Conexión. Núm. 20 (2023)

URI permanente para esta colecciónhttp://54.81.141.168/handle/123456789/196668

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Presentación
  • Presentación Marquina Vega, Orietta; Núñez Murillo, Gabriela; Ramírez Jefferson, Margarita; 9-13

    • Artículos
  • Repensar el mapa de la economía política de la comunicación y la cultura en el contexto de los cambios tecnológicos Zaragoza Ramírez, Mario Alberto; 15-37
  • Mujer, tierra y territorio en el arte peruano contemporáneo: "Madre nuestra" (2018), de Luz Letts Vergara, Nataly; 39-56
  • "Habla, flaquita. ¿Bajas?" Prácticas de cortejo de jóvenes hombres heterosexuales en Tinder Ayala Castro, Gloria Estrellita; Huamán Enco, Belén Pilar; Gutierrez Matos, Diana Estefany; Nieves Aynayanque, Marcia Guadalupe; 57-72
  • La voz rebalsa imágenes. Sobre el "Podcast del Archivo de la Memoria Trans" (Argentina) de la Jara Plaza, Blas; 73-91
  • "Interstellar", entre la física y "El Aleph" Meza-Vélez, Iván; 93-117

    • Ensayo
  • Transformación digital del mercado del arte. Desafíos y oportunidades Navarro Hospinal, Susana; 119-138
  • Imaginarios sociales de Perú: simulación y simulacro en la publicidad de la marca de refrescos Inca Kola Rojas Virijivich, Rodolfo; 139-156

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    20232

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    Temasearch.filters.applied.operator.equals: search.filters.subject.Peru

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    Mostrando 1 - 2 de 2
    • No hay miniatura disponible
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      Mujer, tierra y territorio en el arte peruano contemporáneo: "Madre nuestra" (2018), de Luz Letts
      (Pontificia Universidad Católica del Perú, 2023-11-23) Vergara, Nataly
      Art as a discursive essence can become a means of reflection on our social reality. Madre Nuestra, by the plastic artist Luz Letts (2018), is an example of this, as this work represents an all-powerful woman who sustains the nation and questions gender stereotypes and violence against women in Peru. In turn, she realizes the powerful relationship of this with the land and territory, and it motivates us to think about the mutual support between women to fight the domination towards the female body and towards the natural world. Thus, it proposes the creation of a female collective identity as a force of the nation, a community defense of land and territory in the process of building a more just society. Finally, it outlines the need to rethink our country with an ecoterritorial and ecofeminist twist.
    • No hay miniatura disponible
      ÍtemTexto completo enlazado
      Imaginarios sociales de Perú: simulación y simulacro en la publicidad de la marca de refrescos Inca Kola
      (Pontificia Universidad Católica del Perú, 2023-12-28) Rojas Virijivich, Rodolfo
      This essay addresses the issue of social imaginaries in Peru and their relationship with the advertising of the Inca Kola soft drink brand, focusing on the concepts of simulation and simulacrum. Social imaginaries are shared representations that influence the way people perceive their social reality, and are expressed through stories, legends, myths and images. On the other hand, simulation refers to the creation of copies without an original, images of things that do not exist, and simulacrum implies the disturbance and challenge of reality itself. The reflection seeks to establish a link between these concepts and analyze how Inca Kola’s advertising constructs social imaginaries based on simulations, instead of reality. This raises the problem of idealizing aspects of reality that cannot be fulfilled, since simulation originates in the utopia of equivalence. According to Baudrillard (1994/1998, Chapter 2), we live in a society where reality and representations are confused, and simulation is based on the belief that everything can be replaced by its image.