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The purpose of this study was to better understand how middle school students consider the source of information when processing videos with conflicting information. To this end, we exposed a sample of seventh-graders to a series of videos in which two interviewees expressed divergent positions on a socioscientific issue ('Will organic farming be able to feed the entire world population by 2050?'). After viewing the videos, students were asked to recall the sources they had seen and indicate how far they had perceived the sources to be credible and convincing. Results showed that students paid close attention to the information given about the sources during viewing and rated their credibility accordingly. However, only a minority of students rated the expert sources as the most convincing after viewing the videos, while students' beliefs on the topic contributed to source evaluation. These results suggest that although middle school students may pay attention to the identity of sources when viewing a video, they are unlikely to use this information to assess the reliability of the message. [Spanish translation by Mercè Rius.]

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This article presents a literary criticism for "Comentarios reales" by Garcilaso Inca de la Vega, published in 1617. The author comments on the government of Francisco de Toledo, Viceroy of Peru from 1569-1581, as documented in the book, and examines the contentious relationship between the native Inca population and the colonial government of Peru.

Copyright of Polis (07176554) is the property of Polis - Revista Academica Universidad Bolivariana 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 Polis (07176554) is the property of Polis - Revista Academica Universidad Bolivariana 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 la Universidad del Valle de Guatemala is the property of Universidad del Valle de Guatemala 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 Polis (07176554) is the property of Polis - Revista Academica Universidad Bolivariana 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 Polis (07176554) is the property of Polis - Revista Academica Universidad Bolivariana 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 Redes is the property of Redes-Revista Hispana para el Analisis de Redes Sociales 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 Cuadernos del CENDES is the property of Universidad Central de Venezuela 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 Histórica (02528894) is the property of Pontificia Universidad Catolica del Peru 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.)

The article describes the film collection of the Institut national du sport et de l'éducation physique (INSEP), begun by Georges Demenÿ at the École de Joinville in Paris, France. Initially using the chronophotograph, the collection began as Demenÿ's method to improve physical instruction. The author outlines the history of the INSEP's collection from its inception in 1920, through the two world wars and ensuing decades, to the current collection of nearly 2,000 films and 70,000 photographs.