La Paz Un Dialogo Cultural

El Doctorado en Humanidades con especialidad en Patrimonio y Cultura para la Paz, albergado en la Unidad Académica de Estudios de las Humanidades de la Universidad Autónoma de Zacatecas "Francisco García Salinas", nace en un contexto de transformación de los modelos educativos, donde, de los esquemas de educación tradicional se transita a campos problématicos del conocimiento. Dado que en el presente es apremiante una toma de conciencia y de intervención frente a la desquiciante ruptura del tejido social; el entorno educativo se ha planteado con urgencia intervenir desde los distintos ámbitos del conocimiento para movilizar las áreas de incidencia tanto en las esferas públicas como en las privadas para trasmutar a una sociedad más justa, equitativa y pacífica. Esta primera muestra de trabajo colectivo entre alumnos y profesores de dicho programa, expuesto desde distintas vertientes trans, inter e intradisciplinares, analiza el fenómeno de la paz tratando de hacer llegar sus reflexiones a múltiples públicos y entidades sociales con el afán de visibilizar el hecho de que frente a la degradación y la descomposición social existen luchas reales y denodadas para transformar el sentido común y el imaginario social. Los profesores que conforman el colectivo de este programa, proveniente de las áreas de: arte, arqueología, derecho, economía, filosofía, historia, lingüística, psicología y pedagogía, nos proponemos conjuntar las herramientas gnoseológicas para abordar el contexto que nos rodea desde el enfoque desde, por y para la paz. El programa, que arrancó en agosto de 2019 ha acogido una veintena de alumnos de distintas formaciones para engarzar con su visión la posibilidad de resolver problemas que se desplazan transversalmente en la cotidianidad de una ciudadanía urgente de soluciones. Sabemos que estos esfuerzos enlazados con otros que encabezan organismos autónomos y privados del estado de Nuevo León y el estado de México, convierten a la Universidad Autónoma de Zacatecas en punta de lanza para esta tarea impostergable. Sin duda este diálogo apenas comienza y se convierte en un bastión de largo aliento al que por ahora habrá de darse un seguimiento a partir de la academia, pero que tarde o temprano llegará hasta los ámbitos laborales y de los servicios públicos de las distintas esferas del gobierno.

Este libro te ayudará a: * Conocer y vivir mejor la Palabra de Dios que leemos los domingos * Conversar con Jesús sobre aspectos importantes de tu vida * Enriquecer tu Eucaristía dominical al comprender mejor la liturgia * Fortalecer tu espiritualidad, vocación y misión cristianas 34 Sesiones para jóvenes: * Centradas en las lecturas dominicales * Organizadas en momentos de oración, reflexión y acción * Animadas con el mismo espíritu que La Biblia Católica para Jóvenes * Diseñadas con un proceso de Lectio Divina apropiado para jóvenes Contienen: * Oraciones y pautas para orar personal y comunitariamente * Comentarios bíblicos y litúrgicos * Actividades comunitarias y celebraciones de fe * Reflexiones sobre la vida diaria y situaciones especiales Útiles para: * Planear retiros y sesiones de pastoral juvenil * Preparar homilías y sesiones catequéticas * Enriquecer la espiritualidad de la juventud

This original study examines a vital but neglected aspect of the 1952 National Revolution in Bolivia; the activism of urban inhabitants. Many of these activists were Aymara-speaking people of indigenous origin who transformed the urban environment, politics and place of “indígenas” and “neighbors” within the city of La Paz. Luis Sierra traces how these urban residents faced racial discrimination and marginalization despite their political support for the Movimiento Nacionalista Revolucionario (MNR). La Paz's Colonial Specters reassesses the contingent, relational nature of Bolivia's racial categories and the artificial division between urban and rural activists. Building on rich established historiography on the indigenous people of Bolivia, Luis Sierra breaks new ground in showing the role of the neighborhoods in the process of urbanization, and builds upon analysis of the ways in which race, gender and class discourse shaped migrants interactions with other urban residents. Questioning how and why this multiclass and multi-ethnic group continued to be labelled by elites and the state as “un-modern” indigena, the author uses La Paz to demonstrate the ways in which race, class, and gender intertwine in urbanization and in conceptions of the city and nation. Of interest to scholars, researchers and advanced students of Latin American history, urban history, the history of activism and the history of ethnic conflict, this unique study covers the previously neglected first half of the 20th century to shed light on the urban development of La Paz and its racial and political divides.

This is a great and interesting intercultural project (Collect of Opinions), for the promotion of cultural exchange, cultural diversity, culture of tolerance and mutual understanding; written in three different languages: English, French, Spanish. Francklin Pierre, the author asked some questions about: our cultures, what we like, what we are afraid of, our wishes and else. He got some answers form different people from many countries around the world like: Denmark USA, Canada, France, Peru, Switzerland, Honduras, Argentina, Haiti, Iraq, Nigeria, Comoros Islands etc. Informations shared in this publication can satisfy and inspire individual and groups from most of sectors: Students, educators, tourists, volunteers, civic and social organizations, people interested in networking, cultural diversity, intercultural dialogue... He invites to read it.

The Struggle for Natural Resources traces the troubled history of Bolivia's land and commodity disputes across five centuries, combining local, regional, national, and transnational scales. Enriched by the extractivism and commodity frontiers approaches to world history, the book treats Bolivia's political struggles over natural resources as long-term processes that outlast immediate political events. Exploration of the Bolivian case invites dialogue and comparison with other parts of the world, particularly regions and countries of the so-called Global South. The book begins by examining three Bolivian resources at the center of political dispute since the early colonial period, namely land, water, and minerals. Carmen Soliz, Rossana Barragán, and Sarah Hines show that, as in the colonial and early republican past, these resources have remained the focus of political contention to the present day. Until the end of the nineteenth century, Bolivia's battle over natural resources was primarily concentrated in the highlands and inter-Andean valleys. Beginning in the 1860s, the bicycle and soon the automobile industries triggered demand for natural rubber found in the heart of the Amazon. José Orsag analyzes the impact of this extractive economy at the turn of the twentieth century. The book concludes by examining two resources that are central to understanding the last century of Bolivia's history. Kevin Young examines the fraught business of hydrocarbons, and Thomas Grisaffi analyzes the coca/cocaine circuit. Each chapter studies the social dynamics and political conflicts that shaped the processes of extraction, exchange, and ownership of each of these resources

The Cultural Politics of Twentieth-Century Spanish Theater argues that twentieth-century artists used the Golden Age Eucharist plays called autos sacramentales to reassess the way politics and the arts interact in the Spanish nation's past and present, and to posit new ideas for future relations between the state and the national culture industry. The book traces the phenomenon of the twentieth-century auto to show how theater practitioners revisited this national genre to manifest different, oftentimes opposing, ideological and aesthetic agendas. It follows the auto from the avant-garde stagings and rewritings of the form in the early twentieth century, to the Francoist productions by the Teatro Nacional de la Falange, to postmodern parodies of the form in the era following Franco's death to demonstrate how twentieth-century Spanish dramatists use the auto in their reassessment of the nation's political and artistic past, and as a way of envisioning its future.

Culture and the Cuban State examines the politics of culture in communist Cuba. It focuses on cultural policy, censorship, and the political participation of artists, writers and academics such as Tania Bruguera, Jesús Díaz, Rafael Hernández, Kcho, Reynier Leyva Novo, Leonardo Padura, and José Toirac. The cultural field is important for the reproduction of the regime in place, given its pretense and ambition to be eternally “revolutionary” and to lead a genuine “cultural revolution”. Cultural actors must be mobilized and handled with care, given their presumed disposition to speak their mind and to cherish their autonomy. This book argues that cultural actors also seek recognition by the main (for a long time the only) sponsor and patron of the art in Cuba: the “curator state”. The “curator state” is also a “gatekeeper state,” arbitrarily and selectively opening and closing the space for public expression and for access to foreign currencies and the global market. The time when everything was either mandatory or forbidden is over in Cuba. The regime seems to have learned from egregious mistakes that led to a massive exodus of artists, writers and academics. In a country where things change so everything could stay the same, the controlled opening in the cultural field, playing on the actors' ambition and fear, illuminates a broader phenomenon: the evolving rules of the political game in the longest standing dictatorship of the hemisphere.