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Copyright of Colombia Internacional is the property of Universidad de los Andes 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 de Historia Contemporanea 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 de Historia 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.)

Copyright of Revista de Indias is the property of Consejo Superior de Investigaciones Cientificas 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 IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag 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 IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag 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 paper analyses the articles written by Enrique Pichon-Rivière and Ana Pampliega de Quiroga for the magazine Primera Plana, between 1966 and 1967. We have specially focused on the articles that try to situate the subjective effects of socio-economic and cultural modernization of the moment. In this regard, we have been interested in showing that these writings reflect the tension of a time in which the traditional ways of living and thinking coexisted with discourses and practices that questioned them. Furthermore, and considering the political situation of the moment in which these works were published, we went through some articles on this topic. We notice a stand in favour of the validity of the democratic system. This standpoint confronted with the media campaign led by the magazine itself, which sought to create the necessary consensus for the military coup of June 1966. [ABSTRACT FROM AUTHOR]

Copyright of Revista Escuela de Historia is the property of Revista Escuela 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.)

Copyright of Intersecoes: Revista de Estudios Interdisciplinares is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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.)

Anxious of straying too far from traditional rational actor models and an unrelenting positivism, social movement scholars have displayed a persistent tendency to overlook the specificities of visual tools and aesthetic experience in claim-making and political protest. Often, as a direct consequence, the possibilities for mobilization and the matrices within which action takes place are described and understood in ways that are oversimplified, even distorted. Notably, small steps have been taken to overcome these distortions by building in a theory of affect that reserves a crucial space for the extra-discursive in the study of contentious politics. Extending some of these insights, this article reveals how an affect-informed approach can be particularly illuminating in studies of art-activism. It takes stencil protests from the aftermath of the 2001 crisis in Argentina as a case in point, discussing affects and their effects on porteño street artists. In so doing, it strengthens the case for greater incorporation of affect as a tool for understanding in literatures that deal with questions of framing, art-activism and the possibilities for social change. [ABSTRACT FROM AUTHOR]