La presente investigación cualitativa busca analizar el rol del diseño de vestuario en el ámbito cinematográfico peruano en los últimos cinco años. Las producciones cinematográficas en el Perú en los últimos años han ganado premios a mejor guión, mejor largometraje y mejor actriz, compitiendo con grandes estrenos internacionales como “Roma” y “El irlandes”. Aún con estos premios, se encontró que dentro del ámbito cinematográfico el rol del vestuario en una puesta en escena aún no es sobresaliente. Por ello, se ha considerado realizar un estudio a las películas premiadas por la Asociación Peruana de Prensa Cinematográfica (APRECI) desde el año 2015 hasta la actualidad. Asimismo, se destaca la necesidad de brindarle más importancia al diseño de vestuario en el cine peruano. Por consiguiente, se definirá el diseño de vestuario como soporte visual en el cine. Además, se conocerá acerca de los diseñadores de vestuario en el contexto peruano contemporáneo, ya que son muy pocos los que se dedican como profesionales en este ámbito de la moda en el Perú. Igualmente, con las producciones peruanas se analizará qué rol tiene el diseño de vestuario en las películas seleccionadas y asimismo se percibirá cómo se maneja el mensaje del diseño de vestuario dentro del cine peruano. Finalmente, se considera que esta investigación tiene como finalidad promover e informar a estudiantes de moda, profesionales de moda y espectadores de cine en el Perú sobre la especialización de diseño de vestuario, puesto que no es muy conocida en el país. / This qualitative research seeks to analyze, explain and describe the role of costume design in the peruvian cinematographic field in the last five years. Film productions in Peru in recent years have won awards for best screenplay, best feature film and best actress; competing with great international premieres such as “Roma” and “The Irishman”. Even with these awards, it was found that within the cinematographic field the role of costumes in a staging is not yet outstanding. For this reason, it has been considered to carry out a study on the films awarded by the Peruvian Association of Cinematographic Press (APRECI) from 2015 to the present. Likewise, the need to give more importance to costume design in peruvian cinema is highlighted, therefore costume design will be defined as visual support in cinema. In addition, it will be known about costume designers in the contemporary peruvian context, since very few are dedicated as professionals in this field of fashion in Peru. Also, with these peruvian productions the role of costume design in the selected films will be analyzed, as well as how the message of costume design is handled within peruvian cinema. Finally, it is considered that this research aims to promote and inform fashion students, fashion professionals, and film viewers in Peru about the costume design specialization, since it is not well known in the country.

En esta investigación se analizó el uso de los principios gráficos en la representación de elementos de la cultura popular peruana dentro del tatuaje. Se postuló como hipótesis que los estilos que conforman esta práctica afectan la ejecución de dichos elementos, por lo tanto, su representación está condicionada por el estilo en el que se realiza el tatuaje, al tener reglas ya establecidas. Para comprobarla, se analizó la producción de tres tatuadores locales con la temática mencionada, complementándolo con entrevistas a expertos. Los resultados de ambos sugieren que en el discurso visual del tatuaje se emplean elementos de la cultura popular que escapan de los que convencionalmente se les atribuye dicha categoría. Debido a que se representan el transporte público, el combo de comida rápida, los platos típicos y la Inca Kola. Igualmente, se observó que el color, contraste, tamaño y posición son los más afectados por los estilos y por otros factores como el elemento, la región del cuerpo, la piel y el tatuador. A partir de lo mencionado, se llegó a la conclusión de que los principios gráficos dentro del tatuaje que representan lo popular son afectados por una variedad de factores además del estilo. Además, se están utilizando estos elementos considerados triviales dentro del discurso del tatuaje antes que otros, debido a que busca crear una relación entre el diseño, el cuerpo y lo que identifica al sujeto como peruano, por lo que busca representar su estilo de vida a nivel personal. / In this research, the use of graphic principles in the representation of elements of Peruvian popular culture within the tattoo was analyzed. It was postulated as a hypothesis that the styles that conform this practice affect the execution of such elements, therefore, its representation is conditioned by the style in which the tattoo is performed, having already established rules. In order to verify it, the production of three local tattooists with the mentioned subject was analyzed, complementing it with interviews to experts. The results of both suggest that the visual discourse of tattooing uses elements of popular culture that escape those conventionally attributed to them. Due to the fact that public transportation, fast food combo, typical dishes and Inca Kola are represented. Likewise, it was observed that the color, contrast, size and position are the most affected by the styles and other factors such as the element, the region of the body, the skin and the tattooist. From the above, it was concluded that the graphic principles within the tattoo that represent the popular are affected by a variety of factors in addition to style. Furthermore, these elements are being used as trivial elements within the tattooing discourse before others, because it seeks to create a relationship between the design, the body and what identifies the subject as Peruvian, so it seeks to represent his lifestyle on a personal level. / Trabajo de investigación

Esta investigación tiene como objetivo principal determinar la influencia de la digitalización en el diseño de las portadas de álbumes y sencillos discográficos del rock peruano desde 2015 hasta 2019. Es por esto que se planteó como hipótesis que la digitalización no tiene una influencia directa con respecto a la creación del concepto y elección de elementos o técnicas para el desarrollo del diseño de carátulas discográficas. La presente investigación corresponde a la categoría de enfoque qualitativo, debido a que se centró en un análisis de contenido de un total de 20 portadas discográficas, diez de ellas pertenecientes al marco temporal delimitado y las otras diez fueron carátulas elaborabas antes de la fecha seleccionada. Además, se realizaron entrevistas a dos informantes claves para obtener más información que complemente los resultados alcanzados a partir de los análisis. Entre los principales resultados podemos encontrar que el diseño discográfico del rock peruano presenta un nivel de literalidad en sus diseños, tanto en la era digital como en los diseños que fueron elaborados previamente. También se logró evidenciar que hay una diferencia con los elementos indispensables en el diseño de discográfico realizado en la era digital en comparación con el anterior a este. Por último, se logró concluir que a pesar que la función original de vestir el empaque ya no es la más importante, el rol de la portada de un álbum sigue siendo relevante, ya que sirve como una herramienta publicitaria para dar a conocer la existencia de producción musical. / The main objective of this research is to determine the influence of digitalization on the design of album covers of peruvian rock bands from 2015 to 2019. This is why it was hypothesized that digitalization does not have a direct influence on the creation of the concept and choice of elements or techniques for the development of the design of album cover artwork. This research corresponds to the category of qualitative design, because it focused on a content analysis of a total of 20 record covers, ten of them belonging to the defined time frame and the other ten were covers that were made before the selected date. In addition, two key informants were interviewed to obtain more information to complement the results obtained from the analysis. Among the main results, we can find that the peruvian rock record cover artwork presents a level of literalness in their designs, both in the digital age and in the designs that were previously elaborated. It was also possible to show that there is a difference with the indispensable elements in the record design carried out in the digital age compared to the previous one. Finally, it was concluded that although the original function of dressing the packaging is no longer the most important, the role of an album cover is still relevant, as it serves as an advertising tool to publicize the existence of every music production. / Trabajo de investigación

El objetivo específico de esta investigación es analizar el lenguaje visual empleado en los memes políticos durante la crisis política de 2019 en Perú, es así que la hipótesis planteada es que el lenguaje visual empleado en estos memes está basado en características perceptivas denotativas y connotativas que facilitan su entendimiento acompañadas de un recorrido visual uniforme. En primer lugar, se realizó un análisis de contenido del recorrido visual y de los elementos retóricos basados en las figuras sintácticas y semánticas de siete memes políticos, previamente filtrados en una ficha documental, en la cual se estipuló las características principales que deben poseer un meme de este ámbito, como estar dirigido a un poder político, presentar crítica o apoyo y tener un contenido de humor. Asimismo, se mantuvo una entrevista con un informante clave, que cuenta con conocimiento sobre la retórica visual y experiencia para generar piezas del humor en las que brinda su opinión sobre los memes políticos. Dentro de los principales resultados, se obtiene que todos los memes políticos poseen figuras retóricas acentuativas y tipogramas para ser entendidas y que usan las figuras sustitutivas para combinar personajes ficticios con políticos. Con lo cual se puede afirmar que los memes cuentan con características basadas en las figuras retóricas visuales sintácticas (denotación) y semánticas (connotación). Finalmente, se puede afirmar que existe un recorrido visual uniforme el cual se realiza de manera vertical permitiendo que la lectura sea sencilla. / The specific objective of this research is to analyze the visual language used in political memes during the 2019 political crisis in Peru. The hypothesis is that the visual language used in these memes is based on denotative and connotative perceptive characteristics that facilitate their understanding accompanied by a uniform visual tour. Firstly, a content analysis of the visual tour and the rhetorical elements was carried out based on the syntactic and semantic figures of seven political memes, previously filtered in a documentary file, in which the main characteristics that a meme in this field must have were stipulated, such as being directed at a political power, presenting criticism or support and having a humorous content. An interview was also held with a key informant, who has knowledge of visual rhetoric and experience in generating pieces of humor in which he gives his opinion on political memes. Among the main results, it is obtained that all political memes have accentuated rhetorical figures and typographical figures to be understood and that they use the substitute figures to combine fictional characters with politicians. Thus, it can be stated that memes have characteristics based on visual syntactic (denotation) and semantic (connotation) rhetorical figures. Finally, it can be stated that there is a uniform visual path which is carried out in a vertical manner allowing for easy reading. / Trabajo de investigación

El objetivo del presente trabajo de investigación es desarrollar la propuesta de negocios de una línea de pijamas femeninas multifunción, elaboradas con materiales 100º% peruanos y que satisfaga los requerimientos actuales del público objetivo. Se ha identificado que existe un amplio mercado que necesita prendas cómodas, de excelente calidad pero al mismo tiempo versátiles. Se atenderá a este público a través de una plataforma de ventas virtual y se espera que los acabados y diseños exclusivos refuercen el nivel de atracción y captación de la propuesta. Además, se promoverá el trabajo digno en las poblaciones vulnerables mediante la contratación, preferentemente, de mujeres jefas de familia en todas las áreas. En la primera parte se ha desarrollado tanto el plan estratégico y la validación, etapa en la cual se ha implementado una metodología de investigación mixta a fin de recopilar información valiosa que ha permitido corroborar supuestos y determinar los puntos más valorados por las clientas potenciales con respecto a la propuesta y así utilizarlos en la fase posterior, es decir en el plan de marketing. En efecto, en dicho plan, se identificó claramente el público objetivo y se establecieron los medios mediante los cuales se realizará la publicidad y difusión de la propuesta además de todos los componentes del marketing mix. En las secciones posteriores se detalla en plan de operaciones, la estructura organizacional y de recursos humanos, y finalmente se ejecuta un análisis financiero, el cual ha permitido confirmar la factibilidad del proyecto. / The objective of this research work is to develop a business plan for a line of multifunctional women's pajamas, made with 100% Peruvian materials and that satisfy the current requirements of the target audience, which are not fully covered by the existing local offer. It has been identified that there is a large market needing comfortable, excellent quality but at the same time versatile spleepwear. We plan to serve this public through a virtual sales platform and we hope that the exclusive finishes and designs will reinforce the level of attraction and capture of the proposal. In addition, decent work will be promoted in vulnerable populations by hiring, preferably, women heads of household in all areas. In the first part, both the strategic plan and the validation have been developed. During this stage, a mixed research methodology has been implemented in order to gather valuable information that has allowed to corroborate assumptions and determine the points most valued by potential clients with respect to the proposal and thus use them in the later stage, that is, in the marketing plan. This plan clearly identified the target audience and established the means by which the advertising and dissemination of the proposal would be carried out, as well as all the components of the marketing mix. In the following sections, the operations plan details the organizational and human resources structure, and finally a financial analysis is carried out, which has confirmed the feasibility of the project. / Trabajo de investigación

La tendencia y la incertidumbre en la compra por internet están cambiando. En el 2019 se registró que cerca de 6 millones de peruanos realizan compras por internet, eso representa el 24% de la población que va en aumento más aún por la crisis generada por la llega del coronavirus que ha motivado a que muchas empresas empiezan a cambiar su proceso de ventas adecuando su modelo de negocio a la nueva forma de consumo de las personas. Asimismo, en Perú la micro y pequeña empresa supera el 95% del total, según estudio de “Brechas para el emprendimiento del Observatorio de la Alianza del Pacífico”. Dado este contexto, surge Disclothes un startup peruano con una visión innovadora enfocado en promover el reconocimiento de marcas peruanas mediante la venta de sus prendas a través de nuestra plataforma online. Nuestro objetivo es impulsar y dar visibilidad a marcas peruanas para que logren sobresalir en el mercado, tengan la oportunidad de incursionar en la venta online y así aumentar sus ventas. Asimismo, facilitar la búsqueda y compra de prendas de macas de peruanas en los clientes, lograr una experiencia de compra online eficiente. El segmento de clientes que sigue Disclothes son hombres y mujeres de 18 a 35 años pertenecientes al NSE A, B Y C que vivan en Lima Metropolitana, se preocupen por su apariencia e inviertan en compras de prendas por el canal online cubriendo un tamaño de mercado real de 49,298 y un tamaño de mercado potencial de 217,419 personas Asimismo, se pudo validar que los consumidores peruanos tienen un alto grado de dificultad en encontrar diseños de ropa de marcas locales en una plataforma web, volviéndose difícil la compra. Además, manifestaron su voluntad por comprar marcas locales, sin embargo, debe poder manejar políticas de seguridad, llevar eficientemente sus procesos siendo indispensable la confianza de compra que brinda la plataforma donde se lleva a cabo las operaciones de búsqueda y compra. Frente a esto el equipo ha desarrollado, presupuestos en áreas de marketing, responsabilidad social empresarial operaciones y recursos humanos con actividades que nos permitirá ofrecer una experiencia de compra online optima en los usuarios de Diclothes. Finalmente se estimó que el valor que tiene Disclothes es de S/407,713.12. / The trend and uncertainty in online shopping are changing. In 2019, it was recorded that nearly 6 million Peruvians make purchases online, that represents 24% of the population that is increasing even more due to the crisis caused by the arrival of the coronavirus that has motivated many companies to start changing its sales process adapting its business model to the new way of consuming people. Likewise, in Peru, micro and small companies exceed 95% of the total, according to a study on “Gaps for Entrepreneurship of the Observatory of the Pacific Alliance”. Given this context, Disclothes emerges a Peruvian startup with an innovative vision focused on promoting the recognition of Peruvian brands through the sale of their garments through our online platform. Our objective is to promote and give visibility to Peruvian brands so that they can excel in the market, have the opportunity to venture into online sales and thus increase their sales. Also, facilitate the search and purchase of Peruvian brands garments in customers, achieve an efficient online shopping experience. The client segment that Disclothes follows is men and women from 18 to 35 years old belonging to the NSE A, BYC who live in Metropolitan Lima, care about their appearance and invest in clothing purchases through the online channel, covering a real market size of 49,298 and a potential market size of 217,419 people Likewise, it was validated that Peruvian consumers have a high degree of difficulty in finding clothing designs from local brands on a web platform, making it difficult to purchase. In addition, they expressed their willingness to buy local brands, however, they must be able to manage security policies, efficiently carry out their processes, and the purchase trust provided by the platform where search and purchase operations are carried out is essential. Faced with this, the team has developed budgets in the areas of marketing, corporate social responsibility, operations and human resources with activities that will allow us to offer an optimal online shopping experience for Diclothes users. Finally, it was estimated that the value of Disclothes is S / 407,713.12. / Trabajo de investigación

Esta investigación se centra en el análisis de los textos informativos publicados por los diarios de circulación nacional: El Comercio y La República, relacionados a la candidatura de Ollanta Humala Tasso durante la semana previa al balotaje de los comicios electorales en Perú el año 2011. Y tiene el propósito de evidenciar, si en momentos de tensión política, como es una segunda vuelta, el equilibrio periodístico informativo y sus elementos se ven afectados por el contexto. Para ello, se explica la estrecha relación que guarda el periodismo con la política. Luego, se toma en cuenta los fundamentos del periodismo, para definir la naturaleza, matices y el lenguaje del periodismo informativo. A partir de ello, se construye el concepto de Equilibrio Periodístico Informativo, el cual está apoyado en una serie de elementos y de referentes. De igual forma, se considera el contexto político de la época, el cual sirve de referencia. A partir de ello, los resultados del análisis demuestran que el concepto de información, supuestamente asentado en ambos enunciadores, pierde algunas referencias por una serie elementos y presiones propias de tales coyunturas, donde hay una polarización política. / This study focuses on the analysis of news published by El Comercio y La República, newspapers with nationwide circulation, which are related to Ollanta Humala Tasso’s bid for presidency during the previous week to the results of the second-round round-off elections in Peru in 2011. It also aims at showing, if under circumstances of political tension, as it is a second-round election, the equilibrium in news journalism and its elements are affected by context. For this purpose, it explains the close relationship between journalism and politics. Then, it deals with the fundamentals of journalism in order to define the nature, nuances, and language of news journalism. Based on the abovementioned, the concept of Equilibrium in News Journalism is developed, which is supported by a series of elements and referents. Similarly, the political context at that time is considered as a reference. From this, the results of this study show that the concept of news journalism, which is supposedly to be the foundation of both local newspapers involved in this study, loses certain references due to the presence of a series of elements and tensions from the contexts where there exists a political polarization. / Tesis

Latin American literature can be characterized by its narrative styles and literary techniques to expose political instability, subversive movements and human rights violations. In South America, specifically in Peru, contemporary narrative and film depicts the guerra interna between the subversive movement, Sendero Luminoso, and the Peruvian government and its impact on the developing country. This study focuses on three texts --Mario Vargas Llosa\'s Lituma en los Andes (1993), Iván Thays\' Un lugar llamado Oreja de Perro (2008), and Santiago Roncagliolo\'s Abril rojo (2006)-- and two contemporary films --Claudia Llosa\'s Madeinusa (2006) and La teta asustada (2009). These works stay within the broader trajectory of Peruvian narrative and film\'s portrayal of the guerra interna. However, these works deviate from the norm by focusing on the indigenous populations\' involvement and subsequent consequences. This study examines how language, spirituality and violence dehumanizes the Peruvian indigenous during Peru\'s efforts at modernization. / Master of Arts

In the aftermath of the bloody twenty-year internal conflict in Peru, the Truth and Reconciliation Commission (Comisión de la Verdad y Reconciliación, or CVR) documented the massive human rights violations by Sendero Luminoso and the Peruvian state. The CVR contextualized these abuses by producing a broad historical narrative which has fomented the creation of a new discourse in Peruvian cultural production. This thesis is concerned with how the CVR and the post-conflict search for reconciliation have influenced contemporary Peruvian literature. This paper will focus on the ‘Redención' trilogy by novelist Alonso Cueto. The three novels explore notions of forgiveness and reconciliation between perpetrators and victims of the conflict. Beginning with La hora azul (2005), the first chapter investigates the reliance on neoliberal reconciliation logic in the CVR (monetary reparations, etc.) as well as the gestures towards affective exchanges. It also explores the ways in which La hora azul stages these reliances within restitution discourse in Peru. In the second chapter, I examine La pasajera (2015) and further explore the ways in which reconciliation is tied to both affect and neoliberal logic. This leads to a discussion on how affect and the free-market work together, rather than as competing systems of exchange and how Cueto emphasizes the proximity of the victim and the perpetrator in the novel. Finally, I conclude by analyzing La viajera del viento (2016). This chapter continues to focus on the proximity of the victim and the perpetrator and how this ethically uncomfortable discourse may actually make way for new modes of forgiveness between victims and perpetrators.

In the central Andes, complex civilizational processes and dramatic biophysical phenomena have concurred for thousands of years. The confluence of these cultural and natural forces implies that environmental disturbances should be neither overemphasized nor ignored but adequately included as a variable in the modeling of the cultural processes of the Andean prehistory. In this sense, it is justified to clarify why and how people from pre-Hispanic urban centers preferred to accept risk associated with disaster-prone settings and how they eventually developed social responses to biophysical hazards through centuries.Framed within this purpose, this dissertation takes as a case study the prehistoric urban center of Cajamarquilla (138 ha) located in a flood-prone sector on the arid Peruvian central coast, and occupied mainly but intermittently for a period of almost 800 years between ca. AD 650 and 1400 (from the Middle Horizon to the Late Intermediate Period). My research was built on the basis of theoretical and methodological contributions of the Historical Ecology, Anthropology of Disasters, and Environmental Archaeology. Thus, it included conventional archeological procedures, a geomorphological characterization of the study area, and archaeobotanical and geoarchaeological methods and techniques. Although a range of contexts were analyzed, the study of the hydraulic (first-order irrigation canals) and storage (underground silos) systems associated with the site were strongly emphasized. Results indicate that the interspersed occurrence of droughts and floods with phases of dynamic constructive activity in Cajamarquilla express a form of risk normalization. This included the maximum use of clay soils and the involvement of the site residents with planned abandonment processes, although apparently sudden final abandonment has also been documented. While it has been verified that occupational dynamics in Cajamarquilla were constantly constrained by regional eco-climatic conditions, these always responded simultaneously to the socio-political controls of each era, so that social responses were not only multifactorial in their origins but also multipurpose in their ends, an illustration of this being the thousands of bottle-shaped, capacious silos that characterize the site. This makes sense with the integrative culture-nature worldviews of the indigenous Andean societies. Finally, this investigation also finds that, beyond the common socio-environmental connotation noted above, social action in Cajamarquilla also shows substantial differences between its different cultural occupations when dealing with environmental determinants: Its earliest inhabitants carefully planned an ambitious technological equipment (canals and silos), while its later inhabitants were characterized by their marked sense of opportunism and pragmatism both in the use/readjustment of such inherited technologies and the rules of community life within the settlement. In general, beyond usual binary frames that oppose determinism versus possibilism, or collapse versus resilience, the case of Cajamarquilla raises the anthropological need for an integrative approach focused on how and to what extent cultural and natural forces intermingle in urban life.