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Buenos Aires Join Ayo on an Adventure
AYO’S AWESOME ADVENTURES IN Buenos Aires Join Ayo on an adventure. Ayo is an aardvark, an African mammal that eats ants and termites, and also a tour guide traveling the world. Read Ayo’s Awesome Adventures in Buenos Aires: City of Fair Winds to learn more! What did you learn? of the city QUESTIONS 1. Buenos Aires is almost ... 4. Calle Florida is for ... a. 420 years old a. Trailers only b. 450 years old b. Trucks only c. 350 years old c. Pedestrians only d. 500 years old d. Bikes only 2. The Uruguay and Paraná rivers join ... 5. What sport do the team Boca Juniors a. Northwest of the city play? b. Northeast of the city c. Southwest of the city 6. What are gauchos? d. Southeast of the city 3. San Telmo is old because the streets are .. a. Long with brick stones b. Curved with round stones c. Wide with square stones d. Narrow with round stones TRUE OR FALSE? _____ 1. Plaza de Mayo is the oldest part _____ 4. La Boca is famous for its brightly of Buenos Aires. painted houses. _____ 2. Avenida 9 is the widest street in _____ 5. El Caminito became famous the world. because of a salsa song. _____ 3. The Manzana de Las Luces in _____ 6. Buenos Aires has a lot of Catholic English means the Apple of the churches. Lights. © World Book, Inc. All rights reserved. ANSWERS 1. b. 450 years old. According to section 4. c. Pedestrians only. According to section “History” on page 8, we know that “Buenos “Calle Florida” on page 28, we know that “It Aires is almost 450 years old.” So, the correct is a nice place to walk because the street is for answer is B. -
The Mothers and Grandmothers of Plaza De Mayo and Influences on International Recognition of Human Rights Organizations in Latin America
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ETD - Electronic Theses & Dissertations The Mothers and Grandmothers of Plaza de Mayo and Influences on International Recognition of Human Rights Organizations in Latin America By Catherine Paige Southworth Thesis Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in Latin American Studies December 15, 2018 Nashville, Tennessee Approved: W. Frank Robinson, Ph.D. Marshall Eakin, Ph.D. To my parents, Jay and Nancy, for their endless love and support ii ACKNOWLEDGEMENTS First and foremost, I must express my appreciation and gratitude to the Grandmoth- ers of the Plaza de Mayo. These women were so welcoming during my undergraduate in- ternship experience and their willingness to share their stories will always be appreciated it. My time with the organization was fundamental to my development as a person as an aca- demic. This work would not have been possible without them. I am grateful everyone in the Center for Latin American Studies, who have all sup- ported me greatly throughout my wonderful five years at Vanderbilt. In particular, I would like to thank Frank Robinson, who not only guided me throughout this project but also helped inspire me to pursue this field of study beginning my freshman year. To Marshall Eakin, thank you for all of your insights and support. Additionally, a thank you to Nicolette Kostiw, who helped advise me throughout my time at Vanderbilt. Lastly, I would like to thank my parents, who have supported me unconditionally as I continue to pursue my dreams. -
Plano Portugués
R ío Limay Spika Gonçalves Días Perdriel Luzuriaga Sánchez de Loria Renacimiento Gral. Urquiza P. Chutro Labarden 2700 Los Patos Santo Domingo Luna 1800 Sta. María del BuenCalifornia Ayre 800 Uspallata Senillosa Lavadero Santa Elena Bardi Manuel García Inclán Spegazzini Meana Tarija Av. La Plata Av. Acoyte Darquier ESTACIÓN Pavón Muñiz PLAZA Río Cuarto Cotagaita 1600 1000 Campichuelo Ambrosetti Herrera BUENOS AIRES La Rioja Apule Cochabamba DÍAZ VÉLEZ Lafayette 100 Av. Chiclana Olavarría 2700 3200 Danel México A. de Lamadrid Av. Colonia América C. Castillo F. Devoto Monasterio 24 de Noviembre 3600 Toll 800 4000 San Ricardo Esquel Av. Iriarte Salom Luzuriaga 2400 2200 Av. CaserosCatamarca BOEDO Estados Unidos Jorge Gonçalves Días Cooperación E. Lobos 4800 Donado Mutualismo Deán Funes Quito J. Mármol Yerbal 800 Del Parque 2100 Casacuberta 2200 Montenegro Treinta y tres Orientales Tres Arroyos 3200 Villarino Sta. Magdalena Constitución Otamendi Alvarado RÍO DE Galicia 13 300 E. de San Martin Olaya 300 500 Av. Jujuy Franklin Luis Viale 1100 2800 1300 Castro Agrelo Gral. Venancio Flores Huaura S 100 San Ignacio JANEIRO Dr. F. Aranguren Dr. Luis Beláustegui 1400 Patagones 3800 4900 u 2800 Huemul Hidalgo s Girardot San Antonio Quintino Bocayuva Bogotá Ferrari Av. Warnes900 in Girardot Girardot Osvaldo Cruz Río de Janeiro i 2200 Australia 2800 4400 A. Machado 1300 Av. Hipólito Vieytes 2900 Portugal 1100 Martínez Rosas CEMENTERIO 3700 3300 4000 4900 Miravé 4200 600 ALEMÁN Prudan 1600 Santa Cruz 4600 2700 2400 Oruro Yapeyú 700 700 Caldas PARQUE Salcedo Cnel. Apolinario FIgueroa Río Cuarto Rondeau J. J. Pérez L. Marechal Caldas Pacheco Matheu 3000 Dumont S. -
Sobre Héroes Y Tumbas the Park and Political Logics of Memory in Argentina
sobre héroes y tumbas the park and political logics of memory in argentina daniel james for the degree of doctor of philosophy in sociology at the london school of economics 101,571 words 1 declaration I certify that the thesis I have presented for examination for the PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others. I consider the work submitted to be a complete thesis fit for examination. I authorise that, if a degree is awarded, an electronic copy of my thesis will be deposited in LSE Theses Online (in accordance with the published deposit agreement) held by the British Library of Political and Economic Science and that, except as provided for in regulation 41, it will be made available for public reference. I authorise the School to supply a copy of the abstract of my thesis for inclusion in any published list of theses offered for higher degrees in British universities or in any supplement thereto, or for consultation in any central file of abstracts of such theses. The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. In accordance with the Regulations, I have deposited an electronic copy of it in LSE Theses Online held by the British Library of Political and Economic Science and have granted permission for my thesis to be made available for public reference. Otherwise, this thesis may not be reproduced without my prior written consent. -
Abuelas De Plaza De Mayo Photographs of 30 Years in Struggle
Abuelas de Plaza de Mayo Photographs of 30 Years in Struggle Idea Abel Madariaga Compilation and production Alejandro Reynoso Text José María Pasquini Durán Captions Guillermo Wulff Design and digital retouching Horacio Petre Translation Tamara Lamela We thank the photographers and the press for their collaboration in the production of this book Copyrighted according to Argentine Law 11723 2 Abuelas de Plaza de Mayo Photographs of 30 Years in Struggle 3 4 1 were arrested. Was it not irresponsible of the youth to procreate The Wait when their own lives were at risk? In any case, they did it because they were completely confident about victory and they deeply J. M. Pasquini Durán* believed in another possible world and in another possible life for future generations. After all, instances of glorious insubordination had taken place during the 60s: the Cordobazo, the Cuban Revolution, Some of the photographs in this book could belong to any the events of May 1968 in France, and the groundbreaking music of family album: their protagonists are not heroes or bandits, but just The Beatles, just to name a few among many others. At the outset, ordinary people, in most cases young men and women who only the 70s looked promising: Chile, for the first time, had a socialist differed in the type of dreams they had. Other photographs, by president popularly elected and, here, Argentina saw the end of the contrast, should be exhibited at a horror museum to be duly eighteen-year proscription of Peronismo, the country’s biggest condemned by future generations. The so very different pictures of popular political movement during the second half of the 20th this collection, beyond the good work of their authors, aim to century. -
Mensuario 33Web.Qxd 10/06/2004 01:58 P.M
mensuario 33web.qxd 10/06/2004 01:58 p.m. PÆgina 1 PUBLICACION DE LAS ABUELAS DE PLAZA DE MAYO POR LA IDENTIDAD, ABUELAS LA MEMORIA Y LA JUSTICIA DE PLAZA DE MAYO AÑO V • Nº 33 • JUNIO 2004 ASAMBLEA ANUAL CAMPAÑA CON EL DEPORTE CICLO 2004 RED POR LA IDENTIDAD SE REALIZÓ EL ENCUEN- LA CAMPEONA MUNDIAL SE LANZÓ LA TEMPORADA LAS ABUELAS Y LA CONADI TRO QUE REÚNE A LAS DE JUDO, LAS LEONAS Y DE TEATRO POR LA IDENTI- VISITARON MISIONES PARA ABUELAS DE TODO EL PAÍS LOS MURCIÉLAGOS SE DAD EN CAPITAL FEDERAL ATENDER CONSULTAS Y Y ESTE AÑO, TAMBIÉN A SUMARON A LA LUCHA DE Y EN MADRID, ESPAÑA DIFUNDIR LA TAREA DE LAS LOS NIETOS LAS ABUELAS INSTITUCIONES Página 2 Página 4 Página 5 Página 8 PREMIOS TRINIDAD GUEVARA TEATRO POR LA IDENTIDAD SE LLEVÓ LA DISTINCIÓN A LA MEJOR PRODUCCIÓN TEATRAL DEL AÑO 2001 El lanzamiento del primer ciclo de LAS ABUELAS DE PLAZA DE MAYO, JUNTO A CRISTINA FRIDMAN Y EUGENIA LEVIN DE TXI, teatro fue el 26 de marzo, en el Tea- FUERON LAS MÁS OVACIONADAS AL SUBIR AL ESCENARIO PARA RECIBIR LA ESTATUILLA tro Liceo de la Ciudad de Buenos Ai- res y convocó a más de 40.000 es- GANADORA. LA ENTREGA ESTUVO SUSPENDIDA DURANTE DOS AÑOS. pectadores. Duró desde el 9 de abril hasta el 9 de julio de 2001 y estuvo compuesto por 41 obras representa- das en 14 salas de teatro de Capital Federal. Junto al nacimiento de TXI se puede arriesgar que también nacía una nue- va manera de comunicar de las Abue- Foto: DAMIÁN NEUSTADT las: decirle a sus nietos que se acer- quen que los están esperando. -
The Background of the Revolution of May 25, 1810 at the Port of Buenos Aires
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1966 The Background of the Revolution of May 25, 1810 at the Port of Buenos Aires Mary Robert Reis Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the History Commons Recommended Citation Reis, Mary Robert, "The Background of the Revolution of May 25, 1810 at the Port of Buenos Aires" (1966). Master's Theses. 2198. https://ecommons.luc.edu/luc_theses/2198 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1966 Mary Robert Reis THE BACKGROUND OF THE REVOLUTION OF MAY 25, 1810 AT THE PORT OF BUENOS AIRES by Sister Mary Robert Rels, C. D. P. A Thesis Submitted to the Faculty of the Graduate SChool of Loyola University In Partial FulfUlment of the Requirements for the Degree of Master of Arts June 1986 TABLE OF CONTENTS I. INTRODUC'nON. • • • • • • • • • • • • • • •• 1 U. CREOLE AC11V'ITIES IN BUENOS AIRES • • • • • •• 18 m. THE BRITISH IN BUENOS AIRES • • • • • • • • •• 31 IV. THE PREUMlNAlUES OF REVOLtJT10N • • • • • •• "6 V. CONCLUSION...... • • • • • • • • • • •• 71 BlBLtO<lR.APHY • • • • • • • • • • • • • • • • • • •• 82 CHAPTER I INTRODUCTION Amcmg the many and diverse factors which caused the Revolution of May 26, 1810, In the port city of Buenoa Aires none stand out so promtnently as the econom1c. -
Destination Report
Miami , Flori daBuenos Aires, Argentina Overview Introduction Buenos Aires, Argentina, is a wonderful combination of sleek skyscrapers and past grandeur, a collision of the ultrachic and tumbledown. Still, there has always been an undercurrent of melancholy in B.A. (as it is affectionately known by expats who call Buenos Aires home), which may help explain residents' devotion to that bittersweet expression of popular culture in Argentina, the tango. Still performed—albeit much less frequently now—in the streets and cafes, the tango has a romantic and nostalgic nature that is emblematic of Buenos Aires itself. Travel to Buenos Aires is popular, especially with stops in the neighborhoods of San Telmo, Palermo— and each of its colorful smaller divisions—and the array of plazas that help make up Buenos Aires tours. Highlights Sights—Inspect the art-nouveau and art-deco architecture along Avenida de Mayo; see the "glorious dead" in the Cementerio de la Recoleta and the gorgeously chic at bars and cafes in the same neighborhood; shop for antiques and see the tango dancers at Plaza Dorrego and the San Telmo Street Fair on Sunday; tour the old port district of La Boca and the colorful houses along its Caminito street; cheer at a soccer match between hometown rivals Boca Juniors and River Plate (for the very adventurous only). Museums—Museo de Arte Latinoamericano de Buenos Aires (MALBA: Coleccion Costantini); Museo Nacional de Bellas Artes; Museo Municipal de Arte Hispano-Americano Isaac Fernandez Blanco; Museo Historico Nacional; Museo de la Pasion Boquense (Boca football); one of two tango museums: Museo Casa Carlos Gardel or Museo Mundial del Tango. -
Catalogo 2019 INGLES Web2.Pdf
BIENALSUR 2019 This project was conceived and developed by the Universidad Nacional de Tres de Febrero BIENALSUR 2019 — BIENALSUR General Direction International Curatorial Council Aníbal Jozami BIENALSUR 2019 Stephane Aquin (CAN) Artistic and Academic Direction Ferran Barenblit (ESP) Diana Wechsler Regina Teixeira de Barros (BRA) Manolo Borja (ESP) Institutional Direction Ramón Castillo (CHL) Martín Kauffmann Marcello Dantas (BRA) Estrella de Diego (ESP) General Advisor Simon Djami (CMR) Marlise Ilhesca Andrés Duprat (ARG) Ticio Escobar (PRY) Legal Advisor João Fernandes (PRT) Mauricio de Nuñez Clara Garavelli (GBR) Marta Gili (ESP/FRA) Coordination of Institutional Relations Fábio Magalhães (BRA) Carlos Peralta José Carlos Mariátegui (PER) Fabián Blanco Johannes Odenthal (DEU) Catherine Petigas (FRA/ GBR) Curatorial Council BIENALSUR 2019 Agustín Pérez Rubio (ESP) Liliana Piñeiro (ARG) Nada Shabout (USA) Marina Aguerre (ARG) Nayla Tamraz (LBN) Florencia Battiti (ARG) Marie-Cecile Zinsou (BEN) Benedetta Casini (ITA) Fernando Farina (ARG) Honorary International Council Afshan Almassi Sturdza Ana Gilligan Rubens Ricupero Jean-Paul Fitoussi Enrique Iglesias Carlos Ivan Simonsen Leal Elizabeth Dulanto de Miró Quesada Academic Committee Academia de Bellas Artes de París (FRA) Escuela Municipal de Bellas Artes de Valparaíso (CHL) Escuela Nacional Superior Autónoma de Bellas Artes (PER) Fundación Álvarez Penteado (BRA) Fundación Getulio Vargas (BRA) Instituto Universitario Sudamericano (URY) Universidad Abdelmalek Essaâdi de Tánger (MAR) Universidad -
A Brief History of Argentina
A Brief History of ArgentinA second edition JonAtHAn c. Brown University of Texas at Austin A Brief History of Argentina, Second Edition Copyright © 2010, 2003 by Lexington Associates All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Brown, Jonathan C. (Jonathan Charles), 1942– A brief history of Argentina / Jonathan C. Brown. — 2nd ed. p. cm. Includes bibliographical references and index. ISBN 978-0-8160-7796-0 1. Argentina—History. I. Title. F2831.B88 2010 982—dc22 2010004887 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Excerpts included herewith have been reprinted by permission of the copyright holders; the author has made every effort to contact copyright holders. The publishers will be glad to rectify, in future editions, any errors or omissions brought to their notice. Text design by Joan M. McEvoy Maps and figures by Dale Williams and Patricia Meschino Composition by Mary Susan Ryan-Flynn Cover printed by Art Print, Taylor, Pa. Book printed and bound by Maple-Vail Book Manufacturing Group, York, Pa. -
Collective Memory and the Reconfiguration of Contested Space in Argentina's Esma
#04 THE SPACE OF REMEMBERING: COLLECTIVE MEMORY AND THE RECONFIGURATION OF CONTESTED SPACE IN ARGENTINA’S ESMA Emily E. Parsons Doctoral Student, Comparative Literature University of California, Santa Barbara Recommended citation || PARSONS, Emily E. (2011): “The Space of Remembering: Collective Memory and the Reconfiguration of Contested Space in Argentina’s ESMA” [online article], 452ºF. Electronic journal of theory of literature and comparative literature, 4, 29-51, [Consulted on: dd/mm/yy], < http://www.452f.com/index.php/en/emily-parsons.html > Illustration || Patricia López Article || Received on: 09/09/2010 | International Advisory Board´s suitability: 23/10/2010 | Published on: 01/2011 81 License || Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License 452ºF Summary || This paper explores the ongoing history of the ESMA museum’s development and argues that the intrinsic and conflictual collective memory work involved is characterized by competing desires to remember and to forget, rooted in the physical, visible, and public space of ESMA. Keywords || Collective Memory | Public Space | ESMA | Dirty War | Representations of Torture. 82 La fotografía no tiene fin. La imagen que había conseguido reconstruir, el retrato de mi hermano de los hombros para arriba detenido en la NOTES ESMA resultó estar incompleta 1 | Escuela de Suboficiales de Mecánica de la Armada. Marcelo Brodsky 29-51. #04 (2011) 452ºF. La Camiseta 2 | Comisión Nacional sobre la Desaparición de Personas. Argentina’s ESMA - Emily E. Parsons ESMA Argentina’s 0. Introduction The Navy Mechanics School, better known by its Spanish acronym ESMA1, sits on Libertador Avenue, the main avenue extending through the bustling sprawl of Argentina’s capital city, Buenos Aires. -
Buenos Aires: a Creative City?
Buenos Aires: A Creative City? November 2016 Prepared by the Creative Class Group Forward from Richard Florida Buenos Aires has been through a lot of transformations in its history. It started as a colonial outpost in a rural hinterland and grew into the industrial, financial, and commercial capital of a nation. Now, as Argentina enters a new period of stability, prosperity, and growth, it is shaping up as a leader in the post-industrial creative economy. Like every big city, Buenos Aires faces vexing challenges, among them poverty and brain drain. Fortunately, it has an incredible set of assets in its great universities, a government that is prepared to make the investments in quality of place that it needs—and most importantly of all, a diverse, dynamic, and highly-creative citizenry. If any global city is well-positioned to make the most of an Art Basel Cities, it is Buenos Aires. 2 Executive Summary Simply put, how well does Buenos Aires measure up as a global creative hub? What are its strengths and weaknesses according to the Creative Class Group’s proprietary metrics for urban creativity? How can the city use Art Basel to help cement its status as an emerging creative hub while bolstering its on-going place-making efforts? In the report that follows, we address these questions and offer our key findings and recommendations. Buenos Aires’ Creative Assets and Industries Key findings: • Buenos Aires has 142,213 jobs in creative industries (design, technology, audio-visual, and arts and culture) and creative employment is growing at a faster rate than overall employment for the city.