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This essay studies the cultural consequences that the spread of paper money had in late nineteenth-century Brazil. First, I examine how these tensions are called into question through the analysis of a political scandal that took place in Rio de Janeiro, in 1900, concerning a two thousand reales banknote. Second, I offer a close reading of Machado de Assis' "Anedota pecuniária", a short-story included in Histórias sem data (1884). My goal is to interrogate the relation between paper money and the economy of credit work, and the narrative devices of literary fiction. [ABSTRACT FROM AUTHOR]

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Copyright of Revista de Filosofía (0034-8244) is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Babel A.F.I.A.L. is the property of Babel A.F.I.A.L. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Starting from a question about the "diasporic" position of certain authors of cultural criticism in Latin America, always halfway between academic affiliation and a kind of fractious position regarding their increasingly bureaucratized practices of knowledge administration, this paper proposes a reading of three representative texts by the Brazilian-Argentine critic Raul Antelo: Crítica acéfala, Archifilologías latinoamericanas. Lecturas tras el agotamiento and A ruinologia. These strange and problematic texts seem to be articulated from a position that not only (post)critically revises the foundations of more conventional criticism, but also moves toward the behavior of the most radical bids of artistic conceptualism; in other words, in them criticism becomes an act: intervention. And therein lies its forceful emergence in the framework of contemporary literary and cultural studies. [ABSTRACT FROM AUTHOR]

Yoga is an ancient South Asian philosophical system associated with an extensive set of physical, mental, and religious practices. The purpose of this paper is to discuss the forms of yoga's production-consumption-identity and cultural regulation within the framework of Cultural Studies. This paper is based on the findings of an Evidence Map on Yoga and corroborates the fact that yoga is being consumed as a cultural symbol and has mushroomed into a heterogeneous and deregulated market, in which many competing organizations promote different yoga styles and levels of certifications. Yoga has become entangled with economic and political logics and the commodification/branding process has transformed it from an Asian soul-searching practice into an industry. [ABSTRACT FROM AUTHOR]

Copyright of Revista Chilena de Literatura is the property of Universidad de Chile, Facultad de Filosofia y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of TRANS: Revista de Traductología is the property of TRANS: Revista de Traductologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyzes how the ownership structure and the alliances between the agents producing serialized fiction for television are linked to the themes and narratives addressed by this type of cultural product. From the political economy of communication and cultural studies, the paper examines the predominant themes in the 100 most watched premiere fictions on open television in Argentina during the decade between 2011 and 2020. It is concluded that there is a wide predominance of universal themes with nonstructural local references, over purely local ones. [ABSTRACT FROM AUTHOR]

Copyright of Dixit. Comunicación, Profesión, Conocimiento is the property of Universidad Catolica del Uruguay Damaso Antonio Larranaga and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Teología y Vida is the property of Pontificia Universidad Catolica de Chile, Facultad de Teologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Revista de Humanidades (1130-5029) is the property of Universidad Nacional de Educacion a Distancia, Centro Asociado de Sevilla and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)