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La expresión del inconsciente arquetípico a través del cuerpo bailado y esculpido en el teatro mitológico afrocubano de Eugenio Hernández Espinosa

Rosana Herrero-Martin (2023, [Capítulo de libro])

En este artículo se analizarán desde una perspectiva jungiana y holística una selección de momentos dancísticos y escultóricos en tres obras dramáticas del corpus teatral mitológico del autor cubano Eugenio Hernández Espinosa (María Antonia, 1967; Odebí, el cazador, 1980, y El Elegido, 1995), protagonizadas en los tres casos por diferentes orishas, nombre con el que se conocen popularmente en Cuba —concretamente en la tradición cultural y espiritual yoruba de la isla— a las manifestaciones antropomórficas, físicas, vivenciales y sobrenaturales de la divinidad. El paradigma de análisis aplicado es principalmente el del pensamiento integral de Ken Wilber, por el cual cuerpo-mente-psique-divinidad se conciben como un todo interconectado, integrado y resonador dentro del proceso de individualización de la persona, siendo el cuerpo el vehículo, el espejo, la palanca y la puerta de acceso, es decir, siendo el cuerpo el que refleja, activa y abre el resto de las dimensiones.

In this article, a selection of dance and sculptural moments in three dramatic works from the mythological theatrical corpus of Cuban author Eugenio Hernández Espinosa will be analyzed from a Jungian and holistic perspective (María Antonia, 1967; Odebí, the Hunter, 1980, and The Chosen, 1995). All three plays star a selection of Orishas, the name by which the anthropomorphic, physical, experiential and supernatural manifestations of divinity are popularly known in Cuba — specifically in the island’s Yoruba cultural and spiritual tradition. The analytical paradigm to be applied is mainly Ken Wilber’s integral thought, by which body-mind-psyche-divinity are conceived as an interconnected, integrated and resonating whole within the person’s individualization process, the body being the vehicle, the mirror, the lever and the access door, that is, the body being the one which reflects, activates and opens the rest of the dimensions.

Eugenio Hernández Espinosa, arquetipos, orishas, teatro mitológico. Archetypes, orisha, mythological theatre. Archetype (Psychology) in art. Dance--Psychological aspects. Body and mind. Orishas in art. Arquetipo (Psicología) en el arte. Danza. Mente y cuerpo. Orishas. Autores cubanos. PQ7390.H397 HUMANIDADES Y CIENCIAS DE LA CONDUCTA CIENCIAS DE LAS ARTES Y LAS LETRAS TEORÍA, ANÁLISIS Y CRÍTICA DE LAS BELLAS ARTES TEATRO

Farmers’ perspectives as determinants for adoption of conservation agriculture practices in Indo-Gangetic Plains of India

Ajay Kumar Mishra ML JAT (2022, [Artículo])

Understanding the farmer's perspective has traditionally been critical to influencing the adoption and out-scaling of CA-based climate-resilient practices. The objective of this study was to investigate the biophysical, socio-economic, and technical constraints in the adoption of CA by farmers in the Western- and Eastern-IGP, i.e., Karnal, Haryana, and Samastipur, Bihar, respectively. A pre-tested structured questionnaire was administered to 50 households practicing CA in Western- and Eastern-IGP. Smallholder farmers (<2 ha of landholding) in Karnal are 10% and Samastipur 66%. About 46% and 8% of households test soil periodically in Karnal and Samastipur, respectively. Results of PCA suggest economic profitability and soil health as core components from the farmer's motivational perspective in Karnal and Samastipur, respectively. Promotion and scaling up of CA technologies should be targeted per site-specific requirements, emphasizing biophysical resource availability, socio-economic constraints, and future impacts of such technology.

Smallholder Farmers Agents of Change Technology Diffusion Climate-Smart Practices CIENCIAS AGROPECUARIAS Y BIOTECNOLOGÍA SMALLHOLDERS SOCIAL STRUCTURE IRRIGATION MANAGEMENT TECHNOLOGY CLIMATE-SMART AGRICULTURE CONSERVATION AGRICULTURE

Intimate partner violence and its relationship to labor income

Yei Javier Zepeda Hernández Alma Sofia Santillan (2024, [Artículo, Artículo])

In Mexico, 70.1% of women have been victims of violence in their lifetime and the main perpetrator is her intimate partner. Gender violence is a public health problem that has multiple negative impacts in woman and their offsprings. The relation violence and income is an issue that has been scarcely studied for Mexico. The objective of this article is to analyze the intimate partner violence and its relationship to labor income for Mexican women, data used are from the National Survey on the Dynamics of Households Relationships (ENDIREH 2021). The principal component method is used to estimate five kinds of violence; physical, emotional, economic, sexual and, harassment. The instrumental variables method is used to consider the endogeneity of income and violence variables. Except harassment, the results indicate a negative relationship between income and violence. Specifically, sexual violence has the greatest negative effects; women who are victims of sexual violence have an average reduction of 17.4% in monthly labor income. This negative effect represents a loss of just over two month of working days per year and, in the aggregate terms, is equivalent to 0.87% of GDP. The above highlights the importance of orienting public policy actions to work in prevention, attention, punishment and eradications any kind of violence against women. 

Intimate partner violence Labor income Endogeneity Instrumental variables Cost of violence Violencia de pareja Ingresos laborales Endogeneidad Variables instrumentales Costo de la violencia. CIENCIAS SOCIALES CIENCIAS SOCIALES

Urban muralism in cities and towns of Chiapas. Configuring collective experiences and recovering urban spaces

Maria de Lourdes Morales Vargas (2023, [Artículo, Artículo])

This article expresses some reflections on the practice of urban muralism and the result of the approach to urban muralism projects or initiatives that have taken place in some cities, towns and villages in the state of Chiapas. This approach has made it possible to describe the dynamics, forms of participation, processes and agents that participate in the configuration and collective expression of urban murals in these spaces. From descriptive ethnography and its tools it was possible to approach the experiences of urban intervention that coexist with the community, in streets, parks, business walls, houses. This has made it possible to understand the practice of urban muralism as an artistic, collective, community process, a project of regeneration or urban recovery and as a practice of symbolic production of incidence in the space where it is implanted, configuring multiple experiences.

URBAN MURALISM URBAN MURAL YOUTH CREATIVE PRACTICES RECOVERY OF URBAN SPACES muralismo urbano, mural urbano, arte calle, practicas creativas juveniles, proceso artístico. CIENCIAS SOCIALES; HUMANIDADES Y CIENCIAS DE LA CONDUCTA CIENCIAS SOCIALES HUMANIDADES Y CIENCIAS DE LA CONDUCTA