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Performances that become rituals, which are preserved through decades, even centuries, are formed by history. Every aspect that composes them speaks about the community represented, the intended audience and the surroundings. Costume is the most visible element a performer has to spread a message in the most democratic way possible. The capital city of a small South American country — Montevideo, Uruguay — presents Candombe, an interesting carnival celebration first performed by enslaved Afro-Uruguayans which has become a popular event that now represents a significant part of the country's culture. This article aims to understand the origins of the costume for this particular ritual and why the design is preserved today in contemporary celebrations. The topics discussed are colonialism, memory, tradition and multiculturalism. In addition, the concept of agency in regard to the costume is addressed with concrete examples. [ABSTRACT FROM AUTHOR]

ABSTRACT Most foodborne salmonellosis outbreaks are linked to agricultural animal products with a few serovars accounting for most Salmonella isolated from specific animal products, suggesting an adaptation to the corresponding animal hosts and their respective environments. Here, we utilized whole-genome sequence (WGS) data to analyze the evolution and population genetics of seven serovars frequently isolated from ground beef (Montevideo, Cerro, and Dublin), chicken (Kentucky, Infantis, and Enteritidis), and turkey (Reading) in the United States. In addition, publicly available metadata were used to characterize major clades within each serovar with regard to public health significance. Except for Dublin, all serovars were polyphyletic, comprising 2–6 phylogenetic groups. Further partitioning of the phylogenies identified 25 major clades, including 12 associated with animal or environmental niches. These 12 clades differed in evolutionary parameters (e.g., substitution rates) as well as public health relevant characteristics (e.g., association with human illness, antimicrobial resistance). Overall, our results highlight several critical trends: (i) the Salmonella generation time appears to be more dependent on source than serovar and (ii) all serovars contain clades and sub-clades that are estimated to have emerged after the year 1940 and that are enriched for isolates associated with humans, agricultural animals, antimicrobial resistance (AMR), and/or specific geographical regions. These findings suggest that serotyping alone does not provide enough resolution to differentiate isolates that may have evolved independently, present distinct geographic distribution and host association, and possibly have distinct public health significance.IMPORTANCENon-typhoidal Salmonella are major foodborne bacterial pathogens estimated to cause more than one million illnesses, thousands of hospitalizations, and hundreds of deaths annually in the United States. More than 70% of Salmonella outbreaks in the United States have been associated with agricultural animals. Certain serovars include persistent strains that have repeatedly contaminated beef, chicken, and turkey, causing outbreaks and sporadic cases over many years. These persistent strains represent a particular challenge to public health, as they are genetically clonal and widespread, making it difficult to differentiate distinct outbreak and contamination events using whole-genome sequence (WGS)-based subtyping methods (e.g., core genome allelic typing). Our results indicate that a phylogenetic approach is needed to investigate persistent strains and suggest that the association between a Salmonella serovar and an agricultural animal is driven by the expansion of clonal subtypes that likely became adapted to specific animals and associated environments.

There are very few feminist urban public spaces in the world and even fewer urban feminist commons. This paper focuses on the initiative and functioning of the Plaza las Pioneras in Montevideo, Uruguay. The Plaza is an innovative feminist public space and urban commons experience that opened in 2020 as an effort by the city's Urban Development and Gender Equity divisions to contribute to a more feminist city. The authors describe the specific context and history of both the urban space and its actors that led to political opportunities but also agency and sociopolitical dynamics on the part of different actors. Its inception and foundation are considered feminist by its stakeholders both in terms of process and finality. The article details and analyses how the Plaza las Pioneras provides fertile ground for feminist claims and initiatives while enabling women to appropriate the space and emerge as actors and beneficiaries of innovation, creation, and collective self-management of urban commons. Since its inauguration, the Plaza has become a community territory as a space, a resource, and meeting grounds. It is used by the feminist collectives that make up its Assembly as a way to promote solidarity, care, and commoning not only among its members but also with other civil society groups and social movements while working with the municipality to promote feminist urban initiatives. [ABSTRACT FROM AUTHOR]

El artículo analiza la huelga de albañiles de 1895 en Montevideo, centrada en la reducción de la jornada laboral, reflejando las duras condiciones de trabajo de la época. Montevideo experimentaba un rápido crecimiento urbano y económico, con una clase trabajadora diversa enfrentando largas jornadas, bajos salarios y falta de protección social. Los trabajadores, organizados en “sociedades de resistencia”, buscaron mejorar sus condiciones a través de acciones colectivas. La Sociedad de albañiles lideró la huelga como ejemplo de estas luchas. El artículo explora los métodos de trabajo, las relaciones laborales y las estrategias de organización de los albañiles, destacando la limitada atención historiográfica sobre su historia en el siglo XIX. Se basa en una revisión exhaustiva de la prensa y diversas fuentes para iluminar este período.

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The article presents the actions carried out by the municipality of Montevideo between 1951 and 1964, with the aim of creating an Art Center, which was the seed of the Museum of Art History, currently MuHAr. The municipal advisor in plastic arts, architect Fernando García Esteban, led the aforementioned process, which involved the purchase of pieces abroad, the reception of donations and loans, while organizing exhibitions and shows that were disseminated through the press. The Art Center was basically born as a museum of casts, with a collection that placed special emphasis on ancient art and undoubtedly on European art. The strong pedagogical mission attributed to the project was undoubtedly one of the reasons why the process was brief and successful. [Extracted from the article]

This article explores how feminist movements in Montevideo have built cities through the appropriation of urban spaces that promote diverse ways of living. An approach is made from the concept of the right to the city and the perspective of feminist urbanism, which seeks to consider the needs of historically excluded groups. To this end, it is essential to recognize that cities have been designed from a male perspective and to analyze how urban conflicts are rooted in the violence that women experience in their daily lives and in the need to resignify and reclaim these spaces. A situated approach is proposed, taking into account the characteristics of the new ways of being in the public space by Latin American feminisms. Based on an extensive documentary analysis, interviews and systematic observations, it delves into how feminism constructs cities in different ways, both at the institutional level and in everyday life. It is essential to understand the effects that feminist movements have on the urban sphere and the need to identify and address the conquests, negotiations, disputes and difficulties between the different actors involved. Thus, and incorporating the contributions of feminist urbanism, the production capacity of these conflicts is addressed, following the proposal of Melé (2016), and they are categorized into political, legal and territorial productivity. It is concluded that the effects of the feminist movement generate new possibilities for the construction of a fairer city. [ABSTRACT FROM AUTHOR]

Tango was born in the Rio de la Plata basin at the end of the 19th century. After an eclipse in the second half of the 20th century, it is experiencing a globalized revival, both as a spectacle and as a practice. To consider the geography of tango in Buenos Aires and Montevideo is then to study their prominent place in a diversity of tourist and cultural circulations, at various scales (continental and global), transforming cultural and heritage elements into territorial symbols and drivers of development through culture and tourism. These political and economic uses of tango pluralize its meanings and produce conflicts on the modes of anchoring a cultural practice to these two cities.

El presente artículo explora cómo los movimientos feministas en Montevideo han construido ciudad a través de la apropiación de espacios urbanos que promueven formas de habitar diversas. Se realiza un abordaje desde el concepto de derecho a la ciudad y la perspectiva del urbanismo feminista, que busca considerar las necesidades de grupos históricamente excluidos. Para ello, resulta fundamental reconocer que las ciudades han sido diseñadas desde una perspectiva masculina y analizar cómo los conflictos urbanos tienen su raíz en las violencias que experimentan las mujeres en su vida diaria y en la necesidad de resignificar y reclamar esos espacios. Se plantea un abordaje situado, atendiendo a las características de las nuevas formas de estar en el espacio público por parte de los feminismos latinoamericanos. A partir de la realización de un amplio análisis documental, entrevistas y observaciones sistemáticas, se profundiza en cómo el feminismo construye ciudad de diversas formas, tanto a nivel institucional como en la vida cotidiana. Resulta fundamental comprender los efectos que los movimientos feministas tienen en el ámbito urbano y la necesidad de identificar y abordar las conquistas, negociaciones, disputas y dificultades entre los diferentes actores involucrados. Así, e incorporando los aportes del urbanismo feminista, se aborda la capacidad de producción de estos conflictos, siguiendo la propuesta de Melé (2016), y se las categoriza en productividades de tipo políticas, jurídicas y territoriales. Se concluye que los efectos del movimiento feminista generan nuevas posibilidades para la construcción de una ciudad más justa.

El artículo presenta las acciones llevadas adelante por la comuna montevideana entre 1951 y 1964, con el objetivo de crear un Centro de Artce, que fue el germen del Museo de Historia del Arte, actual MuHAr. El asesor municipal en artes plásticas, el arquitecto Fernando García Esteban lideró el mencionado proceso, que supuso la compra de piezas en el exterior, la recepción de donaciones y préstamos, al tiempo que se organizaban exposiciones y muestras que eran difundidas a través de la prensa. El Centro de Arte nació básicamente como un museo de calcos, con una colección que hacía especial énfasis en el arte antiguo y sin duda en el europeo. Una operación que puede resultar extraña a mediados del siglo XX, momentos en que nacían los museos de arte moderno y las colecciones de calcos o escuturas antiguas parecían perder vigor. A partir de esa observación, mi objetivo será presentar los motivos que llevaron a la Intendencia montevideana a sostener un proyecto que se concretó en un período relativamente breve. La fuerte misión pedagógica que se atribuyó al proyecto, fue sin duda una de las razones de que el proceso fuera breve y exitoso. Una misión centrada en la idea de que el conocimiento de la historia del arte era un componente básico en la formación del ciudadano, así como en la certeza de que el arte europeo y occidental eran la matriz cultural de los uruguayos.

Comprised of eight charts and eight views that map the coastline of the Americas from Ecuador to Brazil, the Atlas maritimo del Reyno de el Perù, Chile, Costa Patagónica Oriental, y Occidental is an exquisite example of eighteenth-century Spanish American manuscript cartography whose production and content contribute to understanding imperial expansion and artistic exchange in the Atlantic World. Commissioned by a pilot of the Indies fleet and produced in Montevideo, this presentation atlas highlights a confluence of local and imperial interests in the cartographic production of the River Plate region. Sources include the works of prominent European explorers, and analysis of the atlas' elaborate trompe l'oeil cartouches suggests potential artistic links with Andalusia and France. The atlas also reflects changing imperial attitudes towards Patagonia as a geostrategic location, and advances Spanish claims to the region. [ABSTRACT FROM AUTHOR]

Este artículo tiene por objeto reflexionar sobre las tramas urbanas a partir del análisis de sus tejidos barriales. Desde una perspectiva estética y comunicacional de la subjetividad, proponemos un abordaje socio-territorial para intentar comprender la composición de nuestros ambientes de vida en la ciudad contemporánea. Para ello tomamos como caso la zona del histórico segundo ensanche de Montevideo por sus cualidades socioculturales, tanto de sus habitantes como de sus entornos arquitectónicos: una centralidad dinámica, con altos niveles de oportunidad para la renovación urbana con inclusión social. Primero se realiza una breve contextualización. En segundo lugar se explicita el ejercicio conceptual propuesto. Luego, se pasa a analizar los diferentes aspectos del fenómeno presentando las cualidades de esta zona de Montevideo, siempre orientados en el estudio de lo que acontece en las fronteras como un “entre”, buscando cartografiar las configuraciones de las tramas generadas por las diversas maneras de tejer la vida urbana.

El bienestar, sus componentes y determinantes han retomado importancia en la teoría económica, y se han convertido en un tema actual y significativo. Por ello, este estudio tuvo como objetivo conocer el impacto de tres variables económicas del bienestar objetivo en la felicidad (bienestar subjetivo) de los individuos, en el ámbito urbano. A través de un modelo de regresión logística aplicado a datos de la ciudad de Montevideo, se pudo observar que existe una relación significativa entre el ingreso, la riqueza y el desempleo de un individuo con la probabilidad de que se autoproclame feliz (positiva en los dos primeros casos y negativa en el tercero). Los resultados obtenidos permiten asistir a la construcción de política pública en lo que respecta a la relevancia de las variables consideradas.

La pesca de arrastre fue por siglos una cuestión controvertida por las protestas de los pescadores que ejercían otras artes de pesca y las discusiones sobre su impacto ambiental, social y económico. Este tipo de debate emergió en Montevideo a fines del siglo xix, cuando comenzó a operar la compañía de Pedro Galcerán con embarcaciones a vapor y grandes redes de arrastre. En este trabajo se analizan dos momentos de los conflictos entre los pescadores y la compañía Galcerán. El primero se manifestó con los petitorios y la huelga de pescadores de 1898; el segundo se centra en las discusiones ocurridas en 1907, cuando una empresa argentina comenzó a operar con modernos barcos arrastreros. Estas polémicas involucraron a varios actores y argumentos de distinta índole, desde aspectos económicos y sociales hasta diferentes interpretaciones sobre el ambiente del Río de la Plata.

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The article rebuilds the political cycle that began in Montevideo with the English invasions of the Río de la Plata in 1806 and ended with the fall of the Spanish government in 1814. It offers an analysis of the modalities and spaces of popular political participation, while questioning the composition of these classes and their link with the political identities that were born in that period. At the same time, it proposes a thought on the ways in which these traditions of collective action were recovered by Uruguayan historiography, since the mid-nineteenth century. In this regard, there is a double exclusion of these groups by historiography. On one hand, their plebeian nature made them invisible to an academic tradition that used predominantly elitist sources. On the other hand, the fact that these classes have adhered to loyal positions left them out of the dominant memories of the nation. [ABSTRACT FROM AUTHOR]

During the British Invasions (1806-1807), a militarization process of the society of the Rio de la Plata began, and it crystallized in the creation of diverse militias to defend the territory. The new provincially based groups, identified themselves as neighbours who volunteered to take part in the conflict, and that broke the traditional structure of this viceregal figure. This provoked tough opposition, and diverse conflicts, with several military commanders and high authorities of the viceregal's institutions. This article will focus in the militia groups formed by the Catalan community in tackle with them: how they adopted their own militia identity, the opposition they found and how they used this new status to intervene in the new paths of political participation that opened in the hard damaged, but not broken, viceregal structure during the military conflict. [ABSTRACT FROM AUTHOR]

After the Global Financial Crisis, activists and scholars have turned to collective forms of housing as a strategy to decommodify housing. We argue that housing cooperatives might take a crucial role in this strategy. The fact that they are still marginal, however, raises questions about the conditions for their emergence, growth and survival. By bringing the trajectories of housing cooperatives in Switzerland and Uruguay in dialogue, we capture different paths towards housing policies conducive for cooperatives. In both countries, housing cooperatives are meaningful policy instruments to make urbanization governable. To understand their development, their mutual relations with governments are crucial. We argue that the organizational form of a cooperative resembles a shell, which can be repurposed from the inside and the outside. In their ambiguous position between self-organization and being entangled with state practices, the situated stories of housing cooperatives in Switzerland and Uruguay help to re-describe struggles to live and dwell in urbanizing spaces around the globe. [ABSTRACT FROM AUTHOR]

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Este artículo sintetiza algunos aspectos del proyecto “Hierro y bronce. Criterios para la valoración y conservación de la herrería artística en el patrimonio arquitectónico del Uruguay”[i], cuyo objetivo es establecer los atributos patrimoniales de los elementos ornamentales metálicos asociados a fachadas del patrimonio arquitectónico nacional y contribuir a su difusión, puesta en valor y conservación. A lo largo de la investigación se abordan los aspectos socioculturales, artísticos, formales, técnicos y, por último, los relativos al deterioro de estos elementos y las pautas para su preservación y restauración. La metodología se basa en el estudio de fuentes primarias, éditas e inéditas, en la revisión de bibliografía especializada y en el trabajo de campo sobre una muestra representativa de elementos ornamentales metálicos aplicados a las fachadas de la arquitectura montevideana. Fue relevado un total de 250 edificios, correspondientes a los distintos períodos que distinguimos en la evolución de la herrería local entre finales del siglo XVIII y mediados del siglo XX. Se trata de un aporte inicial que profundiza en un campo escasamente abordado en nuestro medio acerca del conocimiento y difusión de los trabajos de herrería en el marco del patrimonio arquitectónico y artístico uruguayo, proporcionando información útil a la academia, las instituciones vinculadas a la valoración y conservación patrimonial y el público general. Notas [i] Proyecto concursado y financiado en la modalidad Investigación y Desarrollo (I+D), Comisión Sectorial de Investigación científica (CSIC), Universidad de la República, a realizarse entre marzo de 2018 y marzo de 2020, por un equipo interdisciplinario integrado por docentes e investigadores de las facultades de Arquitectura, Diseño y Urbanismo: Miriam Hojman, Valentina Marchese y Tatiana Rimbaud (Instituto de Historia), Gianella Mussio, Leticia Olivera, Carola Romay y Verónica Ulfe (Instituto de Tecnologías); de la Facultad de Humanidades y Ciencias de la Educación: Ernesto Beretta (Instituto de Ciencias Históricas-Historia del Arte); y de la Facultad de Ingeniería: Sofía Aguiar (Instituto de Ensayo de Materiales). El presente artículo fue elaborado por todos los integrantes del equipo.

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Latin American labor markets are remarked on for their structural heterogeneity, which, over the years, has been the result of a growing labor surplus. Thus, the digital labor platforms in delivery services that have emerged are breaking into a complex labor landscape, imposing new challenges. We intend to describe what forms the workers' collective actions take and how these collective actions and their forms are linked with the labor institutions' settings. We use three case studies with a comparative perspective of both national labor institutions and the history of collective action, particularly in the urban labor context. We collected secondary information from news media and academic bibliographies and primary information through interviews with collectives' representatives. Our results show how the logic of digital platforms challenges collective action, and how the history of labor institutions might contribute to the rise of new forms of organization. [ABSTRACT FROM AUTHOR]

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Based on the analysis of primary documentation from the David Campora Armed Struggle Archive, located in the Centre for Interdisciplinary Uruguayan Studies at the University of the Republic in Montevideo, the aim of the article is to analyse the process suffered by the Tupamaros prisoners from the moment they were arrested and what their time in prison was like. What methods of repression and torture were used, whether human rights were violated and what measures the MLN-T militants put in place to counteract the repression. We also try to show the transcendence of the Uruguayan model of inspiration, reciprocal with other dictatorships in Latin America, in a period which corresponds to the greatest increase in political violence in Uruguay from 1968 onwards and ending with the end of the dictatorship in 1985. [ABSTRACT FROM AUTHOR]

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Hot spot policing has proven to be effective in reducing crime in cities in North America, Europe and Australasia, but to date, its application and evaluation in Latin American settings has been limited. PADO (Programa de Alta Dedicación Operativa) is a large-scale hot spot policing program implemented by the Uruguay Police in April 2016 in the city of Montevideo. Using an evaluation technique that compares the differential effect between areas where PADO was deployed and control areas, a 23 percent reduction in the rate at which robberies occurred was experienced in the PADO areas, with no significant displacement to neighboring areas, or other areas of the city during the study period. The study indicates that hot spot policing programs can be effective in reducing crime in Latin American urban environments and illustrates how targeted police interventions can be robustly evaluated when control areas are not established at the outset of an intervention. [ABSTRACT FROM AUTHOR]

Objective: The aim of this analysis was to identify alcohol consumption clusters for adolescents and early adults according to attitudes to drinking, motivations against drinking and perceptions associated with alcohol. Method: Interviews were undertaken with people aged 18–34 years old living in four cities in different regions of the world. Multistage random sampling was consistent across the four cities (Ilorin (Nigeria), Wuhan (China), Montevideo (Uruguay) and Moscow (Russia)). The questionnaire was forward and back translated into relevant languages and face-to-face interviewing undertaken. The data were weighted to the population of each city. In total 6235 structured interviews were undertaken (1391 in Ilorin, 1600 in Montevideo, 1604 in Moscow and 1640 in Wuhan). Questions regarding motivation against alcohol consumption (14 items), assessing perceptions (3 items) and attitudes to drinking in certain situations (8 items) were asked of all respondents including abstainers. Factor analysis was initially undertaken to identify highly related correlated variables. Results: Cluster analysis provided a variety of clusters (Ilorin (3 clusters), Montevideo (5), Moscow (4) and Wuhan (4)). At least one cluster in each city was dominated by abstainers and another by heavy episodic drinkers. Variations by city and alcohol consumption patterns existed in regards to variables included. Conclusion: This analysis detailed the city specific motivations against drinking alcohol, and the attitudes towards alcohol consumption. Differences highlight the influence of country/city specific culture, customs, laws, societal norms and traditions.

This study evaluates the impact of an agroecological school gardening program on eating behavior, agroecological knowledge and educational capabilities of 9–12 year-old schoolchildren in Montevideo, Uruguay. The study uses a mixed method approach and a sample of 16 schools and 665 schoolchildren. The results show that Programa Huertas en Centros Educativos has a high positive impact on children's perception of the school and on their educational capabilities, while a relatively small impact is visible when focusing on diet quality and repetition of practices learned at school. One possible explanation for the lack of major benefits of the program on children's diet is a scarce community involvement, a feature deemed as crucial in similar interventions, and an insufficient integration of the program in the school curriculum. [ABSTRACT FROM AUTHOR]

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Este artículo analiza las fragmentaciones en el campo cultural uruguayo en la última fase dictatorial (1973-1984) y en el comienzo de la transición democrática (1985-1989). Entendiendo que en la transición democrática se genera la emergencia y configuración de una “contracultura juvenil”, que originó diferentes prácticas y expresiones culturales que marcaron el proceso de transición en la ciudad de Montevideo. Esta “contracultura” tuvo como objetivo específico oponerse a la cultura militante que supo hacerle frente al régimen dictatorial. Se destacan aquellas expresiones que provienen del ámbito musical, entre las que encontramos el Rock y el Punk, haciendo hincapié en la centralidad que adquirió el cuerpo y las corporalidades en esa resignificación cultural de los años ochenta. En este sentido se hará énfasis en la importancia que cobróla estética en este período, como expresión contracultural a las resistencias culturales que se habían gestado en el campo cultural durante el periodo anterior (1973-1984). Para este cometido, se analiza la resignificación de espacios urbanos y lugares alternativos de reunión, en los cuales se realizaron performances y recitales, que sirvieron para el destape de la corporalidad. Asimismo, el análisis dará cuenta de cómo esta contracultura buscó cambiar las nociones de “lo festivo”, sobreviviendo a las razzias policiales y a la represión que siguió ejerciéndose durante la transición y en la consolidación democrática. Este artículo, propone debatir y analizar la idea de que en los ochenta no hubo arte político, ni un arte comprometido, como sí lo fue la cultura de resistencia. Si no que, estas expresiones fueron caracterizadas como superficiales, hedonistas e individualistas, ya que no se correspondía con el compromiso y la resistencia del campo cultural que se había consolidado durante el período dictatorial (1973-1985).

El trabajo se propone realizar una caracterización sociodemográfica de la población de Montevideo durante la Guerra Grande, incorporando el análisis espacial a través de los Sistemas de Información Geográficos (SIG) en la explicación histórica. Para ello se utilizan fuentes demográficas y cartográficas: un padrón de población de 1843 y dos planos topográficos de la ciudad de Montevideo (Ciudad Vieja y Ciudad Nueva) del mismo período. Las fuentes permiten acercarnos a una sociedad conmovida por el reciente aluvión inmigratorio y por los conflictos políticos rioplatenses.

El análisis de dos cuadros caligráficos realizados por Juan Ma- nuel Besnes e Irigoyen en 1828 y 1829 es el disparador para aproximarnos al empleo de algunas fuentes escritas e iconográficas disponibles para la comu- nidad letrada montevideana de la primera mitad del siglo XIX. En el caso de Besnes, estas fuentes literarias cumplieron una función pedagógica en su desempeño como maestro de escuela, y evocaban además su relación con la Hermandad de la Caridad. Pero, avanzando sobre la producción temprana del calígrafo, podemos abordarlo como estudio de caso, como integrante de dicha comunidad letrada en sus vinculaciones con algunos de sus miembros, en su participación en actividades de carácter cultural y científico. Nos permite, además, aproximarnos a las bibliotecas existentes en la ciudad, al comercio de libros y a la red de circulación de materiales impresos e información. Desde esta perspectiva su producción constituye una fuente a la fecha apenas abordada.

Copyright of Revista Latinoamericana de Hipertension is the property of Revista Latinoamericana de Hipertension 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 explores the intertwined urban and cultural histories of Buenos Aires, Argentina, and Montevideo, Uruguay during the early twentieth century. During the years from 1910 to 1936, Buenos Aires and Montevideo's relationship evolved from being "mirrored" and "symbiotic" into an uneven relationship as Buenos Aires's skyline and cultural commerce expanded to compare to larger metropolitan centers in the Atlantic world. This article examines how the relationship between the two cities was understood by flâneurs, travel writers, and cultural producers in the crucial period of metropolitan growth and cultural commerce for both Buenos Aires and Montevideo. The cultural connections between the two cities transpired in a wider transnational and transatlantic context of urban capitalism that spurred the construction of modern urban spaces such as skyscrapers, theaters, and department stores. The relationship between Buenos Aires and Montevideo was mirrored by neighboring and competing metropolises across the globe in the early twentieth century. [ABSTRACT FROM AUTHOR]

This article analyzes the fragmentations in the Uruguayan cultural field in the last dictatorial regime (1973-1984) and during the beginning of the democratic transition (1985-1989). Understanding that in the democratic transition the emergence and configuration of a "youth counterculture" emerged and originated different cultural practices and expressions that marked the transition process in the city of Montevideo. This "counterculture" had the specific objective of opposing the left militant culture that confronted the dictatorial regime. Those expressions that come from the musical field stand out, among which we find Rock and Punk, emphasizing the centrality that the body and the corporalities acquired in that cultural resignification of the eighties. In this sense, emphasis will be placed on the importance that aesthetics gained in this period, as a countercultural expression. For this purpose, the resignification of urban spaces and alternative meeting places is analyzed which served to uncover corporality. Likewise, the analysis will show how this counterculture sought to change the notions of "the festive", surviving the police raids and the repression that continued during the transition and in the democratic consolidation. This article proposes to debate and analyze the idea that the democratic transition was generated as a "change in peace", in which, in addition to establishing a policy of impunity, Uruguayans had to abide the democratic process and the official optimism of restoration. These expressions emerge to question the dominant paradigm, confronting the entire political-party system and the cultural field that had been configured during the dictatorial period (1973-1985). [ABSTRACT FROM AUTHOR]

This text approaches the evolution of the veladas (cultural gatherings) and festivals, common expressions of the socialist, anarchist and communist left in Montevideo between 1920 and 1950. In addition to picnics and sports, courses and conferences, those were expressions of the culture of workers in closed theaters and premises. They gathered funds for the working press and prisoners, also being areas of sociability and militancy that brought families together in spaces of camaraderie and "culture". These activities (theater, poetry, dances, conferences, cinema), which were intense in the 1940's, became simpler until almost disappearing. This happened in the midst of relevant cultural changes such as the massive impact of cinema and radio and the strength of the "welfare state" and its hegemony, which the left and their cultural forms tried to dispute. [ABSTRACT FROM AUTHOR]

Copyright of Madrygal: Revista de Estudios Gallegos 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 Revista de Historia Actual is the property of Asociacion de Historia Actual 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.)

Este artículo estudia los intentos de organización de la élite cultural católica montevideana en el último cuarto del siglo XIX, en el contexto de los avances secularizadores y de la progresiva articulación de los universitarios y letrados que tomaban distancia de la Iglesia. El Club Católico nació como centro cultural y espacio de sociabilidad intelectual, que concretó progresivamente su perfil confesional. A la actividad académica, la polémica como constante y el indiscutido perfil católico, se suman dos aspectos de interés: el énfasis en asociar el cristianismo a los fundamentos de la «civilización» y la vinculación de su accionar con la definición del sentimiento nacional.

This study focuses on the address paradigm in the Spanish spoken in Montevideo, the capital of Uruguay, a Latin American variety which presents speakers with three options—one polite (usted), and two familiar (pan-Hispanic tú and regional vos). Recent quantitative studies have shown that the range of polite usted is shrinking in the dialect, as younger respondents reserve it for hierarchical contexts or for much older addressees. Indeed, speakers are uncertain about appropriate address choice to convey deference without distance. The present analysis supplements the previous quantitative data with responses of Montevideo speakers to an attitudinal interview (n = 12) analyzed qualitatively for themes with Atlas.ti. It finds that while speakers reject usted, they have adopted a range of strategies to maintain distinctions in politeness, including address avoidance, mirroring, and the repurposing of tú as an intermediate polite form.

Entre febrero de 1843 y octubre de 1851, periodo que duró el asedio militar a la ciudad-puerto de Montevideo, en el territorio oriental convivieron dos gobiernos: uno limitado a Montevideo y su línea defensiva y el otro, conocido como del Cerrito, que controló los extramuros de la ciudad y la mayor parte del territorio estatal. El artículo estudia las prácticas políticas “subterráneas” vinculadas al espionaje, la conspiración, la deserción y la circulación de información reservada en el año 1843. Por ello nos centraremos en el accionar de lo que las autoridades montevideanas designaban como conspiradores, complotados, enemigos internos o traidores, quienes, trabajando en la clandestinidad, buscaban desestabilizar al gobierno de la ciudad y facilitar el triunfo del enemigo.

Copyright of Slavonic Review / Slovanský Přehled is the property of Institute of History of the Academy of Sciences of the Czech Republic 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.)

In 1947, Act No 10.980 was passed creating the Public Transportation Administration of Montevideo (AMDET) to provide public transportation to Montevideo. Throughout its history, the management of AMDET was presented with many difficulties in addition to delivering negative economic results. After the coup d'état of June 1973, and within the framework of neoliberal policies, the Uruguayan government undertakes a reform of the state apparatus. In the case of the municipality of Montevideo, the reform is to get rid of the AMDET, and for this, the cooperativization of the workers is proposed as an alternative to the loss of their source of work. This will be substantialized through Resolution No 37.588 of 1974 of the Municipal Government of Montevideo. It establishes the bases of the cooperativization that provides, among other things, the granting of the concession of the service to the cooperatives and the sale of the units of transportation that must be paid by the cooperatives. The process of privatization of AMDET allows us to reflect on the role of the State in the promotion of cooperatives. We seek to understand why the State opts for cooperatives to carry out its policies and how these conditions the subsequent development of the cooperative. We analyze the program of privatization of public transport in Montevideo under the figure of worker cooperatives. We are interested in understanding the reasons of the public policy and to what extent it responds to the intention to promote cooperativism or is the product exclusively of the attempt to reduce the State. As working methodology, the analysis of the cycle of public policies was used, and for that, it was based on the survey of documentary sources (regulations and documents of the municipality), interviews with qualified informants and press releases of the time. This analysis shows that cooperativization responds more to a political use by the municipal authorities to reform the State in the framework of market reforms than to a policy of promoting cooperativism. [ABSTRACT FROM AUTHOR]

This article aims to carry out a socio-demographic characterization of Montevideo's population during the Guerra Grande incorporating, into the historical explanation, a spatial analysis through Geographic Information Systems (GIS). To do so, we used demographic and cartographic sources, an 1843 population register and two topographic maps of the city of Montevideo (Ciudad Vieja and Ciudad Nueva) from the same period. The sources enabled us to approach a society shaken by the recent flood of immigrants and the political conflicts in the Rio de la Plata. [ABSTRACT FROM AUTHOR]

Copyright of Anuario Colombiano de Historia Social y de la Cultura is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas, Departamento de Historia 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.)

Photographic images of football are not neutral or objective records of the past. Exploring the symbolic dimensions, formal features, and context of production of five photographs taken during the 1930 World Cup, celebrated in Montevideo, Uruguay, illuminates the deep connections between sport and culture in modern Uruguay. Photographers created narrative understandings about football that had broader political and cultural meanings. Rather than simply portraying a pivotal sporting event in the history of football, the photographs of the tournament became a useful modern technology that communicated the achievements of the Uruguayan state during the centennial celebration of its first Constitution enacted in 1830 after obtaining independence from Spain. Ranging from snapshots of the games, silhouettes of footballers, crowds in the stadiums, and portraits of national teams, these images carried important messages about the meaning of Uruguayan citizenship, including affirmations of democratic social experience, accelerated modernization, appropriate masculinity and femininity, and racial belonging. [ABSTRACT FROM AUTHOR]

At the end of the nineties, Jean-Jacques Lefrère's research on Isidore Ducasse, his family, his alleged friends and his time allowed him to get close to some figures with imprecise contours. This investigation reinforced the works of Gervasio and Álvaro Guillot Muñoz and of the Pichon-Riviére, mainly. Now, this text will propose some hypotheses about the last days of François Ducasse, the retired old diplomat who survived his son Isidore almost twenty years, and how could it be the litle medium in wich he moved. For the preparation of the work it has been fundamental a documentation still unexplored -as far as we know-, partially annexeted to the end of the article. The spectrum of Lautréamont can be stay after the lost steps of François Ducasse in his long final residence in the Hotel des Pyramides, in Montevideo, where he died on November 18, 1889. [ABSTRACT FROM AUTHOR]

Copyright of Recorde: Revista de História do Esporte is the property of Recorde: Revista de Historia do Esporte 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.)