O foco desta dissertação é a construção narrativa audiovisual da violência. A partir de discussões feitas na antropologia sobre narrativa, mimesis e violência se quer pensar a respeito de formas de narrar a experiência da violência política e o conflito armado colombiano. O objeto que será analisado são filmes colombianos, dois especificamente: La sombra del caminante (Ciro Guerra, 2004) e PVC-1 (Spiros Stathoulopoulos, 2007). Obras audiovisuais que se apropriam da tecnologia digital e fazem uso criativo dos recursos cinematográficos para se colocar diante das imagens sobre violência e discutir temas como a verdade e a memória, o tempo e o medo, o intimo e do cotidiano. São formas fílmicas que instigam uma discussão sobre as narrações que a sociedade colombiana constrói para contar o terror de décadas de violência política e conflito armado onde atores à margem da lei, sociedade civil e governo se encontram e se constroem. O procedimento metodológico empregado nesta dissertação é, em um primeiro momento, o da análise fílmica, um modelo teórico definido no campo dos estudos de cinema, que propõe um estudo do filme nos seus múltiplos componentes e atendendo aos espaços e dinâmicas nas quais este se insere. Deste modo, em um segundo momento, indagarei a propósito das narrativas do terror, sendo o terror ato, espaço e cultura, uma situação que se torna estável pela instabilidade que o caracteriza: a experiência da violência, da perda (de parentes, de um lugar de origem, de um passado), do deslocamento forçado, da tortura. Esta é uma tentativa de pensar sobre a mediação do cinema para comunicar efetivamente tal experiência de terror, um fenômeno cuja narração se coloca nas margens do dizível. Neste sentido, o cinema articularia o inarticulável e narraria o inenarrável, incorporando experiências do terror na memória coletiva. / This dissertation\'s main focus is the audiovisual narrative construction of violence. Taking account of the anthropological debates on narrative, mimesis and violence; I pretend to think about the ways in which the experience of the Colombian political violence and armed conflict is narrated. The object are Colombian films, two mainly, La sombra del caminante (Ciro Guerra, 2004) and PVC-1 (Spiros Stathoulopoulos, 2007). Films, which use digital technology and implement creatively cinematographic resources to take place before images of violence and discuss topics such as truth and memory, time and fear, the everyday and the intimate. These are oeuvres that instigate a debate about the narratives that the Colombian society elaborates to tell the terror of decades of political violence and armed conflict where actors at the margins of law, civil society and govern meet and build themselves. The methodological procedure employed in this dissertation is in a first moment, film analysis. A theoretical model defined in the area of cinema studies which proposes a study of the film\'s multiple components and the many ways and places in which a film plays part. Thus, in a second moment, I\'ll inquire about narratives of terror, being that terror is an act, a space and a culture, a situation that stabilizes itself thanks to its instability: the experience of violence, of loss (of relatives, of a place of origin, of a past), of forced displacement, of torture. This is a proposal to think about the mediation of cinema to communicate effectively such experiences of terror, a phenomenon whose narration is on the margins of the speakable. In this sense, cinema would articulate and narrate what is not; and would introduce the experiences of terror in the collective memory.

In this essay I discuss a collection of seven piano pieces that I commissioned by four emerging young Colombian composers. It contains two parts: the first explains the importance of involving contemporary and world music in piano education and includes a brief history of music in Colombia. The second part discusses in detail each of the piano pieces and the contemporary and folkloric references that each one uses. It also illustrates the technical challenges that each piece presents and provides suggestions on how to practice each work. The two pieces by Castaño include taped electronic sound as part of them. The two files are attached with the paper. I have always believed in the responsibility and importance that teachers have in the creation of new music and discuss the importance of educators working with composers. I also explore the importance of teaching and learning world music and contemporary music from the beginning of a piano education. The commissions are the first step towards the creation of a piano pedagogical anthology of Colombian contemporary music for the late intermediate and early advanced level for which there is very little Colombian repertoire. Colombia's rich rhythms, dances and musical traditions are not reflected in the formal music education in the country. Heightened security and the resulting economic growth have brought significant changes over the last ten years to the country providing a moment of possibility to advance an agenda in musical education as well. If the piano teachers take charge of the education of the new generation, beyond simply teaching them how to play the piano, the classical music tradition in Colombia will grow at the same time that high quality music will be provided around the world to play.

Thesis (Ph. D.)--University of California, San Diego, 2002. / Vita. Includes bibliographical references.

While ambitious art museums, biennials, galleries, curators, and critics promoted early Colombian conceptual art and its antecedents as being part of the latest international art trends, the intrepid iconoclasts who created it were not at all interested in being au courant or international. Far from it, their primary focus was on addressing local issues and audiences. They had an ambivalent relationship to institutions, taking advantage of internationalization, which was part of a strategy for cultural and economic development. But these artists did so in order to insert their own tactics emerging from, and dealing with, the realities of underdevelopment. Artists such as Antonio Caro, Jorge Posada, and Efraín Arrieta--developing approaches first introduced by antecedents like Bernardo Salcedo, Feliza Bursztyn, and Beatriz González--sought to open the viewers' eyes to the concrete experience of the here-and-now through the use of usually banal and often ephemeral materials and techniques. They focused critically on social issues--nationalism, education, imperialism, agrarian inequity, governmental policy, and political organization. In taking on specific, timely, and usually local matters dealing with culture, politics, the economy, and social organization, they sought to upset the prevailing conditions outside as well as inside the realm of art. Even the introduction of new forms and ways of producing art should be seen as an ideological rather than a formal exercise since it constituted a cultural assault against the Colombian ruling class. This art, then, was political: it was motivated by beliefs regarding the public affairs of a country. I argue that early Colombian conceptual art was a visual means of exposing institutional strategies of control. I show how this art partook of the spirit of participation which marked the late 1960s and early 1970s in Colombia and in the world. In the process, I add to the understanding of this tumultuous period in world history, since my study is an example of the complex processes of cultural production in an age of globalization. / text

In this dissertation, I address the relationship between the content and design of governmental websites and the ideological interests of the overseeing political administrations. Three case studies contrast the contemporary political climates in the Bolivarian Republic of Venezuela, the Republic of Colombia, and the United Stastes with the form and function of their respective military recruitment homepages. Through a semiotic, and specifically multimodal lens, I aim to determine to what degree there is evidence of the governing poltical party’s ideological perspective on the websites. To accomplish this task, each case study is introduced by a brief contemporary history in order to provide a summary of key political events within state. Each case study then includes a detailed analysis of 3-4 governmental homepages. Within those analyses, a comprehensive multimodal analysis is conducted for the most evocative content on each homepage. Finally, conclusions are reached for each case study, paying special attention to the content found along the reading path.

Ce mémoire de maîtrise a pour objectif de réaliser l’analyse de l’œuvre La Trilogía de Urabá des cinéastes colombiens Marta Rodríguez et Fernando Restrepo en considérant la notion de « mémoire » et comment celle-ci se développe dans ces documentaires à travers des témoignages et des pratiques culturelles comme les chroniques chantées, le dessin et la danse. Dans les films qui composent la trilogie, la mémoire se présente comme un mécanisme de résistance contre la violence subie par la population civile pendant le conflit armé en Colombie, époque durant laquelle la population civile a été sans cesse massacrée et forcée à abandonner son territoire. Notre analyse considère notamment le rôle que les documentaires attribuent aux femmes afro-colombiennes dans la construction de la mémoire culturelle et historique, étant donné que leurs témoignages dévoilent leur grand effort de résistance contre la violence. En second lieu, notre analyse vise à montrer comment La Trilogía de Urabá inscrit la mémoire culturelle dans la mémoire historique colombienne. / In this master's thesis we examine a trilogy of documentary films entitled: La Trilogía de Urabá by Colombian filmmakers Marta Rodriguez and Fernando Restrepo, and consider how “memory” is developed in these documentaries through testimonies and cultural practices such as sung chronicles, drawing and dance. In this trilogy, memory appears as a mechanism of resistance against widespread violence suffered by millions during the armed conflict in Colombia, a period in which civilians were massacred and forced to abandon their lands. Our analysis highlights the role of Afro-Colombian women in the construction of historical and cultural memory, and displays how their testimonies constitute acts of resistance against violence. In addition, this thesis shows how La Trilogía de Urabá inscribes cultural memory into the collective Colombian historical memory. / Esta memoria tiene como principal objetivo analizar la obra La Trilogía de Urabá de los documentalistas Marta Rodríguez y Fernando Restrepo considerando la noción de “memoria” y cómo ésta se desarrolla en ella a través de testimonios y prácticas culturales (crónicas cantadas, dibujo y danza). En las cintas que componen la trilogía, la memoria se presenta como una forma de resistencia contra la violencia sufrida por la población civil durante los años de conflicto armado en Colombia, época en la que la población civil fue repetidamente masacrada y forzada a abandonar sus territorios. Nuestro análisis considera especialmente el papel que los documentales otorgan a las mujeres afro-colombianas en la construcción de la memoria cultural e histórica, pues sus testimonios revelan su importante labor de resistencia contra la violencia. En segundo lugar, nuestro análisis apunta a cómo La Trilogía de Urabá inscribe esta memoria cultural en la memoria histórica colombiana.

Thesis (Ph. D.)--Ohio State University, 2005. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 May 31

abstract: In the study of politeness in Spanish there are some speech acts that have received more attention, such as requests, apologies, invitations and negotiations. In the case of the of congratulation, there is only one published work by García about congratulation by Peruvian Spanish-speakers. This thesis is a first approximation to the study of realization of the speech act of congratulation in Colombian Spanish. The Brown and Levinson model is used for the study of preferences in the strategies of politeness, and the Scollon and Scollon model for the notion of deferential and solidarity politeness. The Blum Kulka et al. model is used for the classification of the categories of principal head acts and supportive moves in the speech acts of congratulation. The following results were found in answer to the basic hypothesis of the research: The Colombians in this sample have positive politeness when giving congratulations and manifest it with such solidarity strategies as pride and approval, expressions of gratitude and support, and they also give the congratulation in an explicit manner. To a lesser degree they request information and make direct criticism. The data analysis shows a 95% certainty in the differences found between men and women. Nevertheless, the differences between younger and older people or between young women and young men are not statistically significant and only show tendencies. In order to corroborate the finding of this research, it is necessary to have a larger sample in terms of the educational level of the participants. Also, the sample should be broader in terms of gender and age, so as to verify if the difference between younger and older people continues being a tendency or if there is a statistically significant difference. To generalize the term Colombian, other regions of the country should be included, especially the contrast between the Andean, Coastal, and Plains regions which are culturally different within the country. / Dissertation/Thesis / M.A. Spanish 2011

O crescente aumento dos preços de carvões de alta qualidade para a coqueificação e sua escassez em todo o mundo tem levado produtores de coque a buscar novas alternativas para a composição de suas misturas. No entanto, mudanças na matriz das misturas de carvões devem ser acompanhadas pela manutenção da qualidade do coque. O presente estudo teve como objetivo geral avaliar a influência do uso de um carvão colombiano médio volátil com alta heterogeneidade, bem como carvões de baixo e alto volátil americanos na qualidade do coque. Para isso esses três carvões e mais dois carvões médio volátil, tipicamente utilizados na produção de coque, foram caracterizados e submetidos a carbonização. Assim foram produzidos em forno piloto (250 kg) coques a partir dos carvões individuais e de três séries de misturas. A caracterização dos coques produzidos foi realizada através de sua análise química, (análises imediata e enxofre), textura óptica, porosidade, resistência mecânica a frio (DI e tambor “I”) e reatividade (CRI e termobalança). Os resultados obtidos apontam que nas condições avaliadas o uso de carvão colombiano em detrimento de carvões de médio volátil teve pouca influência sobre a qualidade do coque até percentuais de 30%, enquanto aumentos maiores afetaram de forma negativa a qualidade do coque. Os limites máximos encontrados para a substituição dos carvões de médio volátil pelos carvões de alto e baixo volátil foram de 30 e 10%, respectivamente. Além disso, foram encontradas e discutidas as relações entre a textura óptica dos coques e sua reatividade, onde a reatividade dos coques aumentou com a diminuição do tamanho da textura óptica dos coques. Verificou-se também que o teste de reatividade em termobalança é uma boa alternativa para a caracterização da reatividade de coques, podendo ser correlacionado a testes padronizados (CRI). O modelo aditivo para a estimativa da textura óptica do coque,com base nos parâmetros dos coques individuais, mostrou uma boa correlação entre os dados experimentais e calcula dos e pode ser usado como uma ferramenta para ajudar na otimização de misturas de carvões. / The increasing price of prime coking coals and their scarcity worldwide have leaded the coke producers to look for alternative ways to compose their coal blends. However, any changes in coal blends should be done follow by the maintenance of the coke quality. The main objective of the present study was to assess the influence of a medium volatile Colombian coal of high heterogeneity, as well as low and high volatile American coals on coke quality. For this propose one Colombian coal of high heterogeneity and four coals typically used as components of coking blends were characterized and submitted to carbonization. Thus, cokes from single coals and three different series of coal blends were produced in a pilot scale coke oven (250kg). Coke characterization was performed by chemical analysis (proximate and sulfur analysis) ,determination of coke optical texture , porosity, mechanical strength tests (DI and I-Type Coke Tumbler) and reactivity tests (thermobalance and CRI)conditions evaluated using. The results showed that the substitution of medium volatile coals by Colombian coal had slight influence on coke quality for percentages equal to or below 30%, whilst further additions had a negative effect on coke quality. The maximum limits found for the replacement of medium volatile for low and high volatile coals were 10 and 30%, respectively. Moreover, the relationship between coke optical texture and reactivity was found and discussed, where coke reactivity increased with decreasing size of the optical texture components. It was also found that the reactivity test carried out in thermobalance is a good alternative for the characterization of coke reactivity and it can be correlated with standardized tests (CRI). The additive model to estimate coke texture, based in individual cokes, showed a good agreement between experimental and calculated data and can be used as a tool to help in the blend composition process.

Made available in DSpace on 2014-06-11T19:29:14Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-05Bitstream added on 2014-06-13T19:38:26Z : No. of bitstreams: 1 borges_f_me_mar.pdf: 1007863 bytes, checksum: 18f750a50d16a0078ca44c1faef3e95e (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O propósito dessa pesquisa é estabelecer uma análise de conjunto sobre Amazônia, drogas, conflitos colombianos e os interesses brasileiros, com especial atenção para a participação dos EUA na região. Primeiramente analisaremos as dimensões internacionais dos conflitos colombianos na região amazônica e como o Brasil vem tratando o tema da Segurança na Amazônia. Posteriormente, estudaremos as relações entre EUA e Colômbia observando a eficiência do atual modelo de combate ao tráfico de cocaína. Em seguida, aprofundaremos o entendimento dos conflitos colombianos. Por fim abordaremos os interesses brasileiros no combate ao tráfico de cocaína e na valorização da Amazônia, observando suas possibilidades e limitações. A hipótese é que a influência dos EUA dificulta a cooperação e a eficiência no combate ao tráfico e que esse modelo de repressão à produção serve como pretexto para os EUA expandirem sua presença na Amazônia, facilitando a defesa de seus interesses nessa região estratégica. Apontamos que o entendimento desse cenário complexo ajudará o Brasil a definir sua política de Segurança para a Amazônia. / The purpose of this study is to establish a conjunct analysis of the Amazon region, drugs, conflicts in Colombia and the Brazilian interests, with emphasis on the USA involvement in this region. First, we will analyze the international dimensions of the Colombian conflicts and how Brazil has been dealing with Security in the Amazon region. Next, we will provide a thorough analysis on the Colombian conflicts. Finally, we will broach the Brazilian interests on cocaine traffic combat and Amazon region appreciation, considering its possibilities and limitations. The hypothesis is that the USA's influence makes difficult the cooperation and the efficiency in the fight against traffic and that this model of repression to production serves as pretext for the USA to expand their presence in the Amazon region, facilitating the defense of their interests in this strategic region. We conclude that the understanding of this complex scenario will help Brazil to define its Security policies for the Amazon region.