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La transición hacia el uso del papel para la enseñanza de la escritura en las escuelas elementales públicas en México no fue sencilla. Al finalizar el siglo XIX, se había cuestionado el uso de las pizarras por el riesgo que representaban para la salud, pues muchas veces los estudiantes borraban sus escritos con saliva y el material con el que estaban fabricadas no siempre guardaba las especificaciones necesarias, además el ruido al escribir era insoportable. En cambio, el papel, desde el punto de vista higiénico, pedagógico y estético, fue considerado un material superior frente a la dureza de la pizarra, el brillo de la superficie y la poca precisión que se obtenía en el trazo de las letras. Derivado de este planteamiento, se vislumbró seriamente la posibilidad de la adopción de papel en las escuelas oficiales. Sin embargo, este material era escaso y muy caro. Hacia el cambio de siglo, sólo dos fábricas de papel podían surtir a las escuelas y era necesario que abarataran el precio, que el sistema de distribución garantizara el abastecimiento y que el suministro fuera continuo. Este artículo analiza el inicio del proceso de reconversión de una tecnología para la enseñanza como era la pizarra por el papel. Analizo el gasto que significó y cómo esta modificación fue resultado de una multiplicidad de relaciones sociales, culturales, económicas y políticas que se entrecruzaron para dar una nueva configuración del tiempo, el ruido y los valores establecidos en el salón de clases. The transition to the use of paper in public elementary schools in Mexico was not easy. At the end of the nineteenth century, the use of slates had been questioned due to the health risk they represented since students often erased their writing with saliva and the material with which the slates were made did not always meet the necessary specifications. On the other hand, paper, from a hygienic, pedagogical and aesthetic point of view, was considered a superior material compared to the hardness of the slate, the shine of the surface and the lack of precision obtained in the tracing of the letters. Derived from this approach, the possibility of changing materials in official schools was seriously envisioned. However, the paper represented a very high cost. Only two paper mills could supply the schools and it was necessary to lower the price, and guarantee the supply by enhancing the distribution system. This article analyses the beginning of the conversion process of a technology for learning to write such as the slate for paper. I analyse the expense that it meant for the authorities and families, how the change was the result of a multiplicity of social, cultural, economic and political relations that intersected to give a new configuration of time, noise and established values in the classroom. [ABSTRACT FROM AUTHOR]

La leçon de choses est une modalité didactique particulière répandue en Europe et dans le monde occidentalisé au cours du XIXe siècle, diversement déclinée selon les contextes nationaux sous le nom d'Anschauungsunterricht, object lesson, lezione di cose, lección de cosas. Basée sur la méthode intuitive (parfois appelée naturelle), elle s'impose comme un rejeton direct de la pédagogie de Pestalozzi, bien que sa généalogie ait été reconstruite différemment de pays à pays. Cela en fait un cas intéressant de translation and transformation dans le domaine éducatif ou, peut-être, seulement un exemple de "maquillage" motivé par des raisons revanchardes. Le but est, en général, de faire acquérir des idées abstraites aux élèves de l'école maternelle et primaire à partir de l'observation des objets concrets. Grâce aux principaux théoriciens (les premiers disciples de Pestalozzi en Allemagne et en Angleterre, la pédagogue Marie Pape-Carpentier en France, les positivistes italiens et espagnols ...), elle avait dans la plupart des cas la forme de la conversation maternelle, où adultes et enfants se provoquent mutuellement par des questions et des réponses. De nombreux programmes scolaires lui ont donné une place dans l'articulation du curriculum, d'autres l'ont maintenue sous des formes plus libres et spontanées. L'article se propose d'offrir, sur la base de la littérature la plus récente, une analyse des différentes traditions nationales, même en utilisant les principaux dictionnaires pédagogiques publiées en Europe dans la seconde moitié du XIXe siècle. The object lesson is a particular teaching method that was widespread in Europe and the westernised world during the nineteenth century, which was variously adapted according to national contexts under the name of Anschauungsunterricht, leçon de choses, lezione di cose, and lección de cosas. Based on the intuitive (sometimes known as natural) method, it established itself as a direct product of Pestalozzi's pedagogy, although its genealogy has been reconstructed differently from country to country. This makes it an interesting case of translation and transformation in education or, perhaps, simply an example of maquillage motivated by revanchism. The aim, in general, is to introduce abstract ideas to infant and primary school pupils through the observation of concrete objects. The leading theorists (the early followers of Pestalozzi in Germany and England, the educationalist Marie Pape-Carpentier in France, the Italian and Spanish positivists, etc.), gave it, in most cases, the form of a maternal conversation, where adults and children prompt each other with questions and answers. Many school programmes have given it a place in the curriculum, others have maintained it in freer and more spontaneous forms. This paper offers, on the basis of the most recent literature, an analysis of the different national traditions, using the main pedagogical dictionaries published in Europe in the second half of the nineteenth century. [ABSTRACT FROM AUTHOR]

This article is a literary-historical analysis of the reception of Latin American literature in the literary magazines Polja and Delo during the Cold War. These magazines, published in Serbia, had an important place in the literary life of the former Yugoslavia. The aim of the paper is to show how Latin American literature entered Yugoslav magazines, and which writers and literary ideas were most represented. The first part of the article is dedicated to presenting the political and literary situation in former Yugoslavia and, more precisely, the way Yugoslav culture opened up to Latin America. The central part of the article analyses translations, critical texts, and essays published in Polja magazine and then those published in Delo magazine. It highlights how, although they lacked a systematic approach, Yugoslav periodicals and publishers have been closely linked, and together they have contributed to building new cultural ties between the former Yugoslavia and Latin America. [ABSTRACT FROM AUTHOR]

This paper presents a review of the Hungarian reception of contemporary Cuban fiction in different areas of the Hungarian press, published between 1959 and 1989. After giving a brief summary of the establishment and development of Hungarian-Cuban diplomatic and bilateral relations, the article offers a concise description of the communist period's cultural landscape, especially the press and publishing landscape, and examines the similarities and differences between Hungarian and Cuban cultural policies. In order to highlight the apparently paradoxical fact that, despite the close political and cultural ties between the two countries, the reception of Cuban literature was quite moderate, we examine reviews that appeared in the Hungarian press of Cuban anthologies, volumes of short stories, and novels published in Hungary. The article puts special emphasis on the Hungarian editions of Alejo Carpentier's works. [ABSTRACT FROM AUTHOR]

This article is a literary-historical analysis of the reception of Latin American literature in the literary magazines Polja and Delo during the Cold War. These magazines, published in Serbia, had an important place in the literary life of the former Yugoslavia. The aim of the paper is to show how Latin American literature entered Yugoslav magazines, and which writers and literary ideas were most represented. The first part of the article is dedicated to presenting the political and literary situation in former Yugoslavia and, more precisely, the way Yugoslav culture opened up to Latin America. The central part of the article analyses translations, critical texts, and essays published in Polja magazine and then those published in Delo magazine. It highlights how, although they lacked a systematic approach, Yugoslav periodicals and publishers have been closely linked, and together they have contributed to building new cultural ties between the former Yugoslavia and Latin America. [ABSTRACT FROM AUTHOR]

This paper presents a review of the Hungarian reception of contemporary Cuban fiction in different areas of the Hungarian press, published between 1959 and 1989. After giving a brief summary of the establishment and development of Hungarian-Cuban diplomatic and bilateral relations, the article offers a concise description of the communist period's cultural landscape, especially the press and publishing landscape, and examines the similarities and differences between Hungarian and Cuban cultural policies. In order to highlight the apparently paradoxical fact that, despite the close political and cultural ties between the two countries, the reception of Cuban literature was quite moderate, we examine reviews that appeared in the Hungarian press of Cuban anthologies, volumes of short stories, and novels published in Hungary. The article puts special emphasis on the Hungarian editions of Alejo Carpentier's works. [ABSTRACT FROM AUTHOR]