Venezuela, a Latin American rentier state, went from experiencing 11 homicides per 100,000 inhabitants in 1983 to 44 in 2002. My dissertation project examines why this significant increase in social violence took place by analysing the relationship between slum development and the withering of institutions of social control in the country after the 1970s. This article however only discusses the conceptual framework behind the dwindling of institutions of social control. The hypothesis of this article (and that of my dissertation) is that a Durkheimian anomic gap was fomented in the Venezuelan slums because transition to modernity (rural-to-urban migration) did not allow recreating institutions that promoted norms of social interaction, which reduce the possibility of violent conflict between people. It concludes by reviewing the tentative methodology that will be applied in my dissertation to confirm or dismiss the aforementioned hypothesis. / In Venezuela, einem lateinamerikanischen Rentierstaat, stieg die Zahl der Totschläge pro 100.000 Einwohner von 11 im Jahr 1983 auf 44 im Jahr 2002. In meiner Dissertation wird untersucht, warum sich diese signifikante Steigerung der sozialen Gewalt nach den 1970er Jahren ereignet. Zu diesem Zweck wird eine Analyse der Beziehung zwischen Slumentwicklung und dem Weichen von Institutionen der sozialen Kontrolle vorgenommen werden. Dieser Artikel beschreibt den konzeptionellen Rahmen um diesen Kausalzusammenhang zu belegen. Die Hypothese meines Forschungsvorhabens ist, dass der rasante Übergang in die Moderne (die Land-Stadt-Migration) eine normfreie Zone entstehen ließ. Der Artikel endet mit der Überprüfung der vorläufigen Methodik, die in meiner Dissertation die oben genannte Hypothese zu negieren oder zu bestätigen sucht.

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This thesis investigates geopolitical crashes of superpowers in 21th century and economical interferance. Its concentrated on new influence of Venezuela and Iran, on importancy of satelites and on the fight for raw materials. It investigates the main streams of geopolitical theories too.

El texto completo de este trabajo no está disponible en el Repositorio Académico UPC por restricciones de la casa editorial donde ha sido publicado. / Cartas al editor / Revisión por pares / Revisión por pares

This dissertation interrogates how the Caracas-based collective El Techo de la Ballena (active 1961−69) vacillated between the sociopolitical concerns that provided the basis for its proposals and the wide array of mainstream tendencies that informed its anti-aesthetic stances. El Techo dialogued with a variety of global currents in a multifaceted practice that encroached upon the realms of the aesthetic, the political, and the literary. In spite of evident convergences with au courant tendencies in these spheres, a fundamental retrograde stance anchored the proposals of these radicalized writers, artists, poets, and art critics. As I argue, their compulsion to return to the past reflected an aversion towards a critical Cold War moment marred in Venezuela by several key factors: a far from peaceful transition to democracy during the government of Rómulo Betancourt, a rapid physical transformation fueled by increasing oil revenue, persistent underdevelopment, and a less than equitable distribution of wealth. In Part I, I establish the socioeconomic and cultural conditions upon which El Techo based its multidisciplinary interventions. Two chapters investigate the critical issue of the Venezuelan petro-state at midcentury: the unbalance between a rapid officially-sanctioned socioeconomic development and the slower agricultural temporalities that continued to determine the rhythms of vast sectors of the population. I contend that the collective responded to the problems unleashed by a national economy built on petroleum and the parallel development of a fad aesthetic, Informalism, which emerged from the cultural excesses of that unstable developmentalist model. I organize Part II around three case studies that closely examine El Techo’s deliberate inversion of an internationally aligned modernity that hinged on the need for constant evolution and progress in the visual arts. I maintain that the collective’s overarching interest in the retrograde was the chief value that held its work together during the critical 1961 to 1964 period when it questioned the weight of Informalism and in later years when it turned to an alternate political lineage in its proposals. / 1 / Maria C. Gaztambide

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Thesis (M.S.) -- Central Connecticut State University, 2007. / Thesis advisor: Ronald Fernandez. "... in partial fulfillment of the requirements for the degree of Master of Science in International Studies." Includes bibliographical references (leaves 102-112). Also available via the World Wide Web.