Este texto estaba destinado en principio a ser utilizado como manual, un tipo particular de libro relacionado con la actividad académica, cuyo objeto es mostrar lo esencial o fundamental de una materia o programa. Los destinatarios originales eran las y los estudiantes de la cátedra "Introducción a la historia de las artes", inserta en la Facultad de Artes de la Universidad Nacional de Córdoba, contexto donde integra los Departamentos de Artes Visuales y Música. Por diferentes razones, su uso se ha ampliado desde su edición original hace 20 años a otros niveles y ámbitos educativos, artísticos y extra-artísticos, extendiendo así el beneficio de la educación superior pública a la comunidad.Marcelo Nusenovich nace en Villaguay (Entre Ríos), el 29 de octubre de 1956. En 1984 se gradúa como Profesor Superior de Educación en Artes Plásticas, y en 1992 como Licenciado en Pintura en la Facultad de Filosofía y Humanidades de la UNC. En el año 2000, obtiene el título de Magister en Sociosemiótica en el Centro de Estudios Avanzados de la UNC. Actualmente escribe su tesis doctoral sobre el tema "Arte y experiencia en Córdoba en la segunda mitad del siglo XIX". Es Profesor Titular de la Cátedra "Introducción a la Historia de las Artes" en la Escuela de Artes de la UNC desde 1989. Desde 1996 hasta 2005 es Coordinador del Área Artes del CIFFyH (Centro de Investigaciones de la Facultad de Filosofía y Humanidades de la UNC). Se ha desempeñado como Jefe de Trabajos Prácticos en la Cátedra "Introducción al Dibujo", Profesor Titular en las Cátedras "Las Artes Plásticas en la Historia II", "Pintura II", "Las Artes Plásticas en la Historia I", y como Profesor Coordinador del Ciclo de Nivelación de Plástica, Escuela de Artes, FFyH, UNC. EDITORIAL BRUJAS - ARGENTINA.Este libro contiene el desarrollo de los siguientes temas: -CAPÍTULO 1. El arte y lo simbólico -CAPÍTULO 2. La interpretación clásica del mundo-CAPÍTULO 3. La interpretación cristiana del mundo-CAPÍTULO 4. La recuperación de lo clásico-CAPÍTULO 5. El Barroco -CAPÍTULO 6. El siglo XVIII -CAPÍTULO 7. El siglo XIX-CAPÍTULO 8. Los siglos XX y XXI Con este libro usted podrá profundizar sus conocimientos de la historia del arte /b> ¡Descargue ya este libro y obtenga herramientas para el análisis de las diferentes disciplinas artísticasArte, historia del arte, siglo XVIII, siglo XVIII, siglo XX, siglo XXI, material de consulta.

From the Holocaust in Europe to the military dictatorships of Latin America to the enduring violence of settler colonialism around the world, genocide has been a defining experience of far too many societies. In many cases, the damaging legacies of genocide lead to continued violence and social divisions for decades. In others, however, creative responses to this identity-based violence emerge from the grassroots, contributing to widespread social and political transformation. Resonant Violence explores both the enduring impacts of genocidal violence and the varied ways in which states and grassroots collectives respond to and transform this violence through memory practices and grassroots activism. By calling upon lessons from Germany, Poland, Argentina, and the Indigenous United States, Resonant Violence demonstrates how ordinary individuals come together to engage with a violent past to pave the way for a less violent future.

La Pocha Nostra: A Handbook for the Rebel Artist in a Post-Democratic Society marks a transformation from its sister book, Exercises for Rebel Artists, into a pedagogical matrix suited for use as a performance handbook and conceptual tool for artists, activists, theorists, pedagogues, and trans-disciplinary border crossers of all stripes. Featuring a newly reworked outline of La Pocha Nostra's overall pedagogy, and how it has evolved in the time of Trump, cartel violence, and the politics of social media, this new handbook presents deeper explanations of the interdisciplinary pedagogical practices developed by the group that has been labeled "the most influential Latino/a performance troupe of the past ten years." Co-written by Guillermo Gómez-Peña in collaboration with La Pocha Nostra’s artistic co-director Saúl García-López and edited by Paloma Martinez-Cruz, this highly anticipated follow-up volume raises crucial questions in the new neo-nationalist era. Drawing on field experience from ten years of touring, the authors blend original methods with updated and revised exercises, providing new material for teachers, universities, radical artists, curators, producers, and students. This book features: Introductions by the authors and editor to Pocha Nostra practice in a post-democratic society. Theoretical, historical, poetic, and pedagogical contexts for the methodology. Suggestions for how to use the book in the classroom and many other scenarios. Detailed, hands-on exercises for using Pocha Nostra-inspired methods in workshops. A step-by-step guide to creating large-scale group performances. New, unpublished photos of the Pocha Nostra methods in practice. Additional texts by Reverend Billy and Savitri D., Dragonfly, Francesca Carol Rolla, VestAndPage, Micha Espinosa, Zulfikar Ali Bhutto, Praba Pilar, L. M. Bogad, Anuradha Vikram, and Annie Sprinkle and Beth Stephens, among many others. The book is complemented by the new book Gómez-Peña Unplugged: Texts on Live Art, Social Practice and Imaginary Activism (2008–2019).

These interdisciplinary essays focus on animals as symbols, ideas, or images in medieval art and literature.

With the urbanization of the world's population proceeding apace and the equally rapid urbanization of poverty, urban theory has an urgent challenge to meet if it is to remain relevant to the majority of cities and their populations, many of which are outside the West. This groundbreaking book establishes a new framework for urban development. It makes the argument that all cities are best understood as ‘ordinary’, and crosses the longstanding divide in urban scholarship and urban policy between Western and other cities (especially those labelled ‘Third World’). It considers the two framing axes of urban modernity and development, and argues that if cities are to be imagined in equitable and creative ways, urban theory must overcome these axes with their Western bias and that resources must become at least as cosmopolitan as cities themselves. Tracking paths across previously separate literatures and debates, this innovative book - a postcolonial critique of urban studies - traces the outlines of a cosmopolitan approach to cities, drawing on evidence from Rio, Johannesburg, Lusaka and Kuala Lumpur. Key urban scholars and debates, from Simmel, Benjamin and the Chicago School to Global and World Cities theories are explored, together with anthropological and developmentalist accounts of poorer cities. Offering an alternative approach, Ordinary Cities skilfully brings together theories of urban development for students and researchers of urban studies, geography and development.

An analysis of contemporary violence as the new commodity of today's hyper-consumerist stage of capitalism. “Death has become the most profitable business in existence.” —from Gore Capitalism Written by the Tijuana activist intellectual Sayak Valencia, Gore Capitalism is a crucial essay that posits a decolonial, feminist philosophical approach to the outbreak of violence in Mexico and, more broadly, across the global regions of the Third World. Valencia argues that violence itself has become a product within hyper-consumerist neoliberal capitalism, and that tortured and mutilated bodies have become commodities to be traded and utilized for profit in an age of impunity and governmental austerity. In a lucid and transgressive voice, Valencia unravels the workings of the politics of death in the context of contemporary networks of hyper-consumption, the ups and downs of capital markets, drug trafficking, narcopower, and the impunity of the neoliberal state. She looks at the global rise of authoritarian governments, the erosion of civil society, the increasing violence against women, the deterioration of human rights, and the transformation of certain cities and regions into depopulated, ghostly settings for war. She offers a trenchant critique of masculinity and gender constructions in Mexico, linking their misogynist force to the booming trade in violence. This book is essential reading for anyone seeking to analyze the new landscapes of war. It provides novel categories that allow us to deconstruct what is happening, while proposing vital epistemological tools developed in the convulsive Third World border space of Tijuana.

Part two of an innovative trilogy on anarchist geography, this text examines how we can better understand the ways in which space has been used for resistance