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Accede a la entrada. Cuando roban una reliquia de valor incalculable, la reina Margaret y la princesa Stacy solicitan la ayuda de Fiona para recuperarla Eric, un periodista mexicano que ha dejado de escribir por amenazas, decide volver a hacer una historia, aunque eso le cueste la vida.
Ahora luchan por mantener su matrimonio y sus ambiciones. To learn more, view our Privacy Policy. Log In Sign Up. All Departments 9 Documents 10 Researchers. Caso Colosio: Re-examining Historical Narratives. Eighteen years after the public assassination of presidential candidate Luis Donaldo Colosio Murrieta, Carlos Bolado's film Colosio: El asesinato revisits the events of this unresolved crime.
Released on the eve of Mexico's most Storyline Edit. It's in Mexico, the nation was witnessing a turbulent year since its beginnings. An indigenous rebellion shakes the country. Three months later, the ruling party's presidential candidate is brutally murdered during a rally in Tijuana.
The country is concerned. But another expert agent, el Seco, has received orders to wipe out all witnesses and get rid of the evidence surrounding the candidate's murder. Add content advisory. Did you know Edit. The movie takes places in , the Dreamcast was first released in User reviews 3 Review.
Top review. Good recreation of an era who is not as far from us as we believe. Contrary to the previous reviewer, I was not a baby when the events depicted in this Film occurred. All of these practices help in the very constitution of the way the televisual device is presented. Borges everyday, from interactions between the audience, television and its content, that televisual reconfigurations are constructed.
Sharon Marie Ross apud. Agostini 39 points out that the forms of participation of viewers in programme trends are confused with the very history of television, playing a part in the experience of watching television.
Today, consumer habits have become visible not only in production, but also in the methods of circulation of televisual content. Aside from participation in the construction of programmes and the themes being explored, it seems to us that the audience has also influenced how it will consume televisual products. Televisual agency, in this way, has constituted itself in an immaterial way and with pulverisation of its content, without dependence on only one carrier. This has also influenced the very televisual flux that Williams discusses and how televisual products will be integrated.
However, just as Hall points out, it is worth remembering that the power is not totally on the side of receptive practices, given that the constructions and negotiations of feeling are also related to the processes of production, economy and the ways programmes are organised.
In this way, social resignifications are in the modes of interaction with the means, between groups in society and the diverse agents that compose society.
Due to this, although it is remarkable that the practices of watching television have reconfigured the televisual format, we cannot fail to consider the manner in which the forms of production also contribute to the phenomenon. The availability of different episodes or contents at once, for example, have produced phenomena such as binge watching, catering for users who want to watch marathons of programmes.
Taking into account this condition of reception, the production of some series, for example, has been based around more elaborate scripts, often without the use of cliffhangers. This aspect, as a sign, is one of the most interesting for understanding how the new forms of circulation and consumption of televisual texts leads to their own restructuring.
Finally, previously series were shown with commercial intervals dividing Journal of Languages, Texts, and Society, Vol. With the new method of circulation of programmes, streaming platforms and on demand services, this narrative strategy is no longer necessary, now that there are no commercial breaks; and because the viewer that chose to watch the determined series in this way did it in a decisive way, and not because they zapped through television channels. This way, the process of negotiation involved in the consumption of television today influences a textual reconfiguration.
Therefore, we observe not only an intense negotiation between the new practices utilised by the audience and the constitution of the televisual device, but also the insertion of new technologies and processes that influence the circulation and production of the content of television. All of these aspects together reconfigure the televisual experience as a whole. Conclusion Hall defends the notion that television programmes are relatively open texts, capable of being read in various ways by different people.
Thus, the practice of watching television is seen as a process of negotiation between viewer and text; a type of discursive conflict. It is reasonable to think that the reflections we have made throughout this article propose a negotiation that goes beyond the text, and are therefore also related to the televisual device. We have discussed not only negotiated readings of the televisual text, but also of practices related to Journal of Languages, Texts, and Society, Vol.
Borges various ways of consuming television. If watching television is a process of negotiation between viewer and text, we would say that this relationship can be applied to the device as well.
Perhaps it would be pertinent to discuss, faced with the current phenomenon, a conflict between the device and the various forms of circulation of this discourse. It becomes interesting to think about how the hegemonic codes remain, negotiated and in opposition in this context, that involves new proposals such as Netflix and Popcorn Time.
In this way, it is also interesting to understand how the forms of circulation and consumption influence their own configuration of televisual grammar. This shows to what extent these instances are related, and how form and content cannot be taken in a separate manner, seeing that they present a dynamic relationship.
The forms of circulation and consumption end up influencing, in a decisive way, the televisual text; that does not lose its singularity when faced with other mediums in this process.
In Culture and Society, Williams outlines how modifications in life and thought correspond to alterations in language through the analysis of literary productions from the end of the eighteenth century until the middle of the twentieth century. For the author, it was possible to observe how determined words acquired new meanings or to what extent new words emerged in English vocabulary as a way of giving account to the changes that were occurring in the life of that society.
In synthesis, Williams discusses how language changes according to modifications in the social environment; the significance of words alters in this process. Television is, definitively, no longer the same. Antunes, Elton; Vaz, Paulo B.
Duarte, Elizabeth Bastos. Gomes, Itania M. Hall, Stuart. Belo Horizonte:Ed. UFMG, Hoggart, Richard. Horkheimer, Max. Os Pensadores. Kellner, Douglas.
Machado, Arlindo. Sujeito, o lado oculto do receptor. Borges ———. Mouillaud, Maurice. Da forma ao sentido. Porto, Mauro P. Rocha, Simone Maria. Williams, Raymond. Television: technology and cultural form. Londres: Routledge, Cultura e sociedade. Andrew Reynolds and Bonnie Roos, editors. Gainesville, Florida: University Press of Florida, ISBN: , pp.
This work responds and contributes to the currently rigorous discussions on comparative and global modernisms: a field that transcends the Western modernist canon and considers modernism the outcome of cross-cultural encounters. According to the editors, the mask is a ubiquitous but relatively underexplored image in modernist artistic practices all over the world. This inherent problem lies in the relationship between Journal of Languages, Texts, and Society, Vol.
Fredric Jameson in A Singular Modernity argues that capitalism is the primary cause for all modernities and modernisms, and as a result, all cultures will look alike in the end. In fact, the global modernist cultural field is much more nuanced and complicated. With a global and transnational vision, all the essays collected in this volume are historically contextualised, politically, economically and culturally grounded. This study points out that although Tagore is against British imperialism, he also casts doubt on nationalism.
Modernism is always considered as a radical rupture in the Journal of Languages, Texts, and Society, Vol. Sandro R. With the operation of the two important driving forces—mass media and nation-state, the traditional Chinese Guan Suo Opera gained its symbolic prestige in modern China.
Apart from the tension between tradition and modernity, essays in this collection also focus on the relationships between high modernism and market, cultural identity and race or history. Through taking advantage of journalism and market, they find a way to consecrate their poetry and endow it with symbolic prestige. Nardi uses a deconstructive approach to analyse the mask metaphor in two modernist African American poets. For Paul Laurence Dunbar, black people wear a fake mask which hides and protects their real self, so the mask can be detached from the face.
But for Countee Cullen, the mask and the face are fused together after the historical racial encounter, so there is no essential black subjectivity behind the mask that can be retrieved, and the self is already transfigured by the mask imposed on him; any attempt to detach the mask will cause mutilation.
The nine essays collected in this volume, though covering a wide range of cultural spaces and artistic genres, all have a thematic concern with masks both literal and figural , and explore modern subjects, dwelling, struggling and negotiating within particular historical contexts in a global modernist field. Modernism is never a self-contained system which has definite boundaries; nor is it a binary system which only flows from the centre to the periphery.
In the global modernist cultural field, the dialectical tensions between history and present, West and East, heteronomy and autonomy, sameness and differentiation, make modern subjects struggle and suffer. Fiona and Angela Creese. London: Sage, Linguistic ethnography is a research approach in which two fields of study — linguistics and ethnography — are brought together, the Journal of Languages, Texts, and Society, Vol.
It is a relatively recent, European phenomenon that is closely related to North American scholarship in linguistic anthropology. Thus, by combining the two disciplines, research in linguistic ethnography seeks to examine language use in various social contexts, as the two are closely intertwined and influence one another. This work provides a comprehensive guide to conducting linguistic ethnographic research, from the initial research design stage through to data analysis and writing up findings.
It is—as set out in the introduction—aimed at students and researchers with various levels of experience in conducting linguistic ethnographic research. The book is well-organised and split into three parts, allowing the reader to locate and refer to a given section as and when it is necessary. The second part of this chapter focuses on the antecedents of linguistic ethnography and its current relevance.
The reader is introduced to four of the major scholars whose shared interest in language, culture, society, and whose interaction has influenced linguistic ethnography: Hymes, Gumperz, Goffman, and Erickson. Following this, information is provided about the current relevance and status of linguistic ethnography. Harrison of each approach, types of data, data collection, data analysis, and reflexivity are discussed. The two chapters in this part of the book provide brief, but useful introductions to the development of linguistic ethnography and some of the common research approaches used by scholars in this field.
Additional key readings are listed at the end of both chapters, which will especially be of benefit to readers who are new to linguistic ethnography, as the brevity of these chapters mean that they may need supplementing with some additional reading.
The respective authors of each chapter present a case study on a research project of which they have been a part, and discuss some of the issues that they faced and problems they had to overcome during the research process. The case studies presented highlight the diverse range of research areas and topics for which a linguistic ethnographic approach can be employed.
In Chapter 3, Angela Creese discusses her work as part of a research team examining multilingualism in community-led language schools. The case study discussed by Fiona Copland in Chapter 4 is based on research carried out in English language teacher training centres. The setting for the case study written by Frances Rock in Chapter 5 is police custody; and in Chapter 6 Sara Shaw discusses her work on language and healthcare planning. The chapters in Part Two are structured similarly, and the same issues are discussed in all four.
Each author sets the context of their respective case study by providing some background information and the research questions that were investigated, after this they proceed to discuss some of the issues that arose while conducting the research.
Some of the headings under which the research projects are discussed include research design, collection of data, data storage, analysis of data, and representation and writing up.
These case studies provide rich, in-depth accounts of the research undertaken by each author. The close attention paid to practically every step of the research process really brings each study to life and allows the reader to fully engage with the various issues that arose whilst the author was working on the given project and how these were dealt with.
Chapter 7 focuses on empiricism, ethics and impact — the latter of the two being issues that currently seem to be of particular importance in all fields of research.
Chapter 8 provides guidance on transcription, translation and technology, such as advice on making decisions on how to transcribe data, how to present data from languages with different orthographies, and how to manage data.
Chapter 9 provides invaluable advice on writing up the results of research for different outputs including doctoral theses, articles, posters, and policy briefing papers. Overall this work is an excellent contribution to a relatively new area of research on which there is still relatively little written.
The emphasis on the importance of the need for reflexivity at all stages of the research process is something that is stressed throughout the work and is one of its particular strengths. As mentioned above, the different methods that can be used in linguistic ethnographic research are not discussed at great length, which could be a potential weakness of the work — especially for readers who are new to research — however, adequate further reading suggestions are provided.
This work is an essential read for graduate students and researchers in a wide range of disciplines who are conducting research using a linguistic ethnographic approach. The layout is clear and it is written in a very accessible style. This is a work that all researchers in this area should have close to hand whilst conducting their research. Accessed 20 March British Spy Fiction and End of Empire.
Sam Goodman. Abingdon: Routledge,
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