Metabolic syndrome in postmenopausal women: higher prevalence in the Northeastern Region of Brazil than in other Latin American countries and the influence of obesity and socioeconomic factors

SILVEIRA, Inavan Lopes da; MARANHÃO, T. M. O.; AZEVEDO, George Dantas. Metabolic syndrome in postmenopausal women: higher prevalence in the Northeastern Region of Brazil than in other Latin American countries and the influence of obesity and socioeconomic factors. Climacteric (Carnforth), v.10, p.438-439, 2007.

Pass-through of International food prices to domestic ination during and after the great recession: evidence from a set of Latin American economies

We examined how international food price shocks have impacted local ination processes in Brazil, Chile, Colombia, Mexico, and Peru in the past decade -- Using impulse-response analysis coming from cointegrated VARs, we wind that international food ination shocks take from one to six quarters to pass through to domestic head-line ination, depending on the country -- In addition, by calculating the elasticity of local prices to an international food price shock, we found that this pass-through is not complete -- We also take a closer look at how this type of shock affects local food and core prices separately, and asses the possibility second round effects over core ination stemming from the shock -- We wind that a transmission to headline prices does occur, and that part of the transmission is associated with rising core prices both directly and through possible second round effects, which implies a role for monetary policy when such a shock takes place -- This is especially relevant given that international food prices have recently been on an upward trend after falling considerably during the Great Recession

Relationship marketing in Latin American context: Implications for small Finnish software companies in Latin American B2B partnerships

After a productivity decrease of established national export industries in Finland such as mobile and paper industries, innovative, smaller companies with the intentions to internationalize right from the start have been proliferating. For software companies early internationalization is an especially good opportunity, as Internet usage becomes increasingly homogeneous across borders and software products often do not need a physical distribution channel. Globalization also makes Finnish companies turn to unfamiliar export markets like Latin America, a very untraditional market for Finns. Relationships consisting of Finnish and Latin American business partners have therefore not been widely studied, especially from a new-age software company’s perspective. To study these partnerships, relationship marketing theory was taken into the core of the study, as its practice focuses mainly on establishing and maintaining relationships with stakeholders at a profit, so that the objectives of all parties are met, which is done by a mutual exchange and fulfillment of promises. The most important dimensions of relationship marketing were identified as trust, commitment and attraction, which were then focused on, as the study aims to understand the implications Latin American business culture has for the understanding, and hence, effective application of relationship marketing in the Latin American market. The question to be answered consecutively was how should the dimensions of trust, commitment and attraction be understood in business relationships in Latin America? The study was conducted by first joining insights given by Latin American business culture literature with overall theories on the three dimensions. Through pattern matching, these insights were compared to empirical evidence collected from business professionals of the Latin American market and from the experiences of Finnish software businesses that had recently expanded into the market. What was found was that previous literature on Latin American business culture had already named many implications for the relationship marketing dimensions that were relevant also for small Finnish software firms on the market. However, key findings also presented important new drivers for the three constructs. Local presence in the area where the Latin American partner is located was found to drive or enhance trust, commitment and attraction. High-frequency follow up procedures were in turn found to drive commitment and attraction. Both local presence and follow up were defined according to the respective evidence in the study. Also, in the context of Finnish software firms in relationships with Latin American partners, the national origins or the foreignness of the Finnish party was seen to enhance trust and attraction in the relationship

Immigration experience of Latin American working women in Alicante, Spain: an ethnographic study

Objective: to describe the experience of Latin American working women regarding immigration, taking into account the expectations and conditions in which this process takes place. Method: ethnographic qualitative study. Data collection was performed by means of semi-structured interviews with 24 Latin American immigrant women in Spain. The information collected was triangulated through two focal groups. Results: the expectations of migrant women focus on improving family living conditions. Social support is essential for their settling and to perform daily life activities. They declare they have adapted to the settlement country, although they live with stress. They perceive they have greater sexual freedom and power with their partners but keep greater responsibility in childcare, combining that with the role of working woman. Conclusions: migrant women play a key role in the survival of households, they build and create new meanings about being a woman, their understanding of life, their social and couple relationships. Such importance is shaped by their expectations and the conditions in which the migration process takes place, as well as their work integration.

An analysis of herd behavior in Latin American stock markets

This research investigates whether the major stock markets in Latin America (Brazil, Mexico, Chile, Colombia, Peru and Argentina) exhibited herd behavior over the period January 2, 2002 to June 30, 2014, using the variation in the returns overall and by sector in the most representative stock market index in each country, using the model proposed by Christie y Huang (1995) -- The results do not reveal any herd behavior in the total market, or in the sectors of the markets examined in the study

Interpreting independence in Latin American cinema today: the digital option

Globalisation has transformed “independence” into, at best, “inter-dependence”. In Latin American film, this process has been experienced as a decline in the national productions, now usually co-productions, and a tendency towards the self-exoticising as films cater for a festival-circuit global audience; similarly, theatrical exhibition takes place in one of a handful of the global multiplex complexes. Moreover, narrative film itself has long been regarded as inherently “dependent”, on the conservative sectors that have provided its finance, with the word “independent” referring to authorial features only. However, the very same processes that have allowed for such an unprecedented corporate control of these film industries have also spawned a parallel network of local, regional and national filmmaking, distribution and exhibition through digital media. From the “Mi Cine” project in Mexico to the “Cine Piquetero” in Argentina, digital filmmaking is empowering viewers and restoring agency to local filmmakers. In this paper I argue for this understanding of “independence” in the contemporary cinematic spheres of Latin America: the re-appropriation, amidst the transnationalism of the day, of the democratising potential of cinema that Walter Benjamin once thought was inherent to the medium.

CULTURAL CANNIBALISM: A TURNING POINT IN THE PROPOSITION OF AMBIVALENT POETICS IN THE LATIN AMERICAN LITERARY DISCOURSE

The concept of cultural cannibalism was discussed and re-established by intellectuals from the field of literary and cultural criticism, and it was also the object of creative appropriation by a significant group of writers in Brazil and in the Latin America context. Nevertheless, this concept is revitalized in the contemporary context, reflecting the critical consciousness of the writer on the understanding of social inequalities that shape Latin America, in its different segments, be they political, economic or cultural.

THE GUARDIANS OF SIGNS: WOMEN OF LATIN-AMERICAN LITERATURE

One hundred years of solitude, Report on the blind and Alturas de Machu Picchu, outstanding works from the Latin American Literature of the period of its boom, broke the relationship with facile and nineteenth schemes, and brusquely sprouted in a world that went far ahead of the surrealistic theses spread by André Breton. This was possible by the emergence of magical realism in the Hispanic American pens. According to Alejo Carpentier, “Our magical realism is the one we found in a raw state, omnipresent all through Latin America. Here, the unusual is daily, in fact it has always been daily”. It should not be forgotten that Carpentier and Sábato were in Breton’s work staff, because they guarded each a deep knowledge of Surrealism. Yet the history of the religions should also be taken into account, since the knowledge of myths, with Mircea Eliade as the chief head, enables an important and close approach to the works of these authors. That is the reason why, in this essay, the mythical aspects in the previously mentioned works are analyzed.

The gender perspective in economic and labour policies: state of the art in Latin America and the Caribbean

Includes bibliography

“Art Will Not Disappear Into Nothing; It Will Disappear Into Everything“: The Black Audio Film Collective and Latin America

The development of Latin American cinema in the 1960s was underwritten by a number of key texts that outlined the aesthetic and political direction of individual filmmakers and collectives (Solanas and Getino, 1969; Rocha, 1965; Espinosa, 1969). Although asserting the specificity of Latin American culture, the theoretical foundations of its New Wave influenced oppositional filmmaking way beyond its own regional boundaries. This chapter looks at how movements in British art cinema, especially the Black Audio Film Collective, were inspired and propelled by the theories behind New Latin American cinema. Facilitated by English translations in journals such as Jump Cut in the early ‘80s, Cuban and Argentine cinematic manifestoes provided a radical alternative to the traditional language of film theory available to filmmakers in Europe and works such as Signs of Empire (1983-4); Handsworth Songs (1986) and Seven Songs for Malcolm X (1993) grew out of this trans-continental exchange. The Black Audio Film Collective represented a merging of politics, popular culture, and art that was, at once, oppositional and melodic. Fusing postcolonial discourse with pop music, the avant-garde and re-imaginings of subalternity, the work of ‘The Collective’ provides us with a useful example of how British art cinema has drawn from theoretical foundations formed outside of Europe and the West. As this chapter will argue however, the Black Audio Film Collective’s work can also be read as a reaction to the specificity of British socio-politics of the ‘80s and ‘90s. Its engagement with the aesthetico-political strategies of Latin American cinema, then, undercut what was a solidly British project, rooted in (post)colonial history and emerging ideas of disaporic identity. If the propulsive thrust of The Black Audio Film Collective’s art was shaped by Third Cinema, its images and concerns were self-consciously British.

Visual Disobedience: The Geopolitics of Experimental Art in Central America, 1990-Present

This dissertation centers on the relationship between art and politics in postwar Central America as materialized in the specific issues of racial and gendered violence that derive from the region's geopolitical location and history. It argues that the decade of the 1990s marks a moment of change in the region's cultural infrastructure, both institutionally and conceptually, in which artists seek a new visual language of experimental art practices to articulate and conceptualize a critical understanding of place, experience and knowledge. It posits that visual and conceptual manifestations of violence in Central American performance, conceptual art and installation extend beyond a critique of the state, and beyond the scope of political parties in perpetuating violent circumstances in these countries. It argues that instead artists use experimental practices in art to locate manifestations of racial violence in an historical system of domination and as a legacy of colonialism still witnessed, lived, and learned by multiple subjectivities in the region. In this postwar period artists move beyond the cold-war rhetoric of the previous decades and instead root the current social and political injustices in what Aníbal Quijano calls the `coloniality of power.' Through an engagement of decolonial methodologies, this dissertation challenges the label "political art" in Central America and offers what I call "visual disobedience" as a response to the coloniality of seeing. I posit that visual colonization is yet another aspect of the coloniality of power and indispensable to projects of decolonization. It offers an analysis of various works to show how visual disobedience responds specifically to racial and gender violence and the equally violent colonization of visuality in Mesoamerica. Such geopolitical critiques through art unmask themes specific to life and identity in contemporary Central America, from indigenous genocide, femicide, transnational gangs, to mass imprisonments and a new wave of social cleansing. I propose that Central American artists--beyond an anti-colonial stance--are engaging in visual disobedience so as to construct decolonial epistemologies in art, through art, and as art as decolonial gestures for healing.

The "Art" of Criticism: Rubén Darío and his Unknown Chronicles of the 1895 Salon for "La Prensa"

With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries –discarding categories such as “influence”, “exotism” and “ivory tower”, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rubén Darío published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Darío by the end of 1895 work as a visual counterpoint of the eccentric writers’ biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early “salon”, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition –now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.

Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums

Contém artigos apresentados na International Conference “Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums”, na Fundação Calouste Gulbenkian (Lisboa), 31 Outubro - 1 de Novembro de 2014) de: Helena Barranha e Susana S. Martins - Introduction: Art, Museums and Uncertainty (pp.1-12); Alexandra Bounia e Eleni Myrivili - Beyond the ‘Virtual’: Intangible Museographies and Collaborative Museum Experiences (pp.15-32); Annet Dekker - Curating in Progress. Moving Between Objects and Processes (pp.33-54); Giselle Beiguelman - Corrupted Memories. The aesthetics of Digital Ruins and the Museum of the Unfinished (pp.55-82); Andrew Vaas Brooks - The Planetary Datalinks (pp.85-110); Sören Meschede - Curators’ Network: Creating a Promotional Database for Contemporary Visual Arts (pp.11-130); Stefanie Kogler - Divergent Histories and Digital Archives of Latin American and Latino Art in the United States – Old Problems in New Digital Formats (pp.131-156); Luise Reitstätter e Florian Bettel - Right to the City! Right to the Museum!(pp.159-182); Roberto Terracciano - On Geo-poetic systems: virtual interventions inside and outside the museum space (pp.183-210); e, Catarina Carneiro de Sousa e Luís Eustáquio - Art Practice in Collaborative Virtual Environments (pp.211-240).