Gloria Orenstein (left), Erika Duncan, and Judy Chicago (right) at the Woman's Salon

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Gloria Steinem at ERA demonstration

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Barbara Deming, Erika Duncan, Adrienne Rich, and Gloria Orenstein at The Woman's Salon

Inscription: Verso: The Woman's Salon, New York. Seated on platform: Barbara Deming, Erika Duncan, Adrienne Rich, and Gloria Orenstein.

Gloria Orenstein at the Woman's Salon

Inscription: Verso: The Woman's Salon, New York. Gloria Orenstein, founder.

"Los mejores y más fuertes disponibles". Hacia un enfoque socio-técnico de la producción de mano de obra esclavizada (Africa-América, entre los siglos XVI y XIX)

En este artículo se presenta el diseño de un proyecto de investigación -actualmente en desarrollo- en el que se aborda la problemática de la relación tecnología-esclavitud desde una perspectiva socio- técnica. Revisitar ese objeto de análisis desde esta perspectiva analítica supone la posibilidad de identificar nuevas relaciones, de re-construir nuevos procesos, de generar nuevas explicaciones. Asimismo, el artículo constituye una propuesta de abordaje teórico-metodológico todavía no aplicado en el campo de los estudios histórico-sociales. En este sentido, puede leerse como una tentativa de ampliación de los posibles abordajes analíticos utilizados por las ciencias históricas

"Los mejores y más fuertes disponibles". Hacia un enfoque socio-técnico de la producción de mano de obra esclavizada (Africa-América, entre los siglos XVI y XIX)

En este artículo se presenta el diseño de un proyecto de investigación -actualmente en desarrollo- en el que se aborda la problemática de la relación tecnología-esclavitud desde una perspectiva socio- técnica. Revisitar ese objeto de análisis desde esta perspectiva analítica supone la posibilidad de identificar nuevas relaciones, de re-construir nuevos procesos, de generar nuevas explicaciones. Asimismo, el artículo constituye una propuesta de abordaje teórico-metodológico todavía no aplicado en el campo de los estudios histórico-sociales. En este sentido, puede leerse como una tentativa de ampliación de los posibles abordajes analíticos utilizados por las ciencias históricas

"Los mejores y más fuertes disponibles". Hacia un enfoque socio-técnico de la producción de mano de obra esclavizada (Africa-América, entre los siglos XVI y XIX)

En este artículo se presenta el diseño de un proyecto de investigación -actualmente en desarrollo- en el que se aborda la problemática de la relación tecnología-esclavitud desde una perspectiva socio- técnica. Revisitar ese objeto de análisis desde esta perspectiva analítica supone la posibilidad de identificar nuevas relaciones, de re-construir nuevos procesos, de generar nuevas explicaciones. Asimismo, el artículo constituye una propuesta de abordaje teórico-metodológico todavía no aplicado en el campo de los estudios histórico-sociales. En este sentido, puede leerse como una tentativa de ampliación de los posibles abordajes analíticos utilizados por las ciencias históricas

Faulkner revisited : narrating property, race, gender and history in William Faulkner's Go Down, Moses, Toni Morrison's Song of Solomon and Gloria Naylor's Mama Day

My thesis explores the formation of the subject in the novels of Faulkner’s Go Down, Moses, Toni Morrison’s Song of Solomon, and Gloria Naylor’s Mama Day. I attach the concept of property in terms of how male protagonists are obsessed with materialistic ownership and with the subordination of women who, as properties, consolidate their manhood. The three novelists despite their racial, gendered, and literary differences share the view that identity and truth are mere social and cultural constructs. I incorporate the work of Judith Butler and other poststructuralist figures, who see identity as a matter of performance rather than a natural entity. My thesis explores the theme of freedom, which I attached to the ways characters use their bodies either to confine or to emancipate themselves from the restricting world of race, class, and gender. The three novelists deconstruct any system of belief that promulgates the objectivity of truth in historical documents. History in the three novels, as with the protagonists, perception of identity, remains a social construct laden with distortions to serve particular political or ideological agendas. My thesis gives voice to African American female characters who are associated with love and racial and gender resistance. They become the reservoirs of the African American legacy in terms of their association with the oral and intuitionist mode of knowing, which subverts the male characters’ obsession with property and with the mainstream empiricist world. In this dissertation, I use the concept of hybridity as a literary and theoretical devise that African-American writers employ. In effect, I embark on the postcolonial studies of Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford, and Arjun Appadurai in order to reflect upon the fluidity of Morrison’s and Naylor’s works. I show how these two novelists subvert Faulkner’s essentialist perception of truth, and of racial and gendered identity. They associate the myth of the Flying African with the notion of hybridity by making their male protagonists criss-cross Northern and Southern regions. I refer to Mae Gwendolyn Henderson’s article on “Speaking in Tongues” in my analysis of how Naylor subverts the patriarchal text of both Faulkner and Morrison in embarking on a more feminine version of the flying African, which she relates to an ex-slave, Sapphira Wade, a volatile female character who resists fixed claim over her story and identity. In dealing with the concept of hybridity, I show that Naylor rewrites both authors’ South by making Willow Springs a more fluid space, an assumption that unsettles the scores of critics who associate the island with authenticity and exclusive rootedness.

No. 9 - Enero/Junio 2007 / SISTEMAS y TELEMATICA

Contiene: Planificación de una red DVB-H en entorno urbano David Gómez Barquero, Ariana Salieto Alexis P. García, José F. Monserrat, Narcís Cardona Incorporación de la habilidad de coordinación y del módulo de personalización de sesiones al simulador de otorrinolaringología Wesst-OT Lina María Hurtado, Oscar Darío Ramírez Mauricio Castrillón S., Angélica María Ospina C. Francisco J. Herrera Botero Andrés A. Navarro Newball, Jorge A. Vélez Beltrán GenLeNa: Sistema para la construcción de Aplicaciones de Generación de Lenguaje Natural Gloria Johanna Chala T. Rafael Armando Jordán O. Diego Luis Linares Programación básica para adolescentes Guillermo Londoño Acosta Gustavo Adolfo Paz Loboguerrero Análisis de interferencia entre las tecnologías inalámbricas Bluetooth e IEEE 802.11g Fabio Guerrero Oliver Cardona Miguel Fuertes Teoría de Sistemas: Visión trascendental de Sistemas y Espiritualidad Ricardo Schnitzler

Seis narradoras de centroamérica : Claribel Alegría, Gloria Guardia, Rosario Aguilar, Rima Vallbona, Carmen Naranjo Luisa González /

Ofrece un conjunto de ensayos acerca de las narraciones escritas por Claribel Alegría (El Salvador), Gloria Guardia (Panamá), Rosario Aguilar (Nicaragua), Rima Vallbona, Carmen Naranjo y Luisa González (Costa Rica). Todas estas autoras son consideradas importantes dentro de la literatura centroamericana

Faulkner revisited : narrating property, race, gender and history in William Faulkner's Go Down, Moses, Toni Morrison's Song of Solomon and Gloria Naylor's Mama Day

My thesis explores the formation of the subject in the novels of Faulkner’s Go Down, Moses, Toni Morrison’s Song of Solomon, and Gloria Naylor’s Mama Day. I attach the concept of property in terms of how male protagonists are obsessed with materialistic ownership and with the subordination of women who, as properties, consolidate their manhood. The three novelists despite their racial, gendered, and literary differences share the view that identity and truth are mere social and cultural constructs. I incorporate the work of Judith Butler and other poststructuralist figures, who see identity as a matter of performance rather than a natural entity. My thesis explores the theme of freedom, which I attached to the ways characters use their bodies either to confine or to emancipate themselves from the restricting world of race, class, and gender. The three novelists deconstruct any system of belief that promulgates the objectivity of truth in historical documents. History in the three novels, as with the protagonists, perception of identity, remains a social construct laden with distortions to serve particular political or ideological agendas. My thesis gives voice to African American female characters who are associated with love and racial and gender resistance. They become the reservoirs of the African American legacy in terms of their association with the oral and intuitionist mode of knowing, which subverts the male characters’ obsession with property and with the mainstream empiricist world. In this dissertation, I use the concept of hybridity as a literary and theoretical devise that African-American writers employ. In effect, I embark on the postcolonial studies of Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford, and Arjun Appadurai in order to reflect upon the fluidity of Morrison’s and Naylor’s works. I show how these two novelists subvert Faulkner’s essentialist perception of truth, and of racial and gendered identity. They associate the myth of the Flying African with the notion of hybridity by making their male protagonists criss-cross Northern and Southern regions. I refer to Mae Gwendolyn Henderson’s article on “Speaking in Tongues” in my analysis of how Naylor subverts the patriarchal text of both Faulkner and Morrison in embarking on a more feminine version of the flying African, which she relates to an ex-slave, Sapphira Wade, a volatile female character who resists fixed claim over her story and identity. In dealing with the concept of hybridity, I show that Naylor rewrites both authors’ South by making Willow Springs a more fluid space, an assumption that unsettles the scores of critics who associate the island with authenticity and exclusive rootedness.