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El objetivo de este libro es establecer relaciones entre los referentes teóricos que enmarcan la economía social y solidaria en América Latina y el territorio. Para lograrlo, se hizo un examen documental sobre la evolución en el tiempo de dichos conceptos. Esta revisión teórica se acompaña de la socialización de estudios sobre prácticas de la economía social y solidaria en los territorios en Colombia. Dada la diversidad que representa la economía social y solidaria, así como los mismos territorios en América Latina, no se puede hablar de una sola forma de hacer, para lograr las transformaciones que se requieren para conseguir un buen vivir. Desde el enfoque de territorio, cualqu...
'NDiaye is a hypnotic storyteller with an unflinching understanding of the rock-bottom reality of most people's life.' New York Times ' One of France's most exciting prose stylists.' The Guardian. Obsessed by her encounters with the mysterious green women, and haunted by the Garonne River, a nameless narrator seeks them out in La Roele, Paris, Marseille, and Ouagadougou. Each encounter reveals different aspects of the women; real or imagined, dead or alive, seductive or suicidal, driving the narrator deeper into her obsession, in this unsettling exploration of identity, memory and paranoia. Self Portrait in Green is the multi-prize winning, Marie NDiaye's brilliant subversion of the memoir. Written in diary entries, with lyrical prose and dreamlike imagery, we start with and return to the river, which mirrors the narrative by posing more questions than it answers.
A general text on Mexican history, combining political, economic, and historical information.
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The turbulent years of the 1930s were of profound importance in the life of Spanish film director Luis Buñuel (1900–1983). He joined the Surrealist movement in 1929 but by 1932 had renounced it and embraced Communism. During the Spanish Civil War (1936–39), he played an integral role in disseminating film propaganda in Paris for the Spanish Republican cause. Luis Buñuel: The Red Years, 1929–1939 investigates Buñuel’s commitment to making the politicized documentary Land without Bread (1933) and his key role as an executive producer at Filmófono in Madrid, where he was responsible in 1935–36 for making four commercial features that prefigure his work in Mexico after 1946. As for...