Ce travail prétend mener une réflexion sur l’exercice possible de l`intermédialité, l’adaptation pour le cinéma de la pièce El Paso de la troupe de théâtre La Candelaria de Bogotá-Colombie. Après avoir fait un bref résumé du mouvement du Nouveau Théâtre Colombien, la pièce est contextualisée historiquement en prenant comme point de départ la fable. La réflexion se fait sur les possibilités expressives des deux langages théâtral et cinématographique, à partir de l`utilisation de l`espace dans les deux médias. La précarieté dans laquelle vivent les personnages de l`histoire influence également l`économie de la mise en scéne. La précarieté est associée à la vulnérabilité de la vie et le hors champ abordé comme un dispositif permettant la médiation de la précarieté, dans les deux médias. A partir de cette caractéristique estétablie une relation par rapport à la réalité physique qu`établit Siegfried Kracauer, puis nous entrons dans l`étude du hors champ théâtral et cinématographique et de sa relation à la musique. Enfin, des spéculations sont faites quant aux possibilités d´une versión cinématographique. / This work aims to reflect on an exercise of intermediality for the adaptation to cinematography of “El Paso”, a play by the theatrical group of La Candelaria of Bogotá. We weave together the theatrical piece taking fable and its historical moment as a starting point, as well as a review of the New Colombian Theatre and of collective creation as a mode of artistic production. The reflexion is made on the expressive possibilities of the theatrical and cinematographical languages, beginning with the utilization of space in both media. Poverty is associated with the vulnerability of life and the “hors champ” employed as a mechanism which aids in the mediation of poverty in both media. The poverty in which the characters of the story move , influences the economy of the “mis en scène”, a quality which relates to the physical reality stated by Siegfried Kracauer. Afterwards we make a reflexion on the “hors champ” both of theatre and cinema and its relation with music. Finally we speculate on argumental possibilities that surge out of putting on scene spaces which had been only barely suggested in the theatre. / Este trabajo pretende desarrollar una reflexión sobre un posible ejercicio de intermedialidad, la adaptación para cine de la puesta en escena El Paso del grupo de teatro La Candelaria de Bogotá, Colombia. Reflexionamos sobre las posibilidades expresivas de los dos lenguajes a partir de uso del espacio en el teatro y en el cine. Contextualizamos la pieza teatral tomando como punto de partida la fabula, luego hacemos una reseña del momento histórico y sus antecedentes, y del movimiento del Nuevo Teatro Colombiano. La precariedad en la que viven los personajes de la historia influye también en la economía de la puesta en escena, a partir de esta característica establecemos una relación con la realidad física que plantea Siegfried Kracauer. Luego entramos a estudiar el fuera de campo teatral y cinematográfico y su relación con la música. Finalmente se especula sobre las posibilidades de la versión para cine.

Submitted by Daniele Santos (danielesantos.htl@gmail.com) on 2017-02-20T20:03:04Z No. of bitstreams: 1 Andres Gil.pdf: 1088672 bytes, checksum: e1c18c946199ebbdcbfcc72048302a0d (MD5) / Approved for entry into archive by Janete de Oliveira Feitosa (janete.feitosa@fgv.br) on 2017-02-22T12:18:23Z (GMT) No. of bitstreams: 1 Andres Gil.pdf: 1088672 bytes, checksum: e1c18c946199ebbdcbfcc72048302a0d (MD5) / Made available in DSpace on 2017-03-02T18:14:08Z (GMT). No. of bitstreams: 1 Andres Gil.pdf: 1088672 bytes, checksum: e1c18c946199ebbdcbfcc72048302a0d (MD5) Previous issue date: 2016-11-09 / This work explores the likely facts and characteristics that made Colombia a country, unlike the rest of the world´s main markets, in which horizontal property is still the main model by which shopping centers are developed. Starting by pointing out the implications of this model, this work uses theory and empirical research available that, in contrast, support the idea that single property model, in the other hand, leads towards a developer-retailer arrangement that aligns their interests, maximizing rents and sales in the process. This work compares the horizontal property model with single property, under the light of available single property´s theory, in order to determine whether their results could be similar or comparable. Three concepts support the previous statement: i). Complementary and comparison shopping that leads to agglomeration and clustering retail; ii) Inter-store externalities allow shopping center´s developer to manage the tenant mix in order to maximize rents and sales; iii) Inter-store externalities are possible thanks to the relative draw power generated by retailers. Using exploratory research, this work analyses the main factors that restrained Colombia to develop single property shopping centers after 40 years of industry history. This paper relies on in-depth interviews from industry experts to gather those factors that prevents Colombian industry to consolidate the single property model. International Isolation, which prevents Colombia to be foreign direct investment recipient until mid 2000´s|, house-building rationality exported to shopping center development and retailers investing in real estate, are the main factors.

This doctoral dissertation examines the social representation of masculinities in the contemporary Colombian cultural industry. The corpus of the study is composed by the novels of four Colombian writers (Santiago Gamboa, Alonso Sánchez Baute, John Better, and Efraím Medina) and their contributions to SoHo, a magazine for heterosexual men that is considered the Colombian version of Playboy. The research proves that gay and trans male bodies and subjectivities are commodified, spectacularized, and appropriated in order to include them in the late-capitalist logic that Colombia adopted at the beginning of the 90s. This dissertation relies on an interdisciplinary approach that combines Literary, Cultural and Gender Studies, and Queer Linguistics. In the first chapter, I argue that SoHo is a site of hybridization where local, regional, global, as well as hegemonic and counterhegemonic discourses about male Colombian sexuality concur. The second chapter focuses on the representation of gay and trans masculinities in Locas de felicidad (2009) by John Better and Al diablo la maldita primavera (2007) by Alonso Sánchez Baute, and shows how these Colombian authors question the neoliberal policies implemented in their country by constructing the male gay body as a commodity. Such construction reveals that LGBTQ subjects can only be fully considered citizens if they are useful to the imperatives of a liberal market economy. In chapter three, I explore the connection between Colombia's armed conflict, neoliberal policies, and masculinities in the novel Plegarias nocturnas (2012) by Santiago Gamboa. In this analysis I demonstrate that a violent, protectionist, and liberal masculine figure was erected in Colombia's national discourse as one of the means to cope with the longstanding military conflict in the country. Plegarias nocturnas contests this figure by emphasizing queer ways of living. The final chapter deals with Sexualidad de la Pantera Rosa (2004) by Efraím Medina and shows that although the subaltern protagonist of the novel presents himself as a critic of patriarchy, the power of his criticism is concealed through the use of an ironic and ambiguous discourse that, in the end, leads to the conservation of his heterosexual dominance. This research project is the first to analyze contemporary Colombian masculinities. The study of the rhetorical strategies employed by several writers to portray late capitalist masculinities enriches our knowledge of 20th and 21st-century Latin American literature demonstrating how it reflects the sociopolitical and economic changes of this period. In addition, by looking at how Colombian masculinities intertwine with regional and global gender politics, this research contributes to the current debates about sexual minorities and their role in maintaining neoliberal normative ways of living. Therefore, this study proposes innovative discussions regarding how the South reproduces and/or contests hegemonic discourses.

Esta pesquisa tem como objetivo central a identificação e análise dos principais atores e temas envolvidos na internacionalização do conflito armado na Colômbia. Este estudo entende por internacionalização a participação de atores estrangeiros na formulação e/ou implementação das tentativas de resolução do referido conflito. O recorte temporal pertinente aos propósitos da pesquisa estende-se do Governo César Gaviria (1990-1994) ao final do primeiro governo de Álvaro Uribe (2002-2006), na medida em que, no período anterior, não era possível observar um envolvimento externo considerável nos processos de paz na Colômbia. Os atores selecionados para uma análise mais atenta foram: EUA e OEA, cujas agendas correspondem à proposta hemisférica predominante; e UE e ONU, as quais representam as iniciativas globais voltadas à resolução do conflito. A principal conclusão deste estudo incide sobre o agrupamento das propostas internacionais em torno desses dois pólos: hemisféricas (das quais os EUA constituem o principal expoente) e globais (que têm na UE o seu ponto focal). A primeira é dotada de vultosos recursos, apresenta um caráter marcadamente militar e encontra na erradicação das drogas e no confronto às guerrilhas as suas principais estratégias. Por outro lado, o traço preponderante da segunda é a ênfase nos direitos humanos, na ajuda humanitária e na negociação com as guerrilhas. A proposta emergente do pólo europeu não foi capaz de oferecer um contra-peso à intervenção estadunidense, tanto em termos de recursos financeiros, como de fatores geopolíticos. Assim, a principal conclusão desta pesquisa é que a internacionalização do conflito armado não se manifesta de forma homogênea: embora a participação dos atores estrangeiros tenha ocorrido no âmbito global, as iniciativas hemisféricas são predominantes, especialmente se analisarmos as preferências do governo colombiano. / This study aims to identify and analyze the main actors and themes related to the Colombian armed conflict internationalization. It understands internationalization as the participation of foreign players in the designing and implementation of programs regarding the resolution of the conflict. The period of interest to this study dates back to the government César Gaviria (1990-1994) until the end of the first Álvaro Uribe administration, since there was no considerable external participation on Colombia peace processes previously. The selected players for a more detailed approach were: US and OAS, whose agendas correspond to the predominant proposal in the hemisphere; and EU and UN, which represent the global initiatives towards the conflict resolution. The main conclusion of this study is related to the concentration of international proposals around these poles: hemispheric (whose main exponent is the US) and global (concentrated on EU). The first involves a huge amount of resources, presents a markedly military aspect and privileges the illicit crops eradication and confrontation against guerrillas as strategies. On the other hand, the dominant characteristic of the second is the emphasis on human rights, humanitarian aid and the negotiation with the guerrillas. The proposal that emerged from Europe was not able to offer compensation to American intervention in terms of financial resources and geopolitical factors. Therefore, the main conclusion of this study is that the internationalization of the armed conflict is not homogeneous throughout the world: the participation of external actors is global, but the hemispherical initiatives are predominant, especially if we consider Colombian governments preferences.

Dans le panorama de la littérature colombienne contemporaine, Jorge Franco (Medellín, 1962) et Juan Gabriel Vásquez (Bogota, 1973) sont deux écrivains dont l’œuvre, aussi riche que variée, leur a valu une reconnaissance indéniable dans le champ de l’écriture littéraire en castillan. Les univers fictionnels de leurs romans étant cadencés par le mouvement et le croisement d’itinéraires, cette thèse explore les principales caractéristiques de différentes dynamiques du déplacement dans leur prose, notamment dans les romans Paraíso Travel (2001) et Melodrama (2006), de Jorge Franco et Los informantes (2004) et El ruido de las cosas al caer (2011), de Juan Gabriel Vásquez.Ce déplacement, choisi ou contraint, planifié ou spontané, se présente dans l’œuvre de chaque écrivain sous la forme du voyage, de la déambulation, de l’évasion, de la fuite ou de l’exil. Ainsi, ce travail mobilise les concepts de centre et périphérie, de nation, d’immigration, de langue première et seconde, le croisement de cultures et l’ouverture d’horizons étant au cœur de la réflexion.Dans quelle mesure le drame de l’histoire colombienne représente-t-il un déclencheur d’évasion majeur dans les romans de Jorge Franco et de Juan Gabriel Vásquez ? Comment le voyage dans le passé constitue-t-il un outil de travail collectif au service d’une tentative d’identification générationnelle ? Pourquoi et comment la translation de l’individu d’un espace à l’autre peut-elle être à l’origine de sa transformation ? Enfin, dans quelle mesure s’agit-il d’itinéraires textuels clés dans la création artistique ? Cette thèse observe de près la démultiplication de l’espace et du temps : une superposition de chemins qui dynamise le parcours de l’écriture.Le travail s’ouvre sur une étude de la mort en tant que déclencheur discursif et fictionnel, en ce qu’elle lance à la fois le départ de la quête littéraire et la création de l’espace par l’acte même de la déambulation. L’errance et la fuite, métaphores de ce grand voyage vers la mort qu’est la vie, sont indissociables de la dynamique de l’écriture. De même, l’analyse porte sur la relation entre la fictionnalisation de la mort et le spectre de l’effacement de l’instance auctoriale. Ainsi les notions d’origine, de point de départ, de destination et de point d’arrivée se conjuguent-elles avec les notions de transit, de passage, de prolongement et de continuité.La seconde partie étudie comment le déplacement combine l’exploration et la création de l’espace urbain dans une dynamique qui cherche à éclairer les espaces obscurs de villes comme Bogota, New York et Paris au cours du XXe siècle. Il s’agit d’analyser l’approche littéraire de l’histoire récente, procédé où la mémoire, la peur et le déplacement seront les pistes mêmes de la compréhension des secrets de ces villes.Enfin, ce travail s’intéresse à l’entreprise des voyages extra-urbain et transfrontalier, motifs qui supposent le questionnement des notions d’idéalisation et d’exotisme, conditionnées par le déplacement physique à travers le territoire, la nation et leurs limites. Ce chapitre porte également un regard sur le voyage temporel, la convocation subjective et « désordonnée » du passé et les différents degrés de temporalité, deux aspects liés à la construction filmique et à la dynamique chronotopique du récit. Ce voyage temporel s’avère en effet nécessaire à l’identification générationnel d’un je et à la compréhension de soi. Ainsi, l’écriture à distance et l’écriture de la distance permettent une ouverture vers de nouveaux horizons qui facilitent la compréhension des épisodes traumatiques de l’histoire.En somme, à travers les dynamiques du déplacement, cette thèse s’interroge sur la place que Jorge Franco et Juan Gabriel Vásquez accordent au sujet déambulateur dans un monde en mouvement. / In the panorama of contemporary Colombian literature, Jorge Franco (Medellin, 1962) and Juan Gabriel Vásquez (1973) are two writers whose works, as rich as varied, have granted them an undeniable acknowledgement within the field of literature written in Castilian. Since movement and the cross between different itineraries set the cadence of the fictional universes of their novels, this thesis explores the principal characteristics of diverse types of dynamics of displacement in their works, particularly in Jorge Franco’s novels Paraíso Travel (2001) and Melodrama (2006), and in Juan Gabriel Vásquez’s Los informantes (2004) and El ruido de las cosas al caer (2011).This displacement, whether chosen or under duress, whether planned or spontaneous, appears in the works of each writer in the form of travel, wander, evasion, escape or exile. This work mobilises thereby the concepts of centre and periphery, nation, immigration, first and second language, placing the crossroad of culture and the opening of horizons at the heart of reflection.To what extent the drama of Colombian history represents a major trigger for evasion in the novels of Jorge Franco and Juan Gabriel Vásquez? How travelling to the past constitutes a tool of collective work in order to find a generational identification? Why and how the transposition from one space to another can be the origin of the transformation of the individual? Finally, to what extent these textual itineraries are the key to artistic creation? This thesis closely observes the dispersal of space and time: a superposition of paths that galvanises the writing’s route.The work opens with a study of death as a discursive and fictional trigger, since it launches the start of literary quest as well as the creation of space by the act of walking. Wandering and escaping, both understood as metaphors of that great journey towards death that defines life, are inseparable from the dynamic of writing. Likewise, the analysis takes a look at the relation between the fictionalisation of death and the spectrum of the erasure of the auctorial stage. Therefore, different notions such as origin, starting point, destination and point of arrival are combined with other notions such as transit, passing, prolongation and continuity.Displacement also combines the exploration and the creation of urban space, within a dynamic that endeavours to enlighten both the dark spaces of cities like Bogota, New York, Paris or Medellin, and the most obscure zones of their history, during 20th and 21st centuries. By analysing the literary approach of recent history, this part studies how memory, fear and displacement are the clues to understand history. Furthermore, this chapter takes an interest in temporal travelling; a subjective and “disordered” convocation of the past and different degrees of temporality: two aspects that are connected to a filmic construction and a chronotopic dynamic of the tale. This temporal journey proves to be necessary for both the generational identification and the comprehension of the self.Finally, this work analyses the undertaking of a cross-border journey, a motif that implies questioning notions such as idealisation and exoticism, which are conditioned by the physical displacement throughout territory, nation and their limits. Therefore, both writing from the distance and writing the distance lead to the study of the figure of the writer as a traveller. Trespassing boundaries resonates with the universality of wandering and facing history at the dawn of 21st century: an opening to new horizons that facilitates the comprehension of traumatic episodes of history.By studying the dynamics of displacement in the works of Jorge Franco and Juan Gabriel Vásquez, this thesis actually wonders about the place that both writers accord to the wanderer subject within a moving world.

abstract: Globalization has brought a renewed interest in the discourses of the past and national/ethnic identities that has been reflected in the cultural production and the social sciences around the globe. Historical novel (and their sequel telenovelas), a literary field closely linked to historiography, reflects, and has contributed to (re)shape the discourses of the past and identity in Latin America. Since the first decades of the 19th century until nowadays, Colombian novelists have explored Colombian identity through historical novels. Their plots and characters are highly influenced by new historiographical trends. During the19th and the first half of the 20th century, Romantic and Realist novels were generally constructed over historicist assumption of the past: the belief that it is possible to acquire a completely “objective” knowledge of the past. However, some outstanding Colombian historical novels, such as La Marquesa de Yolombó (1928), challenged this notion of the past. Since the last decades of the 20th century, Colombian historical novels share an attitude toward the past that Linda Hutcheon has defined as Historiographical Metafiction. This approach to history challenges the idea of an objective total history, and emphasizes the importance of the personal experiences, the subjectivity, of their characters and of the narrative voices. Donde no te Conozcan (2007), Trí¬ptico de la Infamia (2016), and Mancha de la Tierra (2014) are three Colombian historical novels written in the 21st century that share this attitude towards history. They question the nineteenth-century interpretations of Colombian history, especially those related to the role of Jews, Moors, Indigenous, Africans, and mestizos in the colonial social dynamics, and, therefore, in Colombian culture. / Dissertation/Thesis / Doctoral Dissertation International Letters and Cultures 2018

Made available in DSpace on 2015-04-11T13:41:37Z (GMT). No. of bitstreams: 1 DISSERTACAO MARCIA MARIA.pdf: 1481706 bytes, checksum: c106449f7ff5146f5e74cf7a90c429e9 (MD5) Previous issue date: 2008-09-10 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This search of masters, developed in the Postgraduate Program in Society and Culture in the Amazon Federal University of Amazonas, under the guidance of Prof.. Dr. Ernesto Renan Freitas Pinto de Melo, presents some contributions for the Sociology of Displacement Compulsórios to examine the Colombian conflict from the study of subjects involved in the process and seeking refuge in the Amazon. Migration border Amazon are still little discussed, both by the academy as the institutions that deal with the issue of shifts in compulsory care for refugees and displaced. The systematic study has some elements that challenge the implementation of public policies of refuge and more effective for this specific context located. The growing entry of people at a shelter, or not recognized by official institutions, present new paradigms that challenge scientific studies in the Amazon and require a rigorous methodology, determined by the studies on vulnerable groups from the perspective of the sociology of shifts compulsory. / A presente pesquisa de mestrado, desenvolvida no Programa de Pós-Graduação em Sociedade e Cultura na Amazônia da Universidade Federal do Amazonas, sob a orientação do Prof. Dr. Ernesto Renan de Melo Freitas Pinto, apresenta algumas contribuições para a Sociologia dos Deslocamentos Compulsórios NAS Amazônia. Tendo em vista a análise do conflito colombiano a partir do estudo dos sujeitos implicados no processo e que buscam refúgio no Amazonas. Os movimentos migratórios nas fronteiras amazônicas ainda são pouco abordados, tanto pela academia quanto pelas instituições que lidam com a temática dos deslocamentos compulsórios no atendimento aos refugiados e desplazados. O estudo sistematizado apresenta alguns elementos que desafiam a implementação de políticas públicas de refúgio mais eficazes e específicas para este contexto localizado. O crescente ingresso de pessoas em situação de refúgio, reconhecidos ou não pelas instituições oficiais, apresentam novos paradigmas que desafiam os estudos científicos no contexto amazônico e exigem de um rigor metodológico, determinado pelos estudos com grupos vulneráveis sob a ótica da sociologia dos deslocamentos compulsórios.

As digital transformation and Industry 4.0 have become a path for organizations to strengthen their performance, create value and acquire competitive advantages in different industries and regions, its appeal has increased among companies from diverse sectors and government institutions in the Colombian economy, but limited generalizability and replicability has been found in current models, which pose difficulties for their translation into the Colombian shipyard industry. Thus, this research study assessed the pertinence of utilizing digital transformation and industry 4.0 technologies as an enabler for the achievement of organizational goals, while focusing on the Colombian shipyard industry. To do so, a case study with mixed methods approach was utilized to collect data from interviews and surveys with the members of a Colombian Shipyard; which after applying analytical procedures and techniques, yielded the existence of an alignment between the Industry 4.0 and the achievement of their operational goals, as well as the identification of the strengths, challenges and implications of deploying digital technologies and a digital transformation strategy for a Colombian shipyard. Moreover, this study contributed to the understanding of digital transformation processes in relation to the specific characteristic, metrics, and factors of the Colombian shipyard industry, and it is a step forward into the further development of applications within different Colombian sectors by academics and practitioners in the field.

This is the collection of a novel, Cuban Jam Sessions in Miniature: A Novel in Tracks, and an embedded short story, "Shred Me Like the Cheese You Use to Make Buñuelos." The novel tells the story of Palomino Mondragón, a Colombian mercenary who has arrived in New York after losing his leg to a mortar in Korea. Reclusive, obsessive and passionate, Palomino has reinvented himself as a mambo musician and has fallen in love with Etiwanda, a dancer at the nightclub in which he plays—but he cannot bring himself to declare his love to her. His life changes when he is deported from the United States at the height of the Cuban Missile crisis without having declared his love. Through the thirty years chronicled in the novel, Palomino does all possible in his quest to return to the United States to find Etiwanda despite the fact that he knows she has grown to be a fantasy, an obsession of his imagination. Palomino’s quest takes him to the United States and back three times, as he becomes more and more desperate, as he becomes involved with drug traffickers and for-hire murderers like Polo Norte, as he loses track of what it means to feel alive. Palomino is trapped in a tug-of-war between his rational desire for a normal existence and his irrational but inescapable longing for Etiwanda. In the end, his desperation to get to Etiwanda brings the underworld of Polo Norte to her doorstep. "Shred Me Like the Cheese You Use to Make Buñuelos" tells the story of Polo Norte, Palomino’s antagonist, on his last day on earth, as he is followed by a writer who has agreed to watch him commit suicide. Together, the stories explore the history and nature of the Colombian Diaspora in the United States, and the violent circumstances surrounding the relationship between both countries and the migrants stuck in the middle of it.

No description available.