen berreraiketa Armendarizen Silencio roto filmean

2021 ◽  
Vol 26 (50) ◽  
pp. 105-124
Author(s):  
Ander Goikoetxea Pérez
Keyword(s):  
Twentieth Century ◽  
Historical Memory ◽  
Narrative Construction ◽  
Written Text ◽  
The Past ◽  
Knowing That ◽  
Palabras Clave ◽  
The Subject ◽  
New Perspective ◽  
Siglo Xx

LaburpenaAzken hamarkadetan, zinema iraganeko dokumentu bihurtu da testu idatzian eta dokumentu ofizialetan jasotako informazioa osatzeko iturri gisa. Baina XX. mendean eztabaida luzeak izan dira gai honen inguruan, zineak eta historiografiak mesfidantzaz begiratzen bait zioten elkarri. Gaur egun, ordea, autore gehienak ados daude zinema iraganeko dokumentua dela esatean. Zentzu horretan, iraganean girotutako film bati ezin zaio exijitu erabat zehatza eta egiazkoa izatea, baizik eta beti egiazkoa izatea. Silencio rotoren bidez, Armendarizek makiaren borroka antifaxista gogoratzen du. Lan honetan aipatutako filmaren eraikuntza narratiboaren hiru elementu nagusiak (pertsonaia, akzioa eta gatazka) identifikatuz eta aztertuz makiaren irudikapena aztertu nahi da. Beste autore batzuek Silencio roto filma aztertu dutela jakinda, lan honek ikuspegi berri batetik heldu nahi dio gaiari, aurreko ikerketen osagarri gisa: zuzendariak 40ko hamarkadako gerrillaren testuinguruan islatu dituen emakume garaituen bizipen basatiak.Gako-hitzak: fikzioa; frankismoa; oroimen historikoa; ikus-entzunezko narratiba; indarkeriaResumenEn las últimas décadas el cine se ha convertido en un documento del pasado como fuente para completar la información contenida en el texto escrito y en los documentos oficiales. No obstante, desde el siglo XX se han producido largas discusiones sobre este tema, ya que el cine y la historiografía se miraban desconfiadamente. En la actualidad, sin embargo, la mayoría de los autores coinciden en que el cine es un documento del pasado. En este sentido, a una película ambientada en el pasado no se le puede pedir que sea absolutamente exacta y veraz, sino que sea siempre sincera. Con Silencio roto, Armendáriz recuerda la lucha antifascista del maqui. En este trabajo se pretende analizar la representación del maqui mediante la identificación y análisis de los tres elementos principales de la construcción narrativa de la película: personajes, acción y conflicto. Sabiendo que otros autores han estudiado dicha película, este trabajo pretende abordar el tema desde una nueva perspectiva como complemento a investigaciones anteriores: las vivencias brutales de las vencidas que el director ha reflejado en el contexto de la guerrilla de los años 40.Palabras-clave: ficción; franquismo; memoria histórica; narrativa audiovisual; violenciaAbstractIn recent decades, cinema has become a document of the past as a source to complete the information contained in the written text and official documents. But since the twentieth century there have been long discussions on this subject, since the cinema and historiography were looked distrustfully. At present, however, most of the authors agree that cinema is a document of the past. In this sense, a film set in the past cannot be asked to be absolutely accurate and truthful, but is always sincere. With Silencio roto, Armendáriz recalls the antifascist struggle of the machine. This paper aims to analyze the representation of the machine by identifying and analyzing the three main elements of the narrative construction of the reference film: characters, action and conflict. Knowing that other authors have studied this film, this paper aims to address the subject from a new perspective, as a complement to previous research. Thus, the director has retaken the question of the guerrilla of the 40's, taking into account the brutal experiences of the defeated.Keywords: fiction; Francoism; historical memory; audiovisual narrative; violence

Aftershocks

2017 ◽  
Author(s):  
Seva Gunitsky
Keyword(s):  
Twentieth Century ◽  
Regime Change ◽  
International System ◽  
Political Legitimacy ◽  
Great Powers ◽  
Past Century ◽  
The Past ◽  
Sudden Rise ◽  
The World ◽  
National Borders

Over the past century, democracy spread around the world in turbulent bursts of change, sweeping across national borders in dramatic cascades of revolution and reform. This book offers a new global-oriented explanation for this wavelike spread and retreat—not only of democracy but also of its twentieth-century rivals, fascism, and communism. The book argues that waves of regime change are driven by the aftermath of cataclysmic disruptions to the international system. These hegemonic shocks, marked by the sudden rise and fall of great powers, have been essential and often-neglected drivers of domestic transformations. Though rare and fleeting, they not only repeatedly alter the global hierarchy of powerful states but also create unique and powerful opportunities for sweeping national reforms—by triggering military impositions, swiftly changing the incentives of domestic actors, or transforming the basis of political legitimacy itself. As a result, the evolution of modern regimes cannot be fully understood without examining the consequences of clashes between great powers, which repeatedly—and often unsuccessfully—sought to cajole, inspire, and intimidate other states into joining their camps.

scholarly journals ‘From Zionism to Communism’: Emilio Sereni and the Consiglio di Gestione in postwar Italy

Modern Italy ◽  
2021 ◽  
pp. 1-23
Author(s):  
Andrea Bonfanti
Keyword(s):  
Twentieth Century ◽  
Historical Research ◽  
Previous Experience ◽  
Past Century ◽  
The Past ◽  
Early Twentieth Century ◽  
Postwar Italy

This essay demonstrates that it is impossible to appreciate the actions of the Italian communist Emilio Sereni without considering his Zionist background. Anyone who is interested in understanding the complexities of communism in the past century and to avoid simplistic conclusions about this ideology will benefit from the study. The problem at stake is that researchers often approach communism in a monolithic manner, which does not adequately explain the multiform manifestations (practical and theoretical) of that phenomenon. This ought to change and to this extent this essay hopes to contribute to that recent strand of historical research that challenges simplistic views on communism. More specifically, by analysing the Management Councils that Sereni created in postwar Italy, we can see that many of their features in fact derived from, or found their deepest origins in, his previous experience as a committed socialist Zionist. The study, then, also relates Sereni to and looks at the broader experiences of early twentieth-century Zionism and Italian communism in the early postwar years.

scholarly journals Lviv as the cradle of Polish independence organizations

2021 ◽  
Vol 201 (3) ◽  
pp. 534-545
Author(s):  
Janusz Zuziak
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Early 20Th Century ◽  
Social Activists ◽  
The Past ◽  
Independence Movement ◽  
Political Orientations ◽  
History Of ◽  
The Right ◽  
The City

Lviv occupies a special place in the history of Poland. With its heroic history, it has earned the exceptionally honorable name of a city that has always been faithful to the homeland. SEMPER FIDELIS – always faithful. Marshal Józef Piłsudski sealed that title while decorating the city with the Order of Virtuti Militari in 1920. The past of Lviv, the always smoldering and uncompromising Polish revolutionist spirit, the climate, and the atmosphere that prevailed in it created the right conditions for making it the center of thought and independence movement in the early 20th century. In the early twentieth century, Polish independence organizations of various political orientations were established, from the ranks of which came legions of prominent Polish politicians and military and social activists.

scholarly journals A través de la pantalla: Infancias queer en la literatura argentina del nuevo milenio

2021 ◽  
Vol 1 (2) ◽  
pp. 35-48
Author(s):  
María José Punte
Keyword(s):  
Present Article ◽  
20Th Century ◽  
21St Century ◽  
Children’S Literature ◽  
Argentine Literature ◽  
Theoretical Frameworks ◽  
Social Crisis ◽  
Contemporary Writers ◽  
Literatura Argentina ◽  
Siglo Xx

Childhood is taken up time and again in Argentine literature of the first decades of the 21st century. These are novels that engage various forms of humor, from extreme satire to imposed naivety. This broad register serves to destabilize ideas established throughout the 20th century about the management of the lives of minors. Imaginaries formed by television have become part of several texts, together with what could be termed the “infant library”, that is to say, the children’s literature read by contemporary writers. Argentine narrative of the period accounts for the serious social crisis caused by the hegemony of neoliberalism, as well as its consequences on children’s lives, revealing the fissures in the discourses surrounding their rights. The present article examines these issues in relation to three recent novels: Quedate conmigo (2017) by I. Acevedo, La maldición de Jacinta Pichimahuida (2007) by Lucía Puenzo and Osos (2010) by Diego Vecchio. They will be addressed here within the theoretical frameworks offered by Kathryn B. Stockton in her book The Queer Child (2009). --- La infancia es retomada por la literatura escrita en Argentina durante las primeras décadas del siglo XXI en novelas que apuestan a diversas formas del humor. Desde la sátira extrema hasta una ingenuidad impostada, aparece un registro amplio que sirve para desestabilizar ideas fijadas a lo largo del siglo XX en lo relacionado con la administración de la vida de los menores de edad. Los imaginarios televisivos entran a formar parte de los textos fundiéndose con la “biblioteca infante”, es decir, con las lecturas que acompañaron las infancias de los y las escritoras contemporáneos. La narrativa argentina del período también da cuenta de la grave crisis social producida por la hegemonía del neoliberalismo, así como sus consecuencias en las vidas de las infancias, lo que tendió a mostrar las fisuras de los discursos en torno a sus derechos. Estas discusiones quedan registradas en las tres novelas—Quedate conmigo (2017) de I. Acevedo, La maldición de Jacinta Pichimahuida (2007) de Lucía Puenzo, Osos (2010) de Diego Vecchio—que serán abordadas aquí desde los marcos teóricos ofrecidos por la teoría queer, en particular por la propuesta de Kathryn B. Stockton.

scholarly journals The creative work of Sergey Paradzhanov as an event of Postmodernism

2009 ◽  
Vol 1 (1) ◽  
pp. 124-132
Author(s):  
Anna Georgievna Lukashova
Keyword(s):  
20Th Century ◽  
New Method ◽  
Past Century ◽  
Creative Work ◽  
The Past

In this article a new method of analysis of S. Paradzhanov's creative work is suggested: the works of Paradzhanov-artist and Paradzhanov-director are examined as a united paradigm, which gives an opportunity to present the phenomenon of his art in the context of art culture of the 20th century in the most adequate way, and deine the connection of the aesthetics of his work and the basic tendencies of the past century.

scholarly journals Rituales de tinta. Antología de dramaturgas mexicanas

2021 ◽  
Vol 12 (19) ◽  
pp. 149-157
Author(s):  
Gabriela Ynclán
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Mexican Women ◽  
Women Playwrights ◽  
Siglo Xx

En este texto, Gabriela Ynclán comparte el proceso de investigación y edición de Rituales de tinta. Antología de dramaturgas mexicanas, una antología que reúne obras de teatro escritas por dramaturgas mexicanas del siglo XXI, y la gestación de una nueva publicación dedicada a la dramaturgia femenina del siglo XX en México.Ritualizing ink. Anthology of Mexican playwrightsAbstractIn this article, author Gabriela Ynclán reflects on the process of searching and editing the anthology Rituales de Tinta. Antología de Dramaturgas Mexicanas (Ink Rituals. An Anthology of Mexican Women Playwrights). The book gathers together plays written by 11 Mexican women playwrights of 21st century. The author prepares a new publication about women playwrights of 20th century Mexico.Recibido: 09 de septiembre de 2020Aceptado: 09 de diciembre de 2020

scholarly journals Зоопоэтика текста в калмыцкой басне ХХ в.

2021 ◽  
Vol 14 (2) ◽  
pp. 393-408
Author(s):  
Rimma M. Khaninova ◽  
Keyword(s):  
Research Methods ◽  
20Th Century ◽  
Fairy Tale ◽  
Cultural Construction ◽  
Political Orientation ◽  
Past Century ◽  
Semantic Code ◽  
The Past ◽  
The Social ◽  
The Creation

Introduction. In the genre system of Kalmyk poetry, the literary fable appeared in the 1930s. When it came to master the genre, Kalmyk poets mainly focused on the traditions of Russian fable of the 19th–20th centuries, primarily on I. A. Krylov’s works which they eagerly translated. The Kalmyk authors were the least likely to rely on traditions of Eastern literature — whether Indian, Tibetan, or Oirat Mongolian — since those sources written in Tibetan, Classical Mongolian and Clear Script (Kalm. todo bichiq) were virtually unavailable to them, and not all poets had knowledge of the scripts. National folklore, including myths, animal tales, household tales, aphoristic poetry (proverbs, sayings, riddles), to a certain extent contributed to the creation of plots and motifs, a gallery of images ― people and the animal world ― in the Kalmyk literary fable. The appeal to the fable was determined by the tasks of cultural construction in Kalmykia, the satirical possibilities of the genre designed to scourge social vices and human shortcomings, contribute to the correction of morals, facilitate education of a person in the new society. Attention to the fable in 20th-century Kalmyk poetry was not that universal and constant, by the end of the century it was no longer in demand and never revived further. The Kalmyk literary fable has been little studied so far, with the exception of several recent articles by R. M. Khaninova, which determines the relevance of this study. Goals. The article aims to study zoopoetics of text of the animalistic fable in Kalmyk poetry of the past century through examples of selected works by Khasyr Syan-Belgin, Muutl Erdniev, Garya Shalburov, Basang Dordzhiev, Timofey Bembeev, and Mikhail Khoninov. Methods. The work employs a number of research methods, such as the historical literary, comparative, and descriptive ones. Results. The animalistic fable is not the leading one in the general genre system of Kalmyk poetry of the past century, including among fables with human characters. It usually includes characters of the steppe fauna whose figurative characteristics are manifested in Kalmyk folklore. The social satire and political orientation of the fables are actualized by modern reality, actual international situation and events. The paper reveals a relationship between the animal fable and — Kalmyk folklore and the Russian fable tradition. Most of the fables have not yet been translated into Russian. Conclusions. In terms of national versification patterns, the study of the Kalmyk poetic animal fable has identified such synthetic forms as fable-fairy tale, fable-proverb, and fable-dream. The genre definition is not always specified by the authors, a moral usually concludes each quatrain-structured narrative. Genre scenes, monologues, and dialogues contribute to an in-depth reading of the context, symbolism of images, and semantic code.

scholarly journals A história oral visita o cinema: Que bom te ver viva e Los Rubios

2016 ◽  
Vol 2 (1) ◽  
pp. 118
Author(s):  
Ana Maria Veiga
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
Oral History ◽  
Time History ◽  
Film Maker ◽  
Political Resources ◽  
Palabras Clave ◽  
Brazilian Film ◽  
Siglo Xx

ResumoEste artigo relaciona o cinema, como meio de comunicação, à história oral e seus entrelaçamentos com a história do tempo presente, atentando para os testemunhos, utilizados como recurso estético e político nos filmes Que bom te ver viva, da cineasta brasileira Lúcia Murat, e Los rubios, da argentina Albertina Carri. Podendo ser categorizadas como documentários-ficção, ambas as realizações lidam com os traumas resultantes da violência ditatorial em seus países de origem, na segunda metade do século XX. Em que medida servem estes filmes como fontes para estudos que se apoiam na história oral é o que pretendemos discutir neste artigo. Palavras-chave: Cinema; História oral; Que bom te ver viva; Los rubios AbstractThis article aims to treat cinema, as a way of communication, in its relationship with Oral History and its ties with Present Time History, attempting to testimonies used as aesthetic and political resources inside films like Que bom te ver viva, by the Brazilian film maker Lúcia Murat, and Los rubios, by the Argentine film maker Albertina Carri. Categorized as fictional documentaries, both films deal with the traumas that result of dictatorial violence in their countries of production, in the second half of the twentieth century. How can these films be used as sources of investigation by studies based on Oral History is a question to be answered in this article. Key-words: Cinema; Oral History; Que bom te ver viva; Los rubios ResumenEste artículo relaciona el cine, como medio de comunicación, a la historia oral y sus entrelazamientos con la historia del tiempo presente, al atentar para los testimonios utilizados como recurso estético y político en las películas Que bom te ver viva, de la realizadora brasileña Lúcia Murat, y Los rubios, de la argentina Albertina Carri. Categorizadas como documentales-ficciones, las dos películas se llevan con los traumas resultantes de la violencia dictatorial en sus países de origen, en la segunda mitad del siglo XX. En que medida sirven estas películas como fuentes para los estudios basados en la historia oral es lo que pretendemos discutir en este artículo. Palabras-clave: Cine; Historia oral; Que bom te ver viva; Los rubios. Disponível em:Url:http://opendepot.org/2773/Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo

scholarly journals Implicações da noção de consciência histórica nas ciências humanas e sociais: um modo de projeção para o futuro e de posição em relação ao passado

2020 ◽  
Vol 33 (68) ◽  
pp. 817-843
Author(s):  
Fábio César Junges ◽  
Tiago Anderson Brutti ◽  
Adair Adams
Keyword(s):  
Social Sciences ◽  
Historical Consciousness ◽  
The Past ◽  
Human And Social Sciences ◽  
Palabras Clave ◽  
The Future ◽  
History Of ◽  
Humanities And Social Sciences ◽  
Past Experiences ◽  
Siglo Xx

Implicações da noção de consciência histórica nas ciências humanas e sociais: um modo de projeção para o futuro e de posição em relação ao passado Resumo: O presente texto, de caráter bibliográfico, discute o problema da consciência histórica com o objetivo de pensar o sentido dessa expressão na atualidade e as variações que esse conceito adquiriu ao longo da história das Ciências Humanas e Sociais, com ênfase no século XX. A hipótese é que a discussão a respeito da consciência histórica passou a se ocupar, na modernidade, com uma múltipla relatividade de pontos de vista, o que é destacado por Gadamer em sua análise sobre os preceitos implicados na definição do que significa “ter senso histórico”. É defendida a tese, portanto, de que a noção de consciência histórica não se limita ao conhecimento das experiências vivenciadas no passado, mas se apresenta como condição de possibilidade de projetar o futuro e se posicionar em relação ao passado, especialmente no que diz respeito às ciências humanas e sociais. A defesa desta ideia central é realizada por meio de dois gestos reflexivos, com apresentação, primeiramente, do marco teórico da consciência histórica e, posteriormente, de suas implicações na constituição das Ciências Humanas e Sociais. Palavras-chave: Ciências humanas e sociais. Senso histórico. Passado. Futuro. Implications of the notion of historical consciousness in human and social sciences: a mode of projection for the future and position in relation to the past Abstract: This bibliographic text discusses the problem of historical consciousness with the purpose of thinking about the meaning of this expression in the present time and the variations that this concept has acquired throughout the history of the Humanities and Social Sciences, with emphasis on the twentieth century. The hypothesis is that the discussion about historical consciousness has come to concern itself, in modernity, with a multiple relativity of points of view, which is highlighted by Gadamer in his analysis of the precepts involved in defining what “having a historical sense” means. Therefore, the thesis that the notion of historical consciousness is not limited to the knowledge of past experiences is defended, but is presented as a condition of possibility of projecting the future and positioning itself in relation to the past, especially with regard to humanities and social sciences. The defense of this central idea is made through two reflexive gestures, presenting, first, the theoretical framework of historical consciousness and, later, its implications in the constitution of the Human and Social Sciences. Keywords: Human and social sciences. Historical sense. Past. Future. Implicaciones de la noticia de conciencia histórica en las ciencias humanas y sociales: un modo de proyección para el futuro y de posición en relación al pasado Resumen: El presente texto, de carácter bibliográfico, discute el problema de la conciencia histórica con el propósito de pensar sobre el significado de esta expresión en la actualidad y las variaciones que este concepto ha adquirido a lo largo de la historia de las Humanidades y las Ciencias Sociales, con énfasis en el siglo XX. La hipótesis es que la discusión sobre la conciencia histórica ha llegado a ocuparse, en la modernidad, de una relatividad múltiple de puntos de vista, que Gadamer destaca en su análisis de los preceptos involucrados en la definición de lo que significa “tener un sentido histórico”. " Por lo tanto, se defiende la tesis de que la noción de conciencia histórica no se limita al conocimiento de experiencias pasadas, sino que se presenta como una condición de posibilidad de proyectar el futuro y posicionarse en relación con el pasado, especialmente con respecto a humanidades y ciencias sociales. La defensa de esta idea central se realiza a través de dos gestos reflexivos, presentando, primero, el marco teórico de la conciencia histórica y, luego, sus implicaciones en la constitución de las Ciencias Humanas y Sociales. Palabras clave: Ciencias Humanas y Sociales. Sentido histórico. Pasado. Futuro. Data de registro: 28/05/2019 Data de aceite: 24/10/2019

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