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Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial 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.)

It has always been difficult to define what a city is and now even more so as the boom in real-estate business has subjected it and its peri-urban areas to constant transformation. With this, segregation has also acquired a state of constant mutation and in fact, no longer seems to stabilize itself, as it did in the past, into recognizable spatial patterns. This has been happening in Chilean cities, just as it has in many other countries. Thus, the temptation of substituting physical-geographical and planimetric definitions, both of city and segregation, for others that emphasize processes, is understandable. Does this mean to say then, that the physical-spatial dimension of the city implicitly or explicitly lacks importance as neoliberal economists and urbanist devotees of structural-determinist approaches argue? It is true that the COVID-19 pandemic makes the feebleness of these approaches, which ignore the spatial aspect, patently clear, but this does not make it any less relevant to examine their theoretical setup, which we will do based on a critical review of the specialized literature and testimonies of specialists collected in a research project on segregation in three Chilean cities that we recently finished. We conclude these pages in the need to reinforce empirical research of the city and segregation, just as our attention to their subjective dimensions. [ABSTRACT FROM AUTHOR]

Copyright of Medicina (Buenos Aires) is the property of Medicina (Buenos Aires) 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.)

Luis Buñuel's films present an obsessive repetition of motifs, images and objects that create a personal and recognizable universe: the proliferation of shoes, mysterious boxes and insects have already become privileged objects of study. This paper analyzes a motif that is not merely an obsession and that despite its recurrence has gone unnoticed: the exchange of an apple in a context that evokes the rewriting of the Biblical story of Adam and Eve. This motif, which appears for the first time in Buñuel's Mexican period, is present in primarily nonreligious films and summarizes the particular vision of Buñuel about sex, eroticism and religion. [ABSTRACT FROM AUTHOR]

Copyright of EURE is the property of Pontificia Universidad Catolica de Chile 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.)