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El primer capítulo de este trabajo se propone reconstruir la trayectoria de Olivari en el campo literario entre 1919 y 1929, para señalar el particular recorrido que realiza y sus posiciones simultáneas. En esta trayectoria y en su escritura seguiremos los modos en que se configuran formas de pensar qué es un escritor o un artista y cómo evidencian un cambio del lugar del arte y de su estatuto en una cultura que atraviesa un fuerte proceso de mercantilización. El segundo y tercer capítulo abordan la construcción de una lengua literaria. Primero para describir el desarrollo que esa lengua realiza durante la década, el modo en que se vincula con sus materiales y cuáles son las tradiciones con que trabaja: específicamente con el modernismo y con Carriego. Luego, para detenernos en la flexión vanguardista: la escritura de materiales del circuito ampliado de producción y la búsqueda de desacralización literaria.

This article sheds light on the indirect influence exercised by the Inquisition on the process of beatification of the «servant of God» Nicolas de Ayllon. Through the analysis of his hagiography, written by the Jesuit Bernardo Sartolo, this article will highlight the importance that this literary genre had in the process of establishing his reputation for sanctity. Furthermore, this article examines how the intervention of the Holy Office, which questioned the hagiography and the main witness of the process, Maria Jacinta de Montoya, cast many doubt son the image of the sanctity of Nicolas. The examination led to the discrediting of his reputation as a candidate for sainthood and the suspension of the process. / Este artículo explica la influencia indirecta que la Inquisición ejerció en el proceso de beatificación de Nicolás de Ayllón, el «siervo de Dios». Por medio del análisis de su hagiografía, escrita por el jesuita Bernardo Sartolo, se conocerá la importancia que dicho género tuvo dentro del proceso de consolidación de la fama de santidad de Ayllón. Asimismo, se estudiará cómo la intervención que el Santo Oficio ejerció sobre la hagiografía y la principal testigo del proceso, María Jacinta de Montoya, generó una serie de cuestionamientos en la imagen de santidad de Nicolás, lo cual derivó en un desprestigio a su reputación como candidato a santo y la suspensión del proceso que buscaba exaltarlo a los altares.

This essay discusses how the new theoretical framework of “new” authoritarianism can explain the civil and political rights abuses in Venezuela since Nicolás Maduro became Present in 2013 until today. The presidency of Maduro has evoked international attention about the increasing authoritarian climate. His pursuit of increasing control and power has resulted in serious violations of people’s civil and political rights. New authoritarianism has four factors that have been applied on the case study of Venezuela’s civil and political rights violations. The factors’ indicators have specifically explained new authoritarianism’s relationship to the case of Venezuela. The use of law in other governmental powers, the military’s social control and use of force, the opposition’s resistance, the limitations on organizations, the discrimination of media and finally a discriminated public labor force explain the civil and political rights violations in Venezuela between 2013 and 2019.

Since 2014, the United States has been imposing sanctions on the Venezuelan government in an attempt to accomplish foreign policy goals that would be beneficial to its geopolitical interests in the region and help the Venezuelan people in the process. This research offers a comprehensive empirical analysis of these sanctions. It aims to identify the effects of US sanctions in Venezuela, as intended by the foreign policy goals of the United States, and to measure the effectiveness of sanctions in accomplishing these goals. Additionally, this research seeks to explain the geopolitical strategy of US sanctions as seen through the lens of geoeconomic theory. It will detail the US intensions of generating regime change, restoring democracy, and improving human rights in Venezuela. More specifically, it will reveal the role of sanctions in acting as a geopolitical tool to fulfill these intentions. Ultimately, the research will show how sanctions and companion policies are intended to improve the US-Venezuela relationship that has declined since the time of Hugo Chavez.

The topic of the thesis is changes that occurred in Venezuela in last 20 years of its development. The aim of the disertation is to evaluate the shift of the development of Venezuela after the fall of Hugo Cháves and the rise of Nicolás Maduro to power. The theoretical part of the thesis is aimed on Hugo Cháves' rise to power and characteristics of governing body of his successor Nicolás Maduro. The analytical part is divided into two sections - political changes and social-economical changes. Topics like internal and external politics of the country, changes in social and security policies, foreign trade and political issues, changes i the social system and dependance of the country on oil trade are furthermore described in the analytical part. The last section deals with the development of the country based on selected macro-economical markers.

This study focuses on the importance of Petroleum of Venezuela (PDVSA) in Venezuelanpolitics. Specifically, it focuses on the role that the state-owned oil company has played in thesurvival of Nicolás Maduro in the presidency of the country, despite the serious political andhumanitarian crisis that the country is going through. To analyze the importance of PDVSA, wefocus on the relationships that the company has established with key social actors such asmembers of the socialist party, the military, and civil society. Our analysis is supported byclientelist and function fusion theories. / Este estudio se centra en analizar la importancia de Petróleos de Venezuela en la políticavenezolana. En específico se centra en el papel que la compañía petrolera estatal ha tenido en lasupervivencia de Nicolás Maduro en la presidencia del país, a pesar la grave crisis política yhumanitaria que a traviesa el país. Para analizar la importancia de PDVSA nos centramos en lasrelaciones que la empresa ha establecido con actores sociales clave como los miembros del partidosocialista, el ejército y la sociedad civil. Nuestro análisis está apoyado en las teorías clientelistasy de fusión de funciones.

Este trabajo de tesis explica la influencia indirecta que el tribunal de la Inquisición ejerció en el proceso de beatificación de un personaje el cual, a fines del siglo XVII, despertó gran expectativa en el contexto social y religioso: el siervo de Dios, Nicolás de Ayllón. A través del análisis de la hagiografía que el jesuita Bernardo Sartolo escribió sobre este personaje, se conocerá la importancia que dicho género, y sus tópicos literarios, tuvieron dentro del proceso de consolidación de su fama de santidad. La trascendencia que tenía el corpus testimonial dentro del prestigio religioso alcanzado por Nicolás, será también objeto de estudio, en especial por la suspensión en la cual recayó el proceso de beatificación a raíz de dos acciones concretas: la censura que el Santo Oficio dictaminó sobre la obra de Sartolo; y la realización de un proceso inquisitorial en la cual se vio enfrascada una de los principales testigos y colaboradoras en el objetivo de elevarlo a los altares, como fue María Jacinta de Montoya, esposa de Nicolás de Ayllón. / Tesis

abstract: The purpose of this study was to: (1) record and describe a brief history of the life and career of Bolivian composer Dr. Nicolás Suárez Eyzaguirre, and (2) write an analysis from a vocal performer's perspective of Suárez's song cycle for soprano and piano, Monólogos del Desierto, with texts by Dr. Guillermo Mariaca Iturri. In August of 2013, I traveled to La Paz, Cochabamba, and Coroico, Bolivia, with translator Dr. Marie Cooper Hoffman for thirteen days in order to conduct interviews with Suárez, his family, his colleagues, his composition professors, and other professional musicians. In addition to both in-person and e-mail interviews, I reviewed television productions, videos, and newspaper/magazine articles that featured interviews with Suárez and/or reviews of his works. Also, I familiarized myself with Suárez's compositional style by performing a leading role in the 2011 world premiere of his opera El Compadre; collecting and listening to as many recordings of his works as I could find; and reading the transcript of Suárez's Doctor of Musical Arts Lecture Recital. For this study, I focused specifically on the compositional style of his three-song cycle Monólogos del Desierto. A performance of the work will be part of my defense of this paper. / Dissertation/Thesis / Doctoral Dissertation Music 2015

My dissertation studies the exhibitions, discourses, and institutional maneuvers of the Centro de Arte y Comunicación in Buenos Aires from its founding in late 1968 to 1977, which enabled it to pursue its ambitious and multi-faceted mission of fostering an atmosphere of experimental and vanguard art in Argentina through reciprocal exchanges and collaborations with international artists, curators, and critics. I characterize the CAYC’s methods as acts of translation, using the multiple senses of the term, in order to address the ways in which the institution physically and discursively navigated between Argentine and international art contexts and how it managed to facilitate communication and exchange between local artistic interests and traditions and international trends and discourses. The CAYC’s strategies of translation enabled it to fulfill its internationalist, developmentalist, and didactic missions while straddling the seemingly opposing forces of a homogenizing cosmopolitan art circuit, on the one hand, and increasing calls for national and regional liberation among Latin American artists and critics, on the other. This dissertation is primarily a compilation of exhibition histories that illuminate and analyze both the institutional strategies and motivations of the CAYC and the aesthetic developments that were supported and promoted by the institution’s founder and director, Jorge Glusberg. Most chapters focus on a single CAYC exhibition whose themes and execution illuminate distinct moments in its institutional history, its strategies for international exchange, and the evolution of experimental and vanguard art, which provide key insight into the systems aesthetics and conceptualist art of Argentina throughout the 1970s. I analyze CAYC exhibitions as rhetorical devices that enabled Glusberg to physically and discursively compare Argentine and foreign art. By applying structuralist ideas of signification onto artistic production, Glusberg developed the curatorial and critical concept of an arte de sistemas that reinforced the idea of art as a form of communication and as a collection of codes and signs in systems of meaning making. It also underscored the greater role of process, the significance of new media, and the active engagement with audiences within contemporary practices of conceptualism, performance, post-studio sculpture, and even experimental printmaking and painting. As such, the concept of an arte de sistemas provided Glusberg with a curatorial framework in which a wide range of international contemporary practices could be translated to Argentina and reconciled with the work of Argentine artists. My methods intervene in existing CAYC scholarship by addressing both the experimental artistic practices that were supported, and at times developed, by the CAYC and their subsequent dissemination and mediation by the institution to facilitate its mission of translating Argentine art within international art circuits. Chapters analyze the evolution of arte de sistemas across the exhibitions Arte y cibernética (1969), Arte de sistemas (1971), Hacia un perfil del arte latinoamericano (1972), Arte e ideología: CAYC al aire libre (1972), and Signos en ecosistemas artificiales (1977) to reveal shifts in institutional and aesthetic priorities and to chart the CAYC’s intertextual engagements with ideas of cybernetics, semiotics, conceptual art, and ecology. One chapter supplements the institutional and curatorial focus of the dissertation by analyzing the work and development of Nicolás García Uriburu, who was closely affiliated with Glusberg and the CAYC. As in my analyses of CAYC’s activities and Glusberg’s curatorial strategies, I closely examine García Uriburu’s work, his writings, and his critical reception to articulate the way in which he and his work translated between Argentina and international centers. I also employ an ecocritical methodology to analyze the forms of arte ecológico supported within the CAYC to reveal Argentine artists early instances of ecological sensitivity and critical reflection about the political ecology of Argentina and environmental justice in Latin America. / Art History