La inserción del Derecho en su contexto social constituye un enfoque novedoso porque, cambia la concepción del Derecho. - Hasta el siglo XIX se había manejado la idea que la esencia del Derecho reside en su construcción meramente formal. Actualmente asistimos a una nueva concepclón del derecho que - plantea la realidad como fuente de todo Derecho. El tratamiento de temas clásicos de Derecho se realiza en consideración de variables económicas, sociales y políticas. Sin embargo, no se puede perder de vista, el peso específico del Derecho. Al respecto dice el doctor Fernando de Trazegnies: "...La especificidad del derecho no se define por si misma, sino que consiste precisamente en la función especifica que le corresponde dentro de una estructura social determinada; no especificacidades en abstracto si no en el seno de la totalidad social y es sólo así que puede ser comprendida la verdadera naturaleza (función) del derecho"

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Observing the movement in recent Christian theology, I examine the change in depth metaphors and theological works, as they move from tendencies of solidity and proposition-forming, to more fluid imaginations in their substance and style. I conduct an indirect comparison between John A.T. Robinson and Catherine Keller, engaging Buber, Tillich and Virginia Mollenkott, specifically focusing on themes of depth and working through a filter of social and ecological justice.Throughout the essay I acknowledge the importance of the continuing re-articulation of theology, the necessity of exploring the roots of Christianity, and I affirm the need for new language for the task of articulating an appropriate image of divinity and humanity. I contend that while Keller is well able to continue Robinson's theological project for the next generation, his work is still valuable in contributing Christology and New Testament studies, both of these being somewhat absent from Keller's work.

Traditionally, Rosa Luxemburg has not been understood as a feminist. In the beginnings of her socio-political career she did not align herself with feminism. However, as time progressed, Luxemburg became increasingly weary of male-chauvinistic ideals including Revisionism, opportunism, centralization, militarism, and war. Luxemburg's socio-political theories and her relationships with the women's movement led her to label herself as feminist. This thesis outlines and examines the claim that Luxemburg can be described and labeled a feminist.

This thesis is a study of the Chinese diaspora in Singapore from 1819 to the 1950s. It begins by situating the diasporic subject in a historical context, highlighting some of the key moments in the diaspora's development, such as the advent of colonialism during the nineteenth century, and the formation of an ethnic enclave in the settlement. The discussion then calls into question the construction of the Chinese subject in colonial discourses, and interrogates the ways in which the diasporic population was constituted within the framework of colonialism. The main purpose has been to examine how the diaspora in Singapore has evolved, and to explore the adequacies, or inadequacies, of existing diasporic theories in the ways they relate to the Chinese experience. This is achieved by recapitulating the theoretical implications of existing diaspora frameworks, and questioning the tensions and limitations generated by such discourses. Simultaneously, this study takes into consideration the construction of a "Chinese identity", and does so by presenting possible ways of conceptualisng what it means to be "Chinese" for subjects of the diaspora. In discussing the extent to which the subject's sense of "self" and belonging has been shaped by its immigrant past, this research draws on and studies the writings, both literary and non-literary, that have emerged from the community. A central concern in all this is the identity and subjectivity of the diasporic subject, and the point here is that not every subject experiences diaspora in the same way, but that these alterities are important in the constitution and formation of a Chinese identity. As I note in the introduction, the issue of what it means to be Chinese, and indeed, the issue of home and belonging, is one that is always contested for people in the diasporic community, and the aim of this thesis has been to continually deconstruct the idea of a "single" Chinese diaspora, and to expose it as a heterogeneous, fragmented, and internally differentiated construction.

Facultad de Filosofía y Humanidades / Tesis para optar al grado de Doctor en Estudios Latinoamericanos / El propósito de este trabajo será estudiar las relaciones que a fines del siglo XIX se establecen entre el discurso pedagógico de dos intelectuales latinoamericanos, Eugenio María de Hostos y Valentín Letelier, con el discurso pedagógico de autores europeos clave en lo que toca a las concepciones del acto didáctico como a los rasgos que los diferencian según la dinámica de subalternidad y resistencia que los textos latinoamericanos construyen. La historicidad de la configuración del acto didáctico en el seno de esas relaciones constituirá el objeto de estudio de esta tesis. Este objeto se ha configurado identificándolo, por ejemplo, con la “enseñanza” a secas(o “instrucción”); más tarde, con el “lema”1 “enseñanza-aprendizaje”. Ciertas formulaciones recientes (Nervi 2007; Brousseau, 1986; Camilloni et al. 2008) proponen tríadas diversas para definir la configuración del objeto didáctico, introduciendo en el binomio anterior la presencia de un tercer término, entendido como contenido cultural, objeto, saber o simplemente contenido. En torno a estos elementos se fundamenta el objeto del discurso pedagógico y didáctico más aceptado hoy: enseñanza, aprendizaje y conocimiento.

Hace algunos años, fascinado por los relatos y anécdotas de las Tradiciones Peruanas tuve la oportunidad de leer una biografía de Ricardo Palma. Grande fue mi sorpresa, al escudriñar las páginas de la misma, encontrar episodios de la vida del tradicionista nunca antes para mi conocidos, como por ejemplo, su paso por San Carlos, su labor periodística, su servicio en la marina, entre otros aspectos. Si bien es cierto, estos episodios me parecieron sumamente interesantes, hay un aspecto de su vida que logró -tanto por su trascendencia y por su escasa información- acaparar mi atención: su participación en el mundo de la política. Ante ello, guiado por esta inquietud de conocer esta faceta poco conocida del escritor limeño, emprendí a lo largo de estos años la imperiosa tarea de recoger todo el material bibliográfico referente al tema, que me serviría de base para la elaboración de un trabajo de investigación, acerca de la ideología y la actividad política de Palma, el cual, tras un paciente estudio y denodado sacrificio, hemos podido recién concluir, a fin de presentarlo como una tesis para poder obtener el título de licenciado en historia Mas allá de ello, este trabajo, pretende de alguna manera, ser un aporte al conocimiento de la vida y obra de Ricardo Palma, una de las figuras más representativas de la literatura peruana del siglo XIX. Creemos que este trabajo sea el punto de partida para futuras investigaciones sobre el tema.

Political cartoons as headline representation are in effect a combination of artistic licence and a critical version of the truth. Linley Sambourne and Jean Veber’s 1901 cartoons on the Boer War for Punch and L’Assiette au Beurre create tensions and dialectic not only on British and French feeling about foreign policy in South Africa and at home, but also indicate fine points on each publication’s editorial remit. This comparative study is a mirroring synthesis of these approaches that sets the Boer War forty five cartoons in context. Whereas Punch’s cartoons are set within a text layout and L’Assiette’s are the text themselves, both transmit set ideas on The Boer War as ‘sight bite’ news and opinion pieces. Veber’s cartoons offered swift knee-jerk reactions against the ruling elite and the horrors of British cruelty toward Boer prisoners as coverage of the war escalated in 1901. His extreme capturing of the zeitgeist followed the magazine’s editorial bent, but they also reflected his brave counter-hegemonic stance towards a French government seeking an alliance with its British counterpart. With this in mind, Antonio Gramsci’s theory on hegemony as applied to journalism allows the scholar to look at the media from a cultural perspective. This focus is used to show cartoons as representative of conflicts in the fight for power, but this time publicly conveyed to the readership. Thus, types of truth enhancements in each set of cartoons indicate the cartoonists’ respective entrenchment with, or detachment from, Imperial institutions, thereby signalling emerging attempts of the attitudinal persuasion of the reader toward Punch or L’Assiette’s political leanings. The inclusion of political cartoons in editorial pages was part of the cult of visual attention-grabbing news values that had become professionalised, industrialised and popularised by the early Twentieth Century. Cartoons can be decoded using Ernst Gombrich’s six-point filter in order to identify the cartoonist’s method of compressing messages about people and events. A publication’s politics are reflected in the telescoping of exaggerated opinions – an effective way to pass on an authoritatively saturated message to the readership. Gombrich recognised the power of conveying messages to the audience through seemingly incongruous placement of figures in odd situations within cartoons. His methodology acts as visual shorthand for images designed to elicit a desired response to a reported situation as the publication saw it. In the context of the history of journalism, his psychologically analytical approach is appropriate in the appreciation of cartoons’ extremes, often made more acute by the partisan politics of war.