The circo criollo, or Argentine native circus, arose as one of the most important forms of popular expression during the late nineteenth century. This performance context can serve as a site for exploring old and new constructions of Argentine identity that encompassed the lower and middle classes and included native and immigrant groups, particularly in Buenos Aires. Although the native circus contributed greatly to the creation of such an identity, little is known about the musical practices of the circus itself, including what types of music or dance were performed, the manner in which they were interpreted, and how the audience responded. This thesis therefore aims to bring to light these previously obscure circus traditions. It discusses the negotiation and conflict of power relationships that informs Argentine identity construction within this popular expressive medium. By examining the circo criollo as a site of hegemonic power differentials, this study probes more deeply into the contradictions that underlie such a fragile yet persistent sense of incipient Argentine identity.

El presente artículo analiza los usos que la palabra criollo tuvo entre algunos intelectuales de Lima durante los siglos XIX y XX, previo repaso de su significado en los tiempos coloniales. Así, de ser sinónimo de lo oriundo durante el virreinato, en la época republicana criollo pasó a referirse a lo nacional, y como talfue usado para diferenciar los modos de vida locales de los extranjeros. Luego, en pleno siglo XX, criollo también fue empleado para contraponerse a lo que muchos en Lima pensaban que era también lo foráneo: lo andino.

In Peru since the end of the last century, there has been a surge in new interest in cuisine in the country, due to the so-called Peruvian gastronomic boom. The novel Cocinero en su tinta employs this cultural phenomenon as its setting to articulate the personal conflicts of Rembrandt Bedoya, a recognized Peruvian chef, who searches for a récipe that represents the cultural polyhedral reality of his country to be presented in Madrid. This search is coupled gradually with the necessity of making peace with the memory of his father and establishing a relationship with his evasive and unattainable lover. The objective of this thesis is to investigate and analyze how the personal and national journeys of the protagonist is the recurring theme that links the narrative discourse. The first chapter is dedicated to analyzing the cultural importance of food in relation to the established ties with the protagonist, who identifies as much as a Peruvian as he does as chef. In the second chapter, Rembrandt’s personal and national conflicts are explored deeper, as well as his desire to find originality through his relationships with the other characters, estableshing and analyzing his search for the double meaning of origins. Key Words: Peruvian gastronomic boom, identity, creole from Lima, Gustavo Rodríguez

El presente estudio analiza el tema social de la independencia del Perú. La hipótesis de esta investigación es que la emancipación peruana fue un movimiento de independencia de España, pero que en ningún sentido tuvo carácter democrático o de inclusión social para todo el pueblo peruano. Es decir, que no fue un movimiento popular o una revolución social, donde toda la nueva sociedad peruana era incluida, ya que el nuevo poder político y económico excluía a los pueblos indígenas y a las comunidades afro-peruanas (esclavos), que estaban en lo último de la escala de una organización jerárquica. Por lo tanto, esta investigación se desarrolla limitando este tema, que solamente estudia dos aspectos generales: el papel de la población indígena en el proceso de la independencia peruana y el porqué de la exclusión de la población indígena en la nueva República peruana. Para comprobar nuestra hipótesis, nos basamos en fuentes secundarias y estudios previos, es decir, en diferentes trabajos teóricos que enfocan el problema de la exclusión social hacia los grupos indígenas.

In this thesis I develop the notion of discursive instance applied to the internal migrant’s prominent role in Peruvian film. Through an analysis of film production during the eighties, I demonstrate that urban film reveals the crisis of the predominance of creole subjectivity within a cultural homogeneity. In opposition to this, it shows a heterogeneous process where the migrant referent, although part of the new urban context, belongs to a different cultural universe than that of its enunciator.

In this thesis I develop the notion of discursive instance applied to the internal migrant’s prominent role in Peruvian film. Through an analysis of film production during the eighties, I demonstrate that urban film reveals the crisis of the predominance of creole subjectivity within a cultural homogeneity. In opposition to this, it shows a heterogeneous process where the migrant referent, although part of the new urban context, belongs to a different cultural universe than that of its enunciator.

En 1989, docentes de la Facultad de Ciencias Agrarias de la Universidad Nacional de Lomas de Zamora (UNLZ), descubrieron una población asilvestrada de bovinos Criollos puros en el Parque Nacional Los Glaciares (50º 20' Latitud Sur y 72º 18' de Longitud Oeste), en el SO de la Patagonia argentina cuyo número se estima en 1000 ejemplares y que se denominó "Patagónico" (PAT). En aquel momento, el único reservorio genético de bovinos Criollos argentinos reconocido por la Asociación de Criadores y el Instituto Nacional de Tecnología Agropecuaria (INTA), se encontraba en el noroeste argentino (NOA) con una población estimada de 200.000 cabezas. El objetivo de éste trabajo ha sido caracterizar morfológica y genéticamente el bovino Criollo de origen patagónico (PAT), comparándolo con el del NOA. Para la caracterización morfológica se ha utilizado una muestra de 259 bovinos adultos distribuidos de la siguiente forma: Hembras NOA (NH=80), Machos NOA (NM=33), Hembras PAT (PH=115) y Machos PAT (PM=31). Se han descrito los pelajes y se han medido trece variables zoométricas (seis de la cabeza y siete del tronco), que han sido ajustadas por edad según el sexo.. La caracterización genética se ha realizado analizando 36 animales PAT y 45 NOA con 27 marcadores microsatélites recomendados por FAO para estudios de biodiversidad bovina. Para los estudios de diferenciación y distancia genética se han utilizado como referencia otras ocho razas bovinas: Pajuna (PAJ=43), Palmera (PAL=40), Canaria (CAN=40), Berrenda en Colorado (BCOL=44), Berrenda en Negro (BNEG=40), Marismeña (MAR=32), Holstein (HOL=28) y Hereford (HER=25). Los resultados de la comparación morfológica cualitativa mostraron diferencias estadísticas altamente significativas en las frecuencias de los colores de capa mayoritarios (Hosco y Colorado) y de la pigmentación entre PAT y NOA. En cuanto a las características zoométricas, los Criollos PAT en general han resultado mas pequeños, longilíneos y de mayor variabilidad que / Martínez, RD. (2008). Caracterización genética y morfológica del bovino criollo argentino de origen patagónico [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/3303 / Palancia

Over the past ten years, the Costa Rican dance style known as swing criollo has gone from relative obscurity to acceptance as national heritage. In the 1970s and 1980s, it was considered a dance of the urban working-class chusma, or "riff-raff," because of its associations with the working-class music of cumbia and San José's seedy dance salons. Starting in the early 2000s, however, an active campaign of nationalization and folklorization by dance instructors brought the dance to the status of national patrimony. This was achieved through dance classes, festival performances, the creation of a short video documentary, and the work of the dance company La Cuna del Swing to canonize the dancers and stages of swing criollo. The folklorization of swing criollo at first seems to be a top-down phenomenon that suggests little agency among working-class dancers; they have been personified in the national imaginary as exotic Others, an urban folk from an earlier generation that now exists only to perform and embody that tradition. On further examination, the folklorization of swing criollo represents a new sort of folklore, one that is highly contested and engages in a different discourse of authenticity, some influenced by dancers themselves. Swing criollo as a "modern" and "urban" form has allowed for self-mythmaking among the dancers of the self-proclaimed "old guard" that invented the style. It also legitimizes the dance style in its popular form, as opposed to older projections of folklore that that place tradition in opposition to modernity. I examine discourses surrounding the nationalization of swing criollo as well as the negotiations of spaces of culture through which swing's legitimization unfolded. I conclude by suggesting that ethnomusicologists should continue to theorize folklore's changing nature as it is contested and re-defined to include popular, urban, and modern cultural expressions. / text

This research was conducted at the La Raya experiment station, Cusco, Peru (4200 m elevation, 15°S latitude, and 70°W longitude) using 60 Corriedale, and 60 Criollo ewes during three consecutive years (April 1981 - March 1984). Age, and weight at puberty, age at physical maturity, and the effects of breed, age (physically immature and mature), year, and month were measured on body weight, incidence of estrus, and incidence and rate of ovulation. There was a significant difference (P.05). Even though Criollo e wes weighed less than Corriedale, they attained puberty earlier, and showed less seasonality in estrus and ovulated throughout the year than the Corriedale.

El presente artículo constituye un estudio del sistema de tiempo, modo y aspecto en las lenguas criollas habladas en Haití, Jamaica y las islas de Aruba, Curaçao y Bonaire. La investigación muestra cómo el sistema de TMA del haitiano, el jamaicano y el papiamento se han desarrollado. Asimimo, plantea como hipótesis que su formación implica tanto a las lenguas superestrato como a las lenguas substrato en un proceso guiado por universales del lenguaje. Adicionalmente, sostiene que no todos los aspectos de los sistemas TMA se derivan simplemente de las lenguas contribuyentes, sino que son el resultado de la interacción entre procesos de adquisición del lenguaje y la criollización.Palabras clave: criollo, criollización, adquisición del lenguaje, haitiano, jamaicano, papiamento AbstractThis paper constitutes a study of the system encoding tense, mood and aspect in the creole languages spoken in Haiti, Jamaica, and the islands of Aruba, Curaçao and Bonaire. The research shows how the TMA system of Haitian, Jamaican and Papiamento has been developed and hypothesizes that creole formation involves several degrees of input from both superstrate and substrate languages in a process guided by language universals. Furthermore, it argues that not all aspects of the TMA systems are simply derived from the source languages but result from the interaction between language acquisition and creole development.Keywords: creole, creolization, language acquisition, Haitian, Jamaican, Papiamento