Advanced search in
Searching FieldsTerms
Any field
arrow_drop_down
includes
arrow_drop_down
The following results are related to Digital Humanities and Cultural Heritage. Are you interested to view more results? Visit OpenAIRE - Explore.

  • Digital Humanities and Cultural Heritage
  • 2017-2021
  • Publications
  • Research data
  • Other research products
  • AR
  • Spanish
  • Servicio de Difusión de la Creación...

Date (most recent)
arrow_drop_down
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Di Doménico, Cristina; Gonzalo Josserme, Rodrigo César; Novelli, Ornella;

    La dictadura cívico militar en Argentina (1976-1983), denominada Proceso de Reorganización Nacional, implicó el cierre o el desmantelamiento de diversas instancias académicas y profesionales en el país. Entre ellas se encontraba el Departamento de Orientación Vocacional(DOV)de la Universidad Nacional de Mar del Plata, que a partir de 1976 fue disuelto como tal. En el año 1984, ya con el retorno a la vida democrática, se reabre el DOV en el período de normalización de la universidad y la recuperación delos espacios académicos perdidos durante el estado dictatorial. En este trabajo se analizan historiográficamente el contexto sociopolítico de tal reapertura, las causas que la impulsaron y el espacio académico-profesional que se gestó en la nueva etapa del DOV. The civic-military dictatorship in Argentina (1976-1983), called the National Reorganization Process, implied the closure or dismantling of various academic and professional spaces in the country. Among them was the Department of Vocational Guidance (DOV) of the National University of Mar del Plata, which as of 1976 was dissolved as such. In 1984, with the return to democratic life, the DOV was reopened in the period of normalization of the University and the recovery of academic spaces lost during the dictatorial state. In this work, the sociopolitical context of such reopening, the causes that led to it and the academic-professional space that was created in the new stage of DOV are analyzed historiographically. Facultad de Psicología

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Servicio de Difusión...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Frisón, Roxana; Moser, Mariana;

    This work is part of the Research Project "Statutes of the body in current forms of subjective presentation in puberty and adolescents of the city of La Plata. Preliminary inquiries", which had its origin in the survey of numerous ailments whose territory of expression constitutes the body, and in a certain problem linked to the categories with which it is tried to name said phenomena and their determinants. We ask ourselves: What status do the phenomena that involve the body have in the functioning of adolescent subjectivities today? What is the relationship between these phenomena and the various modes of symbolization? What impact does the social imaginary have on the bodily effects expressed in the subjectivities of adolescents? Based on the complexity of the notion of the body for Psychoanalysis, we propose to deepen the investigation by focusing on the theoretical proposal of Piera Aulagnier. The author argues that at the moment of birth, a biological body, a sensory body, arises, which becomes erogenous, gaining the status of relational from an inaugural meeting that sets off representative activity. Psychic representation that involves the inscription of pleasure and suffering, made possible by sensory activity. A real body, where the marks of a libidinal, identifying history will be inscribed. History woven into the socio-cultural field that prints its identifying proposals, values and ideals. We carry out a bibliographic review of Aulagnier's contributions to arrive at the productions of subjectivity, the psychic works carried out by the pubescent and the adolescent in their future, considering the inscription of the novelty of the body as a relevant requirement. Delimiting theoretical notions proposed by the author, allows us to pay into the theoretical framework for the research, being able to count on categories and analytical notions when interpreting the empirical ma. La complejidad que reviste la noción de cuerpo para el Psicoanálisis nos confronta con el requerimiento de arribar a la precisión conceptual que adquiere en la propuesta de Piera Aulagnier (1988). En el origen de la actividad representativa, cobran particular relevancia tanto el cuerpo propio como la presencia de los otros significativos. La autora plantea que en el momento del nacimiento adviene un cuerpo biológico, un cuerpo sensorial, que se erogeniza cobrando el estatuto de relacional a partir de un encuentro inaugural que pone en marcha la actividad representativa. Representación psíquica que supone la inscripción del placer y del sufrimiento, posibilitada por la actividad sensorial. Las experiencias somatopsíquicas de placer facilitarán la futura representación de un cuerpo unificado, tal como plantea la autora. Un cuerpo real, precedido por uno ideal construido en la psique del otro primordial y en el que se irán inscribiendo las marcas de una historia libidinal, identificatoria. Historia entramada en el campo socio-cultural que imprime sus propuestas identificatorias, valores e ideales en dicho devenir.La revisión de la metapsicología freudiana, conduce a la autora a proponer un modelo teórico-clínico cuyos tres procesos de metabolización, tres espacios psíquicos, darán lugar a tres versiones-concepciones del cuerpo. El advenimiento del yo, supone la entrada en la escena psíquica del tiempo y el espacio. La problemática de la identificación compone la cara oculta del trabajo de historización que tomará a su cargo el yo devenido instancia pensante, identificante, deseante, al tiempo que se apropia de una versión discursiva atinente a su cuerpo.Será el advenimiento puberal el que pondrá en marcha los trabajos psíquicos propios de la adolescencia. Movimientos de investidura y de desinvestidura que estarán presentes desde el origen y surcarán la relación sujeto-cuerpo. Facultad de Psicología

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Servicio de Difusión...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    visibility4
    visibilityviews4
    downloaddownloads3
    Powered by Usage counts
    more_vert
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Servicio de Difusión...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: López Rasch, Juan Cruz;

    En el siguiente trabajo son analizados determinados episodios de la Crónica de la población de Ávila (c. 1255). Puntualmente, se estudia el contenido de aquellos capítulos que refieren a las conquistas realizadas por el reino castellano-leonés del área sur de la península ibérica. La centralidad que ocupan en la obra los caballeros villanos, y la representación que se hace de sus enfrentamientos contra los musulmanes, no es casual. De hecho, la forma mediante la cual estos episodios son narrados está vinculada a los objetivos políticos e ideológicos que operan detrás del texto, redactado durante el período de Alfonso X. In the following work, certain episodes of the Crónica de la población de Ávila (c. 1255) are analyzed. Specifically, it addresses only the content of those chapters that refer to the conquests made by the Castilian-Leonese kingdom of the southern area of the Iberian Peninsula. The main role played by the caballeros villanos and the way in which their confrontations against the Muslims are represented in this work is not accidental. In fact, the way in which these episodes are narrated is linked to the political and ideological objectives that operate behind the text, written during the period of Alfonso X. Facultad de Humanidades y Ciencias de la Educación

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DOAJarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DOAJ
    Article . 2021
    Data sources: DOAJ
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Cuadernos Medievales
    Article . 2021
    Data sources: DOAJ-Articles
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DOAJarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      DOAJ
      Article . 2021
      Data sources: DOAJ
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Cuadernos Medievales
      Article . 2021
      Data sources: DOAJ-Articles
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Peralta, María José;

    El presente trabajo tiene como objetivo dar a conocer el proyecto de archivo escolar que estamos llevando adelante en la Escuela Nacional Ernesto Sábato de la Universidad Nacional del Centro de la Provincia de Buenos Aires, de la ciudad de Tandi Tandil. El proyecto toma como punto de partida institucional, la Ley N° 26.206 de Educación Nacional que establece dentro de sus objetivos: “promover el conocimiento y los valores que permitan el desarrollo de actitudes de protección y cuidado del patrimonio cultural”. A partir de este objetivo, nuestra propuesta de trabajo se centra fundamentalmente en el desarrollo de un proyecto de organización y gestión de un Archivo Escolar, entendiendo que este proyecto contribuye de manera significativa tanto a la formación de los estudiantes, como a la construcción de la memoria histórica de la institución y a la conservación y puesta en valor de su patrimonio social y cultural. The present work aims to publicize the school archive project that we are carrying out at the Ernesto Sábato National School of the National University of the Center of the Province of Buenos Aires, in the city of Tandil. The project takes as its institutional starting point, Law No. 26,206 of National Education that establishes within its objectives: "to promote knowledge and values that allow the development of attitudes of protection and care of cultural heritage." Based on this objective, our work proposal focuses fundamentally on the development of a project for the organization and management of a School Archive, understanding that this project contributes significantly to both the training of students and the construction of the historical memory of the i nstitution and the conservation and enhancement of its social and cultural heritage. Dossier: Archivos Universitarios en Red. Memoria, Género y Derechos Humanos. Archivo Histórico de la Universidad Nacional de La Plata

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Servicio de Difusión...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Cruder, Gabriela;

    El texto se propone dar cuenta de las vinculaciones y tensiones existentes entre la colección y el archivo; exponiendo la circunscripción y la organización de los materiales que participan del Observatorio de la imagen, con énfasis en la educación, sitio de libre acceso, albergado en la plataforma digital de la UNLu. Transitamos las tensiones que propone pensar el observatorio. En este sentido, recorremos los territorios de la imagen, la memoria, los procesos de tecnologización que posibilitan la producción de los signos y su circulación, también y especialmente, considerando los espacios de digitalización de la cultura. En torno del observatorio, reflexionamos y nos interrogamos con relación a las clasificaciones, los ordenamientos, las dimensiones, los agrupamientos; tanto como acerca de la sucesión, los anacronismos y las yuxtaposiciones, cuando se trata de pensar el tiempo propio de las materias de las que nos ocupamos como también acerca de su disposición. Sin concluir brindando respuestas definitivas, invitamos a recorrerlo: www.observatoriodelaimagen.unlu.edu.ar The text aims to account for the links and tensions existing between the collection and the archive; exposing the constituency and the organization of the materials that participate in the Image Observatory, with an emphasis on education, a free access site, hosted on the UNLu digital platform. We go through the tensions that the observatory proposes to think about. In this sense, we go through the territories of the image, memory, the processes of technologization that enable the production of signs and their circulation, also and especially, considering the spaces of digitization of culture. Around the observatory, we reflect and question ourselves in relation to classifications, orderings, dimensions, groupings; as well as about succession, anachronisms and juxtapositions, when it comes to thinking about the proper time of the matters we are dealing with as well as about their disposition. Without concluding by providing definitive answers, we invite you to visit it: www.observatoriodelaimagen.unlu.edu.ar Dossier: Archivos Universitarios en Red. Memoria, Género y Derechos Humanos. Archivo Histórico de la Universidad Nacional de La Plata

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Servicio de Difusión...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Garro, Pablo; Pretti, Patricio Adrián;

    En Sonidos de Marte, David Stubbs narra una historia de la música electrónica desde una perspectiva personal, vinculando prácticas, artistas, técnicos/as y producciones para tejer una trama que se extiende por más de un siglo hasta nuestros días. In Mars by 1980, David Stubbs tells a story of electronic music from a personal perspective, linking practices, artists, technicians and productions to weave a framework that extends for more than a century to the present day. Reseña a David Stubbs (2019). Sonidos de Marte: una historia de la música electrónica. Ciudad Autónoma de Buenos Aires, Argentina: Caja Negra Editora, 478 páginas. Facultad de Artes

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Servicio de Difusión...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    download3
    downloaddownloads3
    Powered by Usage counts
    more_vert
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Servicio de Difusión...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ruvituso, Federico Luis;

    El Museo Provincial de Bellas Artes Emilio Pettoruti empezó sus gestiones en 2020 cuando se desató la pandemia. Cerradas sus puertas tuvo que ensayar formas de curaduría virtual, mientras se iniciaba la recuperación de parte de su Colección. Curaduría como mundos posibles presenta tres variantes curatoriales desarrolladas a partir de los primeros ensayos de asociación entre patrimonio y arte contemporáneo, en el marco de la cuarentena de inicios del 2020 y en los primeros meses de presencialidad durante 2021. The Museo Provincial de Bellas Artes Emilio Pettoruti began its management in 2020 when the pandemic broke out. With its doors closed, the Museum had to try forms of virtual curatorship, while the recovery of part of his Collection began. Curatorship as possible worlds presents three curatorial variants developed from the first essays of association between heritage and contemporary art, within the context of the quarantine at the beginning of 2020 and in the first months of presence during 2021. Facultad de Artes

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Servicio de Difusión...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Martz de la Vega, Hans; González Morales, Cecilia;

    Una de las ideas más arraigadas de las que tenemos memoria en México acerca de la emancipación progresiva de los pueblos prehispánicos es que el templo fue sustituido por la iglesia, por lo que existió un sincretismo entre ambas culturas, que facilitó, hasta cierto punto y en algunos lugares, la permanencia de ciertas fechas del año que habían sido privilegiadas por la sociedad mesoamericana. También se mantuvieron algunos usos y costumbres y prueba de ello fueron algunas denuncias como las que hicieron el Obispo Diego Vázquez de Mercado, el Doctor Pedro Sánchez de Aguilar, el franciscano Bernardo de Lizana y Joseph María Ortiz. Otra idea, y que va de la mano con la anterior, ha sido que los colonizadores españoles reutilzaron las trazas de algunos asentamientos prehispánicos con el fin de acelerar el establecimiento y funcionamiento de la Colonia. Así, el pionero Franz Tichy, intentó mostrar que la orientación de iglesias y trazas de algunos pueblos modernos del valle poblano-tlaxcalteca, en México, en realidad eran las mismas que las de los templos y trazas prehispánicas. De hecho, a lo largo de las últimas cinco décadas, los investigadores como Tichy, han demostrado que los templos de Mesoamérica estaban orientados con principios calendáricoastronómicos y que compartían el mismo sistema de conteo. También, pero en menor medida, ha habido estudios sobre las trazas y sus orientaciones. Este trabajo trata tres casos en el Estado de Tabasco de México, una entidad en donde, hacia principios del siglo XX, el gobierno de aquel entonces, llevó a cabo una campaña antirreligiosa que terminó por destruir la mayoría de las iglesias. Además, los casos se encuentran dentro de Mesoamérica. El objetivo es mostrar, a través de los estudios de la recuperación de la materialidad, la relación que tienen los vestigios posprehispánicos y los prehispánicos a partir de las orientaciones y la técnica de la Arqueoastronomía. El primer caso es el Templo de Santo Domingo de Guzmán, en Oxolotán; una de las pocas iglesias que no alcanzaron a destruir completamente. La lectura de las fechas de la orientación la hicimos de la misma manera que como lo hizo Stanislaw Iwaniszewski para la iglesia de San José en Paxtepec, en el Estado de Veracruz, México. Se trata de conocer los intervalos de días significativos con respecto a alguno de los pivotes que utilizaron en el sistema mesoamericano. En Veracruz sugirió que eran intervalos de veintenas. Nosotros en Oxolotán proponemos que son séptimas. Ambos, intervalos significativos del sistema mesoamericano. Además, utilizaron los pasos cenitales del Sol en combinación con la fecha del santo. El segundo caso es la Parroquia de Cristo Crucificado de Tenosique, que es, actualmente, la iglesia católica principal de la ciudad porque la del centro histórico fue destruida. La iglesia es una construcción reciente, pero se encuentra sobre la avenida principal de la ciudad, la cual pertenece a la traza antigua. La orientación de la iglesia corresponde a la fiesta de la Xilocruz o la cruz del jilote, la cual es una de las reminiscencias de Mesoamérica. Es la fiesta relacionada con el maíz cuando ha madurado a tal punto que se considera mazorca y en el cercano Estado de Guerrero, en México, se relaciona a la deidad prehispánica del maíz, Xilonen. El tercer caso, trata de la antigua catedral del Estado de Tabasco. También fue destruida, pero, por tratarse de la capital, contamos con material de primera mano que nos ha permitido rastrear la orientación aproximada, como los planos antiguos, una aerofoto del año en que fue destruida y algunas fotografías de su fachada. En este factor, la orientación corresponde a la región del norte por lo que ahora no presentaremos mayor análisis, pero lo que sí, es aportar información que no se conocía, como la posible identificación de su planta arquitectónica y, como consecuencia, su orientación. Finalmente, en los casos en los que ha sido posible, en Tenosique y San Juan Bautista (Villahermosa), mostramos cuáles fueron las iglesias destruidas y luego sustituidas por las nuevas. One of the most deeply rooted ideas that we have memory in Mexico about the progressive emancipation of the pre-Hispanic peoples is that the temple was replaced by the church, so there was a syncretism between both cultures, which facilitated, to a certain extent and in some places, the permanence of certain dates of the year that had been privileged by Mesoamerican society. Some customs and their uses, were also maintained and proof of this were some complaints such as those made by Bishop Diego Vázquez de Mercado, Doctor Pedro Sánchez de Aguilar, Franciscan Bernardo de Lizana and Joseph María Ortiz. Another idea, and that goes hand in hand with the previous one, has been that the Spanish colonizers reused the traces of some pre-Hispanic settlements in order to accelerate the establishment and operation of the Colony. Thus, the pioneer Franz Tichy, tried to show that the orientation of some churches and layouts of some modern towns of the Puebla-Tlaxcala valley, in Mexico, were actually the same as those of the pre-Hispanic temples and layouts. In fact, over the last five decades, researchers like Tichy have shown that Mesoamerican temples were oriented with calendrical-astronomical principles and that they shared the same counting system. Also, but to a lesser extent, there have been studies on the layouts and their orientations. This paper is about three cases in the State of Tabasco in Mexico, an entity where, towards the beginning of the 20th century, the government of that time carried out an anti-religious campaign that ended up destroying most of the churches. In addition, the cases are within Mesoamerica. The objective is to show, through the studies of the recovery of materiality, the relationship that post-pre-Hispanic and pre- Hispanic vestiges have from the orientations and technique of Archaeoastronomy. The first case is the Temple of Santo Domingo de Guzmán, in Oxolotán; one of the few churches that failed to completely destroy. We read the orientation dates in the same way as Stanislaw Iwaniszewski did for the church of San José in Paxtepec, in the State of Veracruz, Mexico. It is about knowing the significant day intervals with respect to some of the pivots that they used in the Mesoamerican system. In Veracruz he suggested that they were intervals of twenties. We at Oxolotán propose that they are sevenths. Both, significant intervals of the Mesoamerican system. In addition, they used the zenith steps of the Sun in combination with the date of the saint. The second case is the Parroquia de Cristo Crucificado de Tenosique, which is currently the main Catholic church in the city because the one in the historic center was destroyed. That church is a recent construction, but it is located on the main avenue of the city, which belongs to the old layout. The orientation of the church corresponds to the feast of the Xilocruz or the cross of the corn, which is one of the reminiscences of Mesoamerica. It is the festival related to corn when it has matured to the point that it is considered cob and in the nearby State of Guerrero, in Mexico, it is related to the pre-Hispanic deity of corn, Xilonen. The third case deals with the old cathedral of the State of Tabasco. It was also destroyed, but, as it is the capital, we have first-hand material that has allowed us to trace the approximate orientation, such as old plans, an aerial photo of the year it was destroyed and some photographs of its facade. In this factor, the orientation corresponds to the northern region, so now we will not present further analysis, but what we do is provide information that was not known, such as the possible identification of its architectural plan and, as a consequence, its orientation. Finally, in the cases where it has been possible, in Tenosique and San Juan Bautista (Villahermosa), we show which churches were destroyed and then replaced by new ones. Sociedad Interamericana de Astronomía en la Cultura Facultad de Ciencias Astronómicas y Geofísicas

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Servicio de Difusión...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Servicio de Difusión...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Haneck, Jeanette Ivon;

    En la actualidad nos encontramos atravesando una doble pandemia, la pandemia de coronavirus y la desinfodemia. Muchos se han basado en el libro de Apocalipsis para sostener pensamientos conspiranoicos sin ningún sustento teórico apropiado, pero un acercamiento a uno de los mensajes a las Iglesias de Apocalipsis nos brinda un mensaje alentador, que impulsa a las Iglesias a actuar en beneficio de la sociedad. Una primera aproximación al texto nos ofrece una guía para actuar en la sociedad en tiempos de crisis, pero una lectura más profunda nos acerca al mensaje original y al impacto positivo que tiene este mensaje para la sociedad de nuestros días. We are currently going through a double pandemic, the coronavirus pandemic and the disinfodemic. Many have relied on the book of Revelation to sustain conspiracy thoughts without any proper theoretical support, but an approach to one of the messages to the Churches Of Revelation gives us an encouraging message, which encourages the Chruches to act for the benefit of society, in times of crisis, but a deeper reading brings us closer to the original message and the positive impact that this message has for the world of our days. Catedra Libre de Pensamiento Cristiano (UNLP) Seminario Mayor San José (La Plata)

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ SEDICI (UNLP) - Univ...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ SEDICI (UNLP) - Univ...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Lanzelotti, Sonia L.;

    Este artículo brinda un panorama actualizado sobre la arqueología de la cuenca del río Luján basado en el relevamiento exhaustivo de las evidencias arqueológicas que se recuperaron a lo largo de 150 años. Hemos detectado 69 procedencias que incluyen sitios, colecciones y objetos de museos, cuyo rango temporal abarca desde la transición Pleistoceno-Holoceno hasta los siglos XIX-XX de nuestra Era. Se observa que el patrimonio arqueológico se ve afectado por la expansión urbana y las obras de infraestructura asociadas. Se postula que la cuenca ofrece un renovado potencial para: a) la realización de estudios paleoecológicos en general y para Pleistoceno tardío en particular, aportando a la discusión sobre los posibles motivos de la extinción de la megafauna; b) el estudio de la materialidad de las sociedades que habitaron el territorio a lo largo del tiempo, incluyendo la historia reciente; y c) el abordaje de fenómenos de patrimonialización e identidad asociados. This article provides an updated overview of the archeology of the Luján river basin based on the exhaustive compilation of archaeological evidence that has been recovered over 150 years. Sixty-nine loci of material were detected, including sites, collections and museum objects, ranging from the Pleistocene-Holocene Transition until the 19th-20th centuries of our Era. It is observed that archaeological heritage is affected by urban expansion and associated infrastructure works. It is postulated that the basin offers a renewed potential for: a) carrying out paleoecological studies in general and for late Pleistocene in particular, contributing to the discussion on the possible reasons for the extinction of the megafauna; b) studying the materiality of the societies that inhabited the territory over time, including recent history and c) addressing associated heritage and identity phenomena. Sociedad Argentina de Antropología

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Scientific Electroni...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
Advanced search in
Searching FieldsTerms
Any field
arrow_drop_down
includes
arrow_drop_down
The following results are related to Digital Humanities and Cultural Heritage. Are you interested to view more results? Visit OpenAIRE - Explore.
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Di Doménico, Cristina; Gonzalo Josserme, Rodrigo César; Novelli, Ornella;

    La dictadura cívico militar en Argentina (1976-1983), denominada Proceso de Reorganización Nacional, implicó el cierre o el desmantelamiento de diversas instancias académicas y profesionales en el país. Entre ellas se encontraba el Departamento de Orientación Vocacional(DOV)de la Universidad Nacional de Mar del Plata, que a partir de 1976 fue disuelto como tal. En el año 1984, ya con el retorno a la vida democrática, se reabre el DOV en el período de normalización de la universidad y la recuperación delos espacios académicos perdidos durante el estado dictatorial. En este trabajo se analizan historiográficamente el contexto sociopolítico de tal reapertura, las causas que la impulsaron y el espacio académico-profesional que se gestó en la nueva etapa del DOV. The civic-military dictatorship in Argentina (1976-1983), called the National Reorganization Process, implied the closure or dismantling of various academic and professional spaces in the country. Among them was the Department of Vocational Guidance (DOV) of the National University of Mar del Plata, which as of 1976 was dissolved as such. In 1984, with the return to democratic life, the DOV was reopened in the period of normalization of the University and the recovery of academic spaces lost during the dictatorial state. In this work, the sociopolitical context of such reopening, the causes that led to it and the academic-professional space that was created in the new stage of DOV are analyzed historiographically. Facultad de Psicología

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Servicio de Difusión...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Frisón, Roxana; Moser, Mariana;

    This work is part of the Research Project "Statutes of the body in current forms of subjective presentation in puberty and adolescents of the city of La Plata. Preliminary inquiries", which had its origin in the survey of numerous ailments whose territory of expression constitutes the body, and in a certain problem linked to the categories with which it is tried to name said phenomena and their determinants. We ask ourselves: What status do the phenomena that involve the body have in the functioning of adolescent subjectivities today? What is the relationship between these phenomena and the various modes of symbolization? What impact does the social imaginary have on the bodily effects expressed in the subjectivities of adolescents? Based on the complexity of the notion of the body for Psychoanalysis, we propose to deepen the investigation by focusing on the theoretical proposal of Piera Aulagnier. The author argues that at the moment of birth, a biological body, a sensory body, arises, which becomes erogenous, gaining the status of relational from an inaugural meeting that sets off representative activity. Psychic representation that involves the inscription of pleasure and suffering, made possible by sensory activity. A real body, where the marks of a libidinal, identifying history will be inscribed. History woven into the socio-cultural field that prints its identifying proposals, values and ideals. We carry out a bibliographic review of Aulagnier's contributions to arrive at the productions of subjectivity, the psychic works carried out by the pubescent and the adolescent in their future, considering the inscription of the novelty of the body as a relevant requirement. Delimiting theoretical notions proposed by the author, allows us to pay into the theoretical framework for the research, being able to count on categories and analytical notions when interpreting the empirical ma. La complejidad que reviste la noción de cuerpo para el Psicoanálisis nos confronta con el requerimiento de arribar a la precisión conceptual que adquiere en la propuesta de Piera Aulagnier (1988). En el origen de la actividad representativa, cobran particular relevancia tanto el cuerpo propio como la presencia de los otros significativos. La autora plantea que en el momento del nacimiento adviene un cuerpo biológico, un cuerpo sensorial, que se erogeniza cobrando el estatuto de relacional a partir de un encuentro inaugural que pone en marcha la actividad representativa. Representación psíquica que supone la inscripción del placer y del sufrimiento, posibilitada por la actividad sensorial. Las experiencias somatopsíquicas de placer facilitarán la futura representación de un cuerpo unificado, tal como plantea la autora. Un cuerpo real, precedido por uno ideal construido en la psique del otro primordial y en el que se irán inscribiendo las marcas de una historia libidinal, identificatoria. Historia entramada en el campo socio-cultural que imprime sus propuestas identificatorias, valores e ideales en dicho devenir.La revisión de la metapsicología freudiana, conduce a la autora a proponer un modelo teórico-clínico cuyos tres procesos de metabolización, tres espacios psíquicos, darán lugar a tres versiones-concepciones del cuerpo. El advenimiento del yo, supone la entrada en la escena psíquica del tiempo y el espacio. La problemática de la identificación compone la cara oculta del trabajo de historización que tomará a su cargo el yo devenido instancia pensante, identificante, deseante, al tiempo que se apropia de una versión discursiva atinente a su cuerpo.Será el advenimiento puberal el que pondrá en marcha los trabajos psíquicos propios de la adolescencia. Movimientos de investidura y de desinvestidura que estarán presentes desde el origen y surcarán la relación sujeto-cuerpo. Facultad de Psicología

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Servicio de Difusión...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    visibility4
    visibilityviews4
    downloaddownloads3
    Powered by Usage counts
    more_vert
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Servicio de Difusión...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: López Rasch, Juan Cruz;

    En el siguiente trabajo son analizados determinados episodios de la Crónica de la población de Ávila (c. 1255). Puntualmente, se estudia el contenido de aquellos capítulos que refieren a las conquistas realizadas por el reino castellano-leonés del área sur de la península ibérica. La centralidad que ocupan en la obra los caballeros villanos, y la representación que se hace de sus enfrentamientos contra los musulmanes, no es casual. De hecho, la forma mediante la cual estos episodios son narrados está vinculada a los objetivos políticos e ideológicos que operan detrás del texto, redactado durante el período de Alfonso X. In the following work, certain episodes of the Crónica de la población de Ávila (c. 1255) are analyzed. Specifically, it addresses only the content of those chapters that refer to the conquests made by the Castilian-Leonese kingdom of the southern area of the Iberian Peninsula. The main role played by the caballeros villanos and the way in which their confrontations against the Muslims are represented in this work is not accidental. In fact, the way in which these episodes are narrated is linked to the political and ideological objectives that operate behind the text, written during the period of Alfonso X. Facultad de Humanidades y Ciencias de la Educación

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DOAJarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DOAJ
    Article . 2021
    Data sources: DOAJ
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Cuadernos Medievales
    Article . 2021
    Data sources: DOAJ-Articles
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DOAJarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      DOAJ
      Article . 2021
      Data sources: DOAJ
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Cuadernos Medievales
      Article . 2021
      Data sources: DOAJ-Articles
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Peralta, María José;

    El presente trabajo tiene como objetivo dar a conocer el proyecto de archivo escolar que estamos llevando adelante en la Escuela Nacional Ernesto Sábato de la Universidad Nacional del Centro de la Provincia de Buenos Aires, de la ciudad de Tandi Tandil. El proyecto toma como punto de partida institucional, la Ley N° 26.206 de Educación Nacional que establece dentro de sus objetivos: “promover el conocimiento y los valores que permitan el desarrollo de actitudes de protección y cuidado del patrimonio cultural”. A partir de este objetivo, nuestra propuesta de trabajo se centra fundamentalmente en el desarrollo de un proyecto de organización y gestión de un Archivo Escolar, entendiendo que este proyecto contribuye de manera significativa tanto a la formación de los estudiantes, como a la construcción de la memoria histórica de la institución y a la conservación y puesta en valor de su patrimonio social y cultural. The present work aims to publicize the school archive project that we are carrying out at the Ernesto Sábato National School of the National University of the Center of the Province of Buenos Aires, in the city of Tandil. The project takes as its institutional starting point, Law No. 26,206 of National Education that establishes within its objectives: "to promote knowledge and values that allow the development of attitudes of protection and care of cultural heritage." Based on this objective, our work proposal focuses fundamentally on the development of a project for the organization and management of a School Archive, understanding that this project contributes significantly to both the training of students and the construction of the historical memory of the i nstitution and the conservation and enhancement of its social and cultural heritage. Dossier: Archivos Universitarios en Red. Memoria, Género y Derechos Humanos. Archivo Histórico de la Universidad Nacional de La Plata

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Servicio de Difusión...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Cruder, Gabriela;

    El texto se propone dar cuenta de las vinculaciones y tensiones existentes entre la colección y el archivo; exponiendo la circunscripción y la organización de los materiales que participan del Observatorio de la imagen, con énfasis en la educación, sitio de libre acceso, albergado en la plataforma digital de la UNLu. Transitamos las tensiones que propone pensar el observatorio. En este sentido, recorremos los territorios de la imagen, la memoria, los procesos de tecnologización que posibilitan la producción de los signos y su circulación, también y especialmente, considerando los espacios de digitalización de la cultura. En torno del observatorio, reflexionamos y nos interrogamos con relación a las clasificaciones, los ordenamientos, las dimensiones, los agrupamientos; tanto como acerca de la sucesión, los anacronismos y las yuxtaposiciones, cuando se trata de pensar el tiempo propio de las materias de las que nos ocupamos como también acerca de su disposición. Sin concluir brindando respuestas definitivas, invitamos a recorrerlo: www.observatoriodelaimagen.unlu.edu.ar The text aims to account for the links and tensions existing between the collection and the archive; exposing the constituency and the organization of the materials that participate in the Image Observatory, with an emphasis on education, a free access site, hosted on the UNLu digital platform. We go through the tensions that the observatory proposes to think about. In this sense, we go through the territories of the image, memory, the processes of technologization that enable the production of signs and their circulation, also and especially, considering the spaces of digitization of culture. Around the observatory, we reflect and question ourselves in relation to classifications, orderings, dimensions, groupings; as well as about succession, anachronisms and juxtapositions, when it comes to thinking about the proper time of the matters we are dealing with as well as about their disposition. Without concluding by providing definitive answers, we invite you to visit it: www.observatoriodelaimagen.unlu.edu.ar Dossier: Archivos Universitarios en Red. Memoria, Género y Derechos Humanos. Archivo Histórico de la Universidad Nacional de La Plata

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Servicio de Difusión...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Garro, Pablo; Pretti, Patricio Adrián;

    En Sonidos de Marte, David Stubbs narra una historia de la música electrónica desde una perspectiva personal, vinculando prácticas, artistas, técnicos/as y producciones para tejer una trama que se extiende por más de un siglo hasta nuestros días. In Mars by 1980, David Stubbs tells a story of electronic music from a personal perspective, linking practices, artists, technicians and productions to weave a framework that extends for more than a century to the present day. Reseña a David Stubbs (2019). Sonidos de Marte: una historia de la música electrónica. Ciudad Autónoma de Buenos Aires, Argentina: Caja Negra Editora, 478 páginas. Facultad de Artes

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Servicio de Difusión...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    download3
    downloaddownloads3
    Powered by Usage counts
    more_vert
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Servicio de Difusión...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ruvituso, Federico Luis;

    El Museo Provincial de Bellas Artes Emilio Pettoruti empezó sus gestiones en 2020 cuando se desató la pandemia. Cerradas sus puertas tuvo que ensayar formas de curaduría virtual, mientras se iniciaba la recuperación de parte de su Colección. Curaduría como mundos posibles presenta tres variantes curatoriales desarrolladas a partir de los primeros ensayos de asociación entre patrimonio y arte contemporáneo, en el marco de la cuarentena de inicios del 2020 y en los primeros meses de presencialidad durante 2021. The Museo Provincial de Bellas Artes Emilio Pettoruti began its management in 2020 when the pandemic broke out. With its doors closed, the Museum had to try forms of virtual curatorship, while the recovery of part of his Collection began. Curatorship as possible worlds presents three curatorial variants developed from the first essays of association between heritage and contemporary art, within the context of the quarantine at the beginning of 2020 and in the first months of presence during 2021. Facultad de Artes

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Servicio de Difusión...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Martz de la Vega, Hans; González Morales, Cecilia;

    Una de las ideas más arraigadas de las que tenemos memoria en México acerca de la emancipación progresiva de los pueblos prehispánicos es que el templo fue sustituido por la iglesia, por lo que existió un sincretismo entre ambas culturas, que facilitó, hasta cierto punto y en algunos lugares, la permanencia de ciertas fechas del año que habían sido privilegiadas por la sociedad mesoamericana. También se mantuvieron algunos usos y costumbres y prueba de ello fueron algunas denuncias como las que hicieron el Obispo Diego Vázquez de Mercado, el Doctor Pedro Sánchez de Aguilar, el franciscano Bernardo de Lizana y Joseph María Ortiz. Otra idea, y que va de la mano con la anterior, ha sido que los colonizadores españoles reutilzaron las trazas de algunos asentamientos prehispánicos con el fin de acelerar el establecimiento y funcionamiento de la Colonia. Así, el pionero Franz Tichy, intentó mostrar que la orientación de iglesias y trazas de algunos pueblos modernos del valle poblano-tlaxcalteca, en México, en realidad eran las mismas que las de los templos y trazas prehispánicas. De hecho, a lo largo de las últimas cinco décadas, los investigadores como Tichy, han demostrado que los templos de Mesoamérica estaban orientados con principios calendáricoastronómicos y que compartían el mismo sistema de conteo. También, pero en menor medida, ha habido estudios sobre las trazas y sus orientaciones. Este trabajo trata tres casos en el Estado de Tabasco de México, una entidad en donde, hacia principios del siglo XX, el gobierno de aquel entonces, llevó a cabo una campaña antirreligiosa que terminó por destruir la mayoría de las iglesias. Además, los casos se encuentran dentro de Mesoamérica. El objetivo es mostrar, a través de los estudios de la recuperación de la materialidad, la relación que tienen los vestigios posprehispánicos y los prehispánicos a partir de las orientaciones y la técnica de la Arqueoastronomía. El primer caso es el Templo de Santo Domingo de Guzmán, en Oxolotán; una de las pocas iglesias que no alcanzaron a destruir completamente. La lectura de las fechas de la orientación la hicimos de la misma manera que como lo hizo Stanislaw Iwaniszewski para la iglesia de San José en Paxtepec, en el Estado de Veracruz, México. Se trata de conocer los intervalos de días significativos con respecto a alguno de los pivotes que utilizaron en el sistema mesoamericano. En Veracruz sugirió que eran intervalos de veintenas. Nosotros en Oxolotán proponemos que son séptimas. Ambos, intervalos significativos del sistema mesoamericano. Además, utilizaron los pasos cenitales del Sol en combinación con la fecha del santo. El segundo caso es la Parroquia de Cristo Crucificado de Tenosique, que es, actualmente, la iglesia católica principal de la ciudad porque la del centro histórico fue destruida. La iglesia es una construcción reciente, pero se encuentra sobre la avenida principal de la ciudad, la cual pertenece a la traza antigua. La orientación de la iglesia corresponde a la fiesta de la Xilocruz o la cruz del jilote, la cual es una de las reminiscencias de Mesoamérica. Es la fiesta relacionada con el maíz cuando ha madurado a tal punto que se considera mazorca y en el cercano Estado de Guerrero, en México, se relaciona a la deidad prehispánica del maíz, Xilonen. El tercer caso, trata de la antigua catedral del Estado de Tabasco. También fue destruida, pero, por tratarse de la capital, contamos con material de primera mano que nos ha permitido rastrear la orientación aproximada, como los planos antiguos, una aerofoto del año en que fue destruida y algunas fotografías de su fachada. En este factor, la orientación corresponde a la región del norte por lo que ahora no presentaremos mayor análisis, pero lo que sí, es aportar información que no se conocía, como la posible identificación de su planta arquitectónica y, como consecuencia, su orientación. Finalmente, en los casos en los que ha sido posible, en Tenosique y San Juan Bautista (Villahermosa), mostramos cuáles fueron las iglesias destruidas y luego sustituidas por las nuevas. One of the most deeply rooted ideas that we have memory in Mexico about the progressive emancipation of the pre-Hispanic peoples is that the temple was replaced by the church, so there was a syncretism between both cultures, which facilitated, to a certain extent and in some places, the permanence of certain dates of the year that had been privileged by Mesoamerican society. Some customs and their uses, were also maintained and proof of this were some complaints such as those made by Bishop Diego Vázquez de Mercado, Doctor Pedro Sánchez de Aguilar, Franciscan Bernardo de Lizana and Joseph María Ortiz. Another idea, and that goes hand in hand with the previous one, has been that the Spanish colonizers reused the traces of some pre-Hispanic settlements in order to accelerate the establishment and operation of the Colony. Thus, the pioneer Franz Tichy, tried to show that the orientation of some churches and layouts of some modern towns of the Puebla-Tlaxcala valley, in Mexico, were actually the same as those of the pre-Hispanic temples and layouts. In fact, over the last five decades, researchers like Tichy have shown that Mesoamerican temples were oriented with calendrical-astronomical principles and that they shared the same counting system. Also, but to a lesser extent, there have been studies on the layouts and their orientations. This paper is about three cases in the State of Tabasco in Mexico, an entity where, towards the beginning of the 20th century, the government of that time carried out an anti-religious campaign that ended up destroying most of the churches. In addition, the cases are within Mesoamerica. The objective is to show, through the studies of the recovery of materiality, the relationship that post-pre-Hispanic and pre- Hispanic vestiges have from the orientations and technique of Archaeoastronomy. The first case is the Temple of Santo Domingo de Guzmán, in Oxolotán; one of the few churches that failed to completely destroy. We read the orientation dates in the same way as Stanislaw Iwaniszewski did for the church of San José in Paxtepec, in the State of Veracruz, Mexico. It is about knowing the significant day intervals with respect to some of the pivots that they used in the Mesoamerican system. In Veracruz he suggested that they were intervals of twenties. We at Oxolotán propose that they are sevenths. Both, significant intervals of the Mesoamerican system. In addition, they used the zenith steps of the Sun in combination with the date of the saint. The second case is the Parroquia de Cristo Crucificado de Tenosique, which is currently the main Catholic church in the city because the one in the historic center was destroyed. That church is a recent construction, but it is located on the main avenue of the city, which belongs to the old layout. The orientation of the church corresponds to the feast of the Xilocruz or the cross of the corn, which is one of the reminiscences of Mesoamerica. It is the festival related to corn when it has matured to the point that it is considered cob and in the nearby State of Guerrero, in Mexico, it is related to the pre-Hispanic deity of corn, Xilonen. The third case deals with the old cathedral of the State of Tabasco. It was also destroyed, but, as it is the capital, we have first-hand material that has allowed us to trace the approximate orientation, such as old plans, an aerial photo of the year it was destroyed and some photographs of its facade. In this factor, the orientation corresponds to the northern region, so now we will not present further analysis, but what we do is provide information that was not known, such as the possible identification of its architectural plan and, as a consequence, its orientation. Finally, in the cases where it has been possible, in Tenosique and San Juan Bautista (Villahermosa), we show which churches were destroyed and then replaced by new ones. Sociedad Interamericana de Astronomía en la Cultura Facultad de Ciencias Astronómicas y Geofísicas

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Servicio de Difusión...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Servicio de Difusión...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Haneck, Jeanette Ivon;

    En la actualidad nos encontramos atravesando una doble pandemia, la pandemia de coronavirus y la desinfodemia. Muchos se han basado en el libro de Apocalipsis para sostener pensamientos conspiranoicos sin ningún sustento teórico apropiado, pero un acercamiento a uno de los mensajes a las Iglesias de Apocalipsis nos brinda un mensaje alentador, que impulsa a las Iglesias a actuar en beneficio de la sociedad. Una primera aproximación al texto nos ofrece una guía para actuar en la sociedad en tiempos de crisis, pero una lectura más profunda nos acerca al mensaje original y al impacto positivo que tiene este mensaje para la sociedad de nuestros días. We are currently going through a double pandemic, the coronavirus pandemic and the disinfodemic. Many have relied on the book of Revelation to sustain conspiracy thoughts without any proper theoretical support, but an approach to one of the messages to the Churches Of Revelation gives us an encouraging message, which encourages the Chruches to act for the benefit of society, in times of crisis, but a deeper reading brings us closer to the original message and the positive impact that this message has for the world of our days. Catedra Libre de Pensamiento Cristiano (UNLP) Seminario Mayor San José (La Plata)

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ SEDICI (UNLP) - Univ...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ SEDICI (UNLP) - Univ...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Lanzelotti, Sonia L.;

    Este artículo brinda un panorama actualizado sobre la arqueología de la cuenca del río Luján basado en el relevamiento exhaustivo de las evidencias arqueológicas que se recuperaron a lo largo de 150 años. Hemos detectado 69 procedencias que incluyen sitios, colecciones y objetos de museos, cuyo rango temporal abarca desde la transición Pleistoceno-Holoceno hasta los siglos XIX-XX de nuestra Era. Se observa que el patrimonio arqueológico se ve afectado por la expansión urbana y las obras de infraestructura asociadas. Se postula que la cuenca ofrece un renovado potencial para: a) la realización de estudios paleoecológicos en general y para Pleistoceno tardío en particular, aportando a la discusión sobre los posibles motivos de la extinción de la megafauna; b) el estudio de la materialidad de las sociedades que habitaron el territorio a lo largo del tiempo, incluyendo la historia reciente; y c) el abordaje de fenómenos de patrimonialización e identidad asociados. This article provides an updated overview of the archeology of the Luján river basin based on the exhaustive compilation of archaeological evidence that has been recovered over 150 years. Sixty-nine loci of material were detected, including sites, collections and museum objects, ranging from the Pleistocene-Holocene Transition until the 19th-20th centuries of our Era. It is observed that archaeological heritage is affected by urban expansion and associated infrastructure works. It is postulated that the basin offers a renewed potential for: a) carrying out paleoecological studies in general and for late Pleistocene in particular, contributing to the discussion on the possible reasons for the extinction of the megafauna; b) studying the materiality of the societies that inhabited the territory over time, including recent history and c) addressing associated heritage and identity phenomena. Sociedad Argentina de Antropología

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Scientific Electroni...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    0
    citations0
    popularityAverage
    influenceAverage
    impulseAverage
    BIP!Powered by BIP!
    more_vert