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UNU-WIDER, 2005
The following essay has three parts. The first is a story about fluctuations in the balance of the relationship between impersonal and personal principles of social organization. This draws heavily on Max Weber’s interpretation of western history. The second part reviews the concept of an ‘informal economy/sector’ from its origin in discussions of the Third World urban poor to its present status as a universal feature of economy. The third part asks how we might conceive of combining the formal/informal pair with a view to promoting development. In conclusion I suggest how partnerships between bureaucracy and the people might be made more equal.
What pleasures and desires are mobilized when we watch and make films? In what way has cinema structured our understanding of the world and changed the way we look and speak about reality? This course addresses these inquiries by critically examining a range of theories and methodologies formulated by directors, intellectuals, and activists hailing from diverse geographical origins and encompassing the emergence of cinema in 1895 to its contemporary manifestations. It is an introduction and an overview of prominent theoretical constructs that have significantly shaped the domains of cinematic composition, discourse, and interpretation via theories, methods, and concepts. But this course also considers that such hegemonic visions of the evolution of film theory is partial, motivated by patriarchal, racial, class, and colonial visions, that has thus eschewed the contributions made by women, queer, Black, and brown filmmakers. The recognition of their contributions has depended on the increasing diversity within the professional domain of film studies and forever changed the way we watch and make films. The class begins with the evolution of the cinematic apparatus, examining the early cinema of attractions, the rise of film narrative, including styles of editing and Soviet montage theory, and the ideologies permeating cinematic technology. The case of early women directors will draw our attention to the emergence of film archives and the silences of film history. The course then dialectically explores theories and film emerging from industrial and experimental film cultures, including melodrama, realism and neorealism, French New Wave, author theory, Cinema of Hunger, participatory documentary, Third Cinema, and experimental filmmaking. A third part of the course focuses on theories and films emerging from feminist, Black, queer, LGBTQI, and trans* intellectuals and creators as they put into circulation other modes of seeing and doing films as well as an alternative history of the moving image and its technologies. In addition, this class includes a condensed crash course on film analysis. As a warning, the materials selected in this course are in no way all-encompassing, and are selected mostly from film cultures of the Americas and Europe, and a few from Africa. I left out movements, theoretical trends, and paramount directors, as well as the rich film culture of Asia. Students are welcome to write about film cultures not covered in this course. The course requires active participation and preparation from students, for which they write weekly responses. In addition, there will be two take-home exams.
Nell’articolo vengono esaminate le strategie di approvvigionamento alimentare poste in essere nel quadro dell’imperialismo italiano nelle regioni annesse e occupate dello Stato indipendente di Croazia. L’approvvigionamento aveva molteplici scopi: la popolazione doveva essere coinvolta in un progetto imperiale, era necessario far sì che gli ustascia fossero screditati di fronte alla popolazione e infine bisognava promuovere il fascismo come assetto futuro e combattere i resistenti.
2020
Esta publicación está bajo una licencia Creative Commons Reconocimiento-NoComercial 4.0 Palabras clave: guerra grande, fuerzas en armas, soldados, delincuentes "Fatal men". Criminal soldiers, desertion networks and political warfare during the first two years of the Siege Grande of Montevideo (1843-1844
2024
This paper proposes the Unconscious Value Transition Theory (UVTT), a novel theoretical framework investigating the intricate interplay between the unconscious mind, values, beliefs, role models, and new media in shaping individual value systems. In today's era characterized by rapid technological advancements and extensive digital communication, UVTT provides a comprehensive lens for understanding the gradual or sudden evolution and transformation of values, often occurring imperceptibly among individuals. This theoretical proposal aims to delve into the fundamental concepts and assumptions of UVTT, while integrating pertinent theories to elucidate the dynamics of unconscious value transmission in the digital age.