This work analyzes the “adaptation” of the film El husar de la muerte of Pedro Sienna made by La Patogallina collective. It explores the link between both pieces from the transposition viewpoint, the relationship between the silent cinematographic language and the theatrical one, and the political aftermaths of the theater piece. For such reasons, it notes the success achieved by the movie, the popularity of the character Manuel Rodriguez, the characteristics of the play and the narrative and aesthetics operations of the transposition. With this, La Patogallina would build a piece that celebrates both the silent cinema code from the theatrical language and the figure of Manuel Rodriguez, updating its political meaning and that of its fight in contemporary Chile.
这项工作 分析 电影的“适应” El husar de la 守法者 佩德罗黄土由la Patogallina 集体。它从转换的角度探讨了这两部作品之间的联系，无声电影语言与戏剧语言 之间的关系，以及 戏剧 作品的政治后果。因此，本文注意到 电影的成功，Manuel Rodriguez角色的受欢迎程度，戏剧的特点以及换位的叙事和美学操作。有了这个，La Patogallina将建立一个作品，庆祝无声电影的代码从戏剧语言和曼努埃尔罗德里格斯的形象，更新 其政治意义和它在当代智利的斗争。
{"title":"Transposición de El Húsar de la Muerte de Pedro Sienna por el colectivo La Patogallina","authors":"Isabel Andrea Sapiaín Caro, Carla Cortez Cid","doi":"10.7764/67.8","DOIUrl":"https://doi.org/10.7764/67.8","url":null,"abstract":"This work analyzes the “adaptation” of the film El husar de la muerte of Pedro Sienna made by La Patogallina collective. It explores the link between both pieces from the transposition viewpoint, the relationship between the silent cinematographic language and the theatrical one, and the political aftermaths of the theater piece. For such reasons, it notes the success achieved by the movie, the popularity of the character Manuel Rodriguez, the characteristics of the play and the narrative and aesthetics operations of the transposition. With this, La Patogallina would build a piece that celebrates both the silent cinema code from the theatrical language and the figure of Manuel Rodriguez, updating its political meaning and that of its fight in contemporary Chile.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"21 1","pages":"167-192"},"PeriodicalIF":0.2,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87608671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present text seeks to highlight the intertextual connections that exist between the myth of Antigone and other relations—audiovisual, photographic and theatrical—in order to unravel the vital power of its protagonists. The legacy of the Antigone archetype is present in hypertexts as a disobedient force towards official mandates, a female figure who resists injustice and the patriarchal order imposed by the laws of the city of Thebes. The documentary Nostalgia de la luz by the Chilean Patricio Guzman, the Uruguayan theater play Antigona Oriental by Volker Losch and Marianella Morena and the Siluetazo (silhouette drawings on the ground) made by the Mothers of Plaza de Mayo in the company of three visual artists will be the works that will allow us to get closer to the Antigone figure from the testimonies of the women who lost their brothers, parents and children—descendants of Polinices—in the framework of the dictatorships of the seventies in the Southern Cone.
{"title":"Vivir en estado de búsqueda. Las Antígonas modernas del desierto y el Río de la Plata","authors":"Cynthia Pamela Shuffer Mendoza","doi":"10.7764/67.9","DOIUrl":"https://doi.org/10.7764/67.9","url":null,"abstract":"The present text seeks to highlight the intertextual connections that exist between the myth of Antigone and other relations—audiovisual, photographic and theatrical—in order to unravel the vital power of its protagonists. The legacy of the Antigone archetype is present in hypertexts as a disobedient force towards official mandates, a female figure who resists injustice and the patriarchal order imposed by the laws of the city of Thebes. The documentary Nostalgia de la luz by the Chilean Patricio Guzman, the Uruguayan theater play Antigona Oriental by Volker Losch and Marianella Morena and the Siluetazo (silhouette drawings on the ground) made by the Mothers of Plaza de Mayo in the company of three visual artists will be the works that will allow us to get closer to the Antigone figure from the testimonies of the women who lost their brothers, parents and children—descendants of Polinices—in the framework of the dictatorships of the seventies in the Southern Cone.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"26 1","pages":"193-205"},"PeriodicalIF":0.2,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84739445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
espanolDurante el periodo de entreguerras Europa experimento una crisis de los modos tradicionales de legitimacion politico-social, que suscito pronto la busqueda de una “salida” y renovacion de los antiguos fundamentos del poder soberano. En “De l’evasion” (1935) Levinas fue capaz de reconocer este sentimiento epocal como advertir, simultaneamente, los peligros subyacentes a los nuevos proyectos salvificos. El presente articulo tiene como objetivo analizar las reflexiones levinasianas de 1935, a partir de un estudio conjunto con sus lecturas talmudicas “Desacralizacion y desencantamiento” (1971) y “Los danos causados por el fuego” (1975), asi como con la obra Amedee ou Comment s’en debarraser (1954) de Eugene Ionesco. Ello permitira comprender el significado otorgado por Levinas a la atmosfera elemental que penetra la Europa de entreguerras, asi como la apuesta levinasiana por el trabajo del arte como modelo para pensar una posible salida o evasion de aquella atmosfera epocal. EnglishDuring the interwar period Europe experienced a crisis of traditional modes of political and social legitimacy, which soon provoked the search for an “exit” and renewal of the old foundations of sovereign power. In “De l'evasion” (1935) Levinas was able to recognize this epochal feeling and simultaneously warn about the underlying dangers of new salvific projects. The present article aims to analyze the Levinasian reflections of 1935, based on a joint study over his Talmudic Readings “Desacralization and Disenchantment” and “Damages Due to Fire” (1971), as well as the work Amedee ou Comment s'en debarraser (1954) by Eugene Ionesco. This will allow to comprehend the meaning granted by Levinas to the elemental atmosphere that penetrated the interwar Europe, as well as the Levinasian commitment to the work of art as a model of thinking an escape or evasion from that epochal atmosphere.
在两次世界大战期间，欧洲经历了一场政治和社会合法化的传统模式的危机，这很快促使人们寻求“出路”，并更新主权权力的旧基础。在《逃避》(1935)中，列维纳斯认识到这种划时代的感觉，同时也警告了新的拯救计划的潜在危险。本文章的目的是分析思考起1935年,levinasianas talmudicas阅读”的联合研究Desacralizacion(1971年)和“祛魅”给我们造成的火”这出戏》(1975),以及Amedee ou Comment s 'en debarraser (Eugene, 1954年)。这将使我们能够理解列维纳斯对两次世界大战之间欧洲的基本氛围的理解，以及列维纳斯对艺术作品作为一种模式的承诺，以思考一种可能的逃离或逃避这种时代氛围的方式。在两次世界大战期间，欧洲经历了传统政治和社会合法性模式的危机，这很快引发了对“退出”和恢复旧的主权基础的追求。在《De l’evasion》(1935)中，列维纳斯能够认识到这种史诗的感觉，同时也警告说，新的拯救计划的潜在危险。这篇文章的目的是分析1935年的Levinasian reflections，基于对他的塔木德阅读的“Desacralization and Disenchantment”和“Damages Due to Fire”(1971)的联合研究，以及Eugene Ionesco的作品Amedee ou Comment sen debarraser(1954)。这将使我们能够理解列维纳斯对战争间欧洲的基本气氛所给予的意义，以及列维纳亚人对艺术作品的承诺，作为一种思考模式，一种逃离或逃避这种史诗气氛的方式。
{"title":"Levinas, Ionesco o el arte de “se débarrasser” del ser","authors":"Pablo Facundo Ríos Flores","doi":"10.7764/67.2","DOIUrl":"https://doi.org/10.7764/67.2","url":null,"abstract":"espanolDurante el periodo de entreguerras Europa experimento una crisis de los modos tradicionales de legitimacion politico-social, que suscito pronto la busqueda de una “salida” y renovacion de los antiguos fundamentos del poder soberano. En “De l’evasion” (1935) Levinas fue capaz de reconocer este sentimiento epocal como advertir, simultaneamente, los peligros subyacentes a los nuevos proyectos salvificos. El presente articulo tiene como objetivo analizar las reflexiones levinasianas de 1935, a partir de un estudio conjunto con sus lecturas talmudicas “Desacralizacion y desencantamiento” (1971) y “Los danos causados por el fuego” (1975), asi como con la obra Amedee ou Comment s’en debarraser (1954) de Eugene Ionesco. Ello permitira comprender el significado otorgado por Levinas a la atmosfera elemental que penetra la Europa de entreguerras, asi como la apuesta levinasiana por el trabajo del arte como modelo para pensar una posible salida o evasion de aquella atmosfera epocal. EnglishDuring the interwar period Europe experienced a crisis of traditional modes of political and social legitimacy, which soon provoked the search for an “exit” and renewal of the old foundations of sovereign power. In “De l'evasion” (1935) Levinas was able to recognize this epochal feeling and simultaneously warn about the underlying dangers of new salvific projects. The present article aims to analyze the Levinasian reflections of 1935, based on a joint study over his Talmudic Readings “Desacralization and Disenchantment” and “Damages Due to Fire” (1971), as well as the work Amedee ou Comment s'en debarraser (1954) by Eugene Ionesco. This will allow to comprehend the meaning granted by Levinas to the elemental atmosphere that penetrated the interwar Europe, as well as the Levinasian commitment to the work of art as a model of thinking an escape or evasion from that epochal atmosphere.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"5 1","pages":"31-51"},"PeriodicalIF":0.2,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81876839","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The investigation states that the landscape was repetitive in the visual testimonies of the Chilean military dictatorship. By landscape it comprises a visual, political and cultural construction, which gives space-reference density to the memory accounts. In this context, we distinguish a struggle of meanings: first, authoritarianism instrumented the landscape to convey the subterranean values and promoted the legitimacy of the regime. At the same time, the resistance generated denotative landscapes, in an accusatory-testimony key, which materialized in endless means. Specifically, a corpus composed of arpilleras and drawings in prison will be examined. Beyond its specificities, we propose that one of the main functions that brings together both sets is its use as a device of evidence and denunciation. Thus, we will try to recompose part of the dissident landscape by weaving together certain images that account for the spatial substrate of the events.
{"title":"Recomponer el paisaje: evidenciar y denunciar","authors":"Bruno Jara Ahumada","doi":"10.7764/67.6","DOIUrl":"https://doi.org/10.7764/67.6","url":null,"abstract":"The investigation states that the landscape was repetitive in the visual testimonies of the Chilean military dictatorship. By landscape it comprises a visual, political and cultural construction, which gives space-reference density to the memory accounts. In this context, we distinguish a struggle of meanings: first, authoritarianism instrumented the landscape to convey the subterranean values and promoted the legitimacy of the regime. At the same time, the resistance generated denotative landscapes, in an accusatory-testimony key, which materialized in endless means. Specifically, a corpus composed of arpilleras and drawings in prison will be examined. Beyond its specificities, we propose that one of the main functions that brings together both sets is its use as a device of evidence and denunciation. Thus, we will try to recompose part of the dissident landscape by weaving together certain images that account for the spatial substrate of the events.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"43 1","pages":"123-150"},"PeriodicalIF":0.2,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73731459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-01DOI: 10.13128/AISTHESIS-11146
James Krasner
{"title":"Embodied Craft in Lia Cook’s Textiles and «The Lady of Shalott»","authors":"James Krasner","doi":"10.13128/AISTHESIS-11146","DOIUrl":"https://doi.org/10.13128/AISTHESIS-11146","url":null,"abstract":"","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"334 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72846168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-01DOI: 10.13128/AISTHESIS-10737
Fabio Tononi
{"title":"Aesthetic Response to the Unfinished: Empathy, Imagination and Imitation Learning","authors":"Fabio Tononi","doi":"10.13128/AISTHESIS-10737","DOIUrl":"https://doi.org/10.13128/AISTHESIS-10737","url":null,"abstract":"","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"8 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79152205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-01DOI: 10.13128/AISTHESIS-11108
M. Hanif, Maryam Madadizadeh
{"title":"Foucault’s Biopower and E. M. Forster’s A Passage to India","authors":"M. Hanif, Maryam Madadizadeh","doi":"10.13128/AISTHESIS-11108","DOIUrl":"https://doi.org/10.13128/AISTHESIS-11108","url":null,"abstract":"","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"100 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75409635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El presente articulo estudia el entramado estetico que interviene en la construccion de la imagen de la mujer histerica en Japon. El trabajo profundiza en los recursos visuales, artisticos y literarios que rodean el fenomeno de la histeria en el bagaje cultural nipon. Para ello se acometera un detallado recorrido partiendo de la critica a la definicion tradicional de la histeria como “patologia radicalmente femenina” con origen en el “mal de utero”. Esta creencia en Japon se manterializa en variados mitos culturales, como la vagina dentata, la mujer-arana, la mujer-demonio, la mujer-venenosa, o la mujer-poseida, cuyas caracteristicas se prolongan hasta su recreacion en la psiquiatria moderna. Finalmente, el articulo pretende exponer el sometimiento del cuerpo de la mujer japonesa, evidenciando los discursos misoginos ocultos tras estas imagenes, mientras se relee la histeria como herramienta de empoderamiento del colectivo femenino.
{"title":"El imaginario estético de la histeria en la cultura japonesa","authors":"M. C. M. Barea","doi":"10.7764/aisth.66.8","DOIUrl":"https://doi.org/10.7764/aisth.66.8","url":null,"abstract":"El presente articulo estudia el entramado estetico que interviene en la construccion de la imagen de la mujer histerica en Japon. El trabajo profundiza en los recursos visuales, artisticos y literarios que rodean el fenomeno de la histeria en el bagaje cultural nipon. Para ello se acometera un detallado recorrido partiendo de la critica a la definicion tradicional de la histeria como “patologia radicalmente femenina” con origen en el “mal de utero”. Esta creencia en Japon se manterializa en variados mitos culturales, como la vagina dentata, la mujer-arana, la mujer-demonio, la mujer-venenosa, o la mujer-poseida, cuyas caracteristicas se prolongan hasta su recreacion en la psiquiatria moderna. Finalmente, el articulo pretende exponer el sometimiento del cuerpo de la mujer japonesa, evidenciando los discursos misoginos ocultos tras estas imagenes, mientras se relee la histeria como herramienta de empoderamiento del colectivo femenino.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"23 1","pages":"155-185"},"PeriodicalIF":0.2,"publicationDate":"2020-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81759212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Los esposos Hamilton son personajes historicos europeos famosos en su epoca, y cuyos nombres pasaron a la posteridad. Emma Hamilton por haber salido de la extrema pobreza y ascendido socialmente a traves de sus habilidades y ambicion, y por haber sido esposa de William Hamilton —coleccionista de renombre— y amante de Horacio Nelson. Este articulo aborda la construccion historica de estos personajes a traves de prensa de la epoca y bibliografia posterior, con un especial enfasis en el aporte de Susan Sontag en la configuracion de los personajes y su epoca a traves de la novela El amante del volcan .
{"title":"Los esposos William y Emma Hamilton en el imaginario occidental. El aporte de Susan Sontag con su novela El amante del volcán","authors":"O. Sanfuentes","doi":"10.7764/aisth.66.16","DOIUrl":"https://doi.org/10.7764/aisth.66.16","url":null,"abstract":"Los esposos Hamilton son personajes historicos europeos famosos en su epoca, y cuyos nombres pasaron a la posteridad. Emma Hamilton por haber salido de la extrema pobreza y ascendido socialmente a traves de sus habilidades y ambicion, y por haber sido esposa de William Hamilton —coleccionista de renombre— y amante de Horacio Nelson. Este articulo aborda la construccion historica de estos personajes a traves de prensa de la epoca y bibliografia posterior, con un especial enfasis en el aporte de Susan Sontag en la configuracion de los personajes y su epoca a traves de la novela El amante del volcan .","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"37 1","pages":"287-302"},"PeriodicalIF":0.2,"publicationDate":"2020-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75449559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Teniendo en cuenta el universo simbolico de las dictaduras civico-militares del Cono Sur como contexto, el presente articulo busca reflexionar en torno a los alcances esteticos y politicos de la figuracion de la diva en la performance de artistas locales, a traves del caso de Ney Matogrosso (1941) y su reapropiacion de Carmen Miranda (1909-1955). Desde una orientacion teorica feminista en clave poscolonial, es posible sospechar que la figuracion de la diva es estrategicamente infiltrada en su performance, desde una red de superposiciones esteticas que apuntan a desestabilizar el orden simbolico dominante, volviendo porosas las fronteras entre lo masculino y lo femenino, lo politico y lo espectacular. La relevancia de este estudio reside no solo en la tentativa de dar luz a este “gesto parodico de oropel” (Castillo 92) desde sus posibles efectos esteticos, sino tambien aportar al campopoco explorado de sus implicaciones (micro) politicas en el contexto latinoamericano.
考虑到宇宙中一个象征南锥体civico-militares独裁体制等方面,本跟进咀嚼翻开esteticos范围及政治周围的figuracion diva在当地艺术家的性能,是通过案例Ney州(1941年)及其reapropiacion Carmen Miranda(1909-1955)。从orientacion女权teorica编码后殖民主义,就有可能怀疑figuracion diva是estrategicamente秘密性能,从网络重叠esteticas主导针对破坏秩序的一个象征,逼多孔前沿的男性和女性之间,政治家和壮观的。在这篇文章中，我们分析了在拉丁美洲的政治背景下，“oropel的戏仿姿态”(Castillo 92)可能产生的审美效果，以及它在拉丁美洲背景下的(微观)政治含义。
{"title":"Bananas y otros frutos del deseo: divas y subversiones en la performance de Ney Matogrosso","authors":"María del Pilar del Pilar Jarpa Manzur","doi":"10.7764/aisth.66.10","DOIUrl":"https://doi.org/10.7764/aisth.66.10","url":null,"abstract":"Teniendo en cuenta el universo simbolico de las dictaduras civico-militares del Cono Sur como contexto, el presente articulo busca reflexionar en torno a los alcances esteticos y politicos de la figuracion de la diva en la performance de artistas locales, a traves del caso de Ney Matogrosso (1941) y su reapropiacion de Carmen Miranda (1909-1955). Desde una orientacion teorica feminista en clave poscolonial, es posible sospechar que la figuracion de la diva es estrategicamente infiltrada en su performance, desde una red de superposiciones esteticas que apuntan a desestabilizar el orden simbolico dominante, volviendo porosas las fronteras entre lo masculino y lo femenino, lo politico y lo espectacular. La relevancia de este estudio reside no solo en la tentativa de dar luz a este “gesto parodico de oropel” (Castillo 92) desde sus posibles efectos esteticos, sino tambien aportar al campopoco explorado de sus implicaciones (micro) politicas en el contexto latinoamericano.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"57 1","pages":"211-233"},"PeriodicalIF":0.2,"publicationDate":"2020-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82123752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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