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The present research aimed to determine the use and acceptance of video in the self-creation of assignments or evidence of learning as a strategy to mitigate plagiarism. This research adopted a mixed design, with an experimental, exploratory, and descriptive scope that reflects an innovative approach to meet this challenge. A non-probabilistic sample was considered, comprised of students in their first semester of higher education in the subject of Introduction to Programming at a public university in Mexico. The participants were divided into an intervention group and a control group. The acceptance of the use of the implemented strategy was evaluated using the Technology Acceptance Model and the results revealed the viability and usefulness of the strategy since the students in the intervention group stood out in the creation of their assignments compared to the control group. There was a positive and strong relationship between academic performance and the perceived usefulness of the strategy. We conclude by emphasizing the importance of teachers promoting the active role of students in the development of their work, to promote authentic learning and guarantee educational quality. [ABSTRACT FROM AUTHOR]

With the expansion of the digital culture, deep reflection on how to research audiences is necessary. If before the individual was placed in a social category determining cultural tastes, now technology identifies patterns of behavior from the direct record of their actions. This text explores the type of knowledge that can be gained on audience participation in TikTok. We propose a methodology that consist in the analyse of usage metadata. Fieldwork has focused on «A2ality», an information account with 4.4 million followers in Spain. We analyzed all videos shared during six weeks of the first quarter of 2023 (n=173). The purpose was to know (a) the degree of the linear correlation between the metadata of the same piece and (b) the existence of correlations between metadata and type of video/ content. For each metadata available in open (comments, likes, saves, shares and very high), four activity levels have been established (low, medium, high and top). The majority trend indicates that the levels obtained by the metadata of the same content are not coincident, that is, a video will have more or less scope according to the observed metadata. The homogeneity of the videos has caused that only clear correlations between topic and metadata are detected. Topics with less presence can reach high levels of activity. [ABSTRACT FROM AUTHOR]

Copyright of REMIE - Multidisciplinary Journal of Educational Research is the property of Hipatia Press 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 Estudios Empresariales Segunda Época is the property of Editorial de la Universidad de Jaen 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 Área Abierta 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 International Journal of Foreign Languages / Revista Internacional de Lenguas Extranjeras is the property of Universitat Rovira I Virgili 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 Interamericana de Investigación, Educación y Pedagogía - RIIEP is the property of Universidad Santo Tomas 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 Fotocinema is the property of Revista Fotocinema 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.)

Social networks integrate adolescent daily life by configuring modes of socialisation, negotiation and self-representation through different practices that operate as subjectivation resources and condition the gender experience. The objective of this study is to explore the production of selfies and videos among adolescents from Puebla (Mexico) and Galicia (Spain) from a gender, territorial, and sociocultural perspective. A survey study was carried out using an online questionnaire designed ad hoc and applied to 6,654 adolescents (14-17 years), with different gender identities, from public secondary schools in Puebla and Galicia. The results show that the selfie is a more widespread practice among adolescents than video, with revealing differences in its production. Similarities are evident in the level of preparation and the motivations that lead to these practices. Gender differences are found in their production in terms of intentions, materialities, and body expression. The family’s sociocultural level and the territory are visualised as realities that affect the production of these practices. The conclusions point to a transition of knowledge and meanings between the selfie and video and the relevance of analysing gender experience on social networks in light of the forms of power they exercise there. [ABSTRACT FROM AUTHOR]

Cancións para Medrar aims to provide a resource for teaching the Galician language in early childhood education. It is based on the lack of specialized playful linguistic resources for children from 0 to 6 years old. For this, the creation of resources in the form of original and unpublished songs, animated videos and pictograms is proposed. Children within this age scope from the autonomous community of Galicia need more material in their language (first or second, as the case may be) to work from the preschool classroom and to use as a leisure resource at home. This situation hinders the acquisition of specific grammatical and phonological structures and causes difficulties in the mastery of the language. Thanks to this material, it will be possible to have resources designed by experts in both language acquisition and music that adapt to the needs of this audience. [ABSTRACT FROM AUTHOR]

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica 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 Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador 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.)

Video is a medium with great potential in the classroom as a gathering tool for different curricular contents, due to its motivational ability and as a vehicle for cooperative work. Its didactic integration in Spain has gone through a long journey in which the initial efforts aimed towards technology have been replaced for other more focused on media literacy and its application to active methodologies, favored by the new digital environment and portable devices. [ABSTRACT FROM AUTHOR]

Copyright of Cultura Educación y Sociedad is the property of Corporacion Universidad de la Costa, CUC 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 del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

YouTube is one of the platforms most used by young people for viewing audiovisual content on the Internet. Although several recent studies analyze the trends in searches for political videos on YouTube, there is no study that analyzes the evolution of the popularity of Spanish political parties on this social network. For this research we will use a quantitative and qualitative methodology based on data from the Google Trends platform in order to find out the evolution of the popularity of these parties on YouTube before and during the pandemic. The results place Vox (7.6) as the most searched party on YouTube over the last ten years, followed by United We Can (6.3), PSOE (4.4) and PP (3.5). In the period of the pandemic, Vox increased its popularity (15.3) and the Popular Party came in second place (4.2). We performed a statistical analysis to compare the most searched match on YouTube with the rest of the matches in both periods. The regression analysis of searches between "Vox" and "PP" during the last decade was R² = 0.51 and during the period of the pandemic R² = 0.15. The correlation of "Vox" with the other parties in was R <0.06 in both periods. We conclude that Vox has become the most sought after match on YouTube during the Covid-19 pandemic, a social network used mainly by young people. Factor that determines the recent success of a party that some authors associate with a populist discourse. [ABSTRACT FROM AUTHOR]

In this project, we intend to explore video as an evaluation tool with great potential in the foreign language classroom. The main objective is for the students, future teachers of French in secondary education, to use two different forms of evaluation to compare them with each other. Starting from the oral presentations of a didactic sequence for French, which are recorded on video, our students had to evaluate them using a rubric designed specifically for it. Subsequently, once the videos had been viewed, the class had to review their evaluations, and if necessary, modify them. In this qualitative study, we analyzed the different evaluations, as well as an online questionnaire that the students completed at the end of the project, which aimed to determine the advantages and disadvantages perceived by the students when using the video in their evaluation. Video recordings are an interesting evaluation instrument, especially in foreign languages, since they have allowed a greater awareness of errors unnoticed in the first evaluation. Thus, the students have reconsidered their previous evaluation, introducing changes in the items related to oral expression. However, the evaluation of the content has not changed substantially after viewing. [ABSTRACT FROM AUTHOR]

The death of photography is argued through its evolutionary step. Nôth, Berger, Dubois, among others, show in their thesis the decadence due to the use of virtual reality and augmented reality devices, innovative gadgets with a fusion of illustrations, frames, audio, interactions, and reactions in an enriched element. The thesis supports three times: moments of its emergence, technological advances, and replacement of traditional media by immersive media. The monographic methodology enables conceptual alignment, concluding that technological advances lead us to a personal representation that is defined by alterations of physical reality, building new experiences. [ABSTRACT FROM AUTHOR]

Copyright of RIED: Revista Iberoamericana de Educación a Distancia is the property of Revista Iberoamericana de Educacion a Distancia 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 del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 international launch of Disney+ in November 2019 marked the entry of Disney with its own brand into the market for direct sales of subscription video-on-demand (SVOD) consumer services. This market, although with Netflix as a prominent leader, is still in a consolidation phase that could lead to the disappearance of many operators since although traditional pay TV operators, such as cable operators in the US, are developing their own platforms due to subscriber loss in their core business, all face new threats such as increased operating costs, the need to increase investment in own production and others derived from new consumption habits such as consumer fatigue. This article analyzes, through the applied case study methodology, Disney's strategy to position Disney+ successfully in a short period of time and confirms findings from previous studies on the nature and evolution of the sector and trends like its high degree of concentration. which points to the complex reality of the SVOD market, the value that global brands would continue to have at this stage and finally allows us to analyze the real possibilities of creating a new streaming video market with lower entry barriers. [ABSTRACT FROM AUTHOR]

Copyright of Revista Espacios is the property of Talleres de Impresos Oma 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 recent years, Instagram has become established as a powerful tool for electoral communication and building political leadership. Our objective herein is to analyze the audiovisual management of the leading party on this social media platform, Vox, in the key period of its political consolidation in Spain. The methodological design is based on content analysis. Using our own model, inspired by the structure of the five classic journalistic questions (5W), nine thematic and formal categories associated with spectacularization have been reviewed during two key periods of the electoral year 2019. The final sample includes 189 videos published via five official accounts belonging to the party with a significant volume of followers (between 735k and 21.9k). The results of this analysis provide three main contributions: the identification of an innovative use of Instagram that includes new functions such as mobilization and political attack; the identification of a reference model for audiovisual management of social media at three strategic levels (operational, thematic, and expressive); and the integration of the results into the current debate on the spectacularization of politics, the advance of populist discourse, and its democratic consequences. [ABSTRACT FROM AUTHOR]

Any confrontation seeks the (partial) imposition of one party's will on an adversary. In recent years, digital technologies and data science have combined to create new ways of controlling the narrative and carrying out powerful information or disinformation campaigns that are part of a new type of warfare with digital characteristics. In particular, based on a literature review and the direct work of authors in different expert groups, this paper studies the use of either static or moving images (real, altered, or wholly artificially generated) as one of the most efficient means of altering perceptions and thereby narratives in the so-called cognitive domain. To this aim, this article collects in an orderly and exhaustive way the most recent military and intelligence doctrine related to such "influence operations," from a dual technological-sociological perspective. Based on this, the paper determines the differences between traditional disinformation techniques and those incorporating digital and artificial intelligence technologies in the form of images and video. The paper proposes a new double-entry taxonomy that can display the degree of image faking and the objective of disinformation. This helps to identify and prioritize the most relevant cases and thus adopt the most appropriate countermeasures. These are also examined in detail, leading to the conclusion that only a combination of transparency, consumer education, technology, and regulation can counteract the increasing use of images and video with false content. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 objective of this work is to determine the volume of videos on Covid-19 published and disseminated through You- Tube, and directly or indirectly related to the Spanish national territory, to characterize the impact of those videos (in terms of views, likes and comments received), and finally to categorize the channels through which the videos have been broadcast. For this, 39,531 videos published between January 1 and April 30, 2020 have been analysed. The results show that the number of videos on Covid-19 grew since the establishment of the state of alarm in Spain, and they have been slightly decreasing over time, including certain upswings linked to political decisions. The videos achieve on average high volumes of views, likes/dislikes and comments, and have been published mainly by the media. The videos related both to Blogs and Entertainment are very numerous but with less impact. The videos belonging to the categories of Education and Science and Technology are less numerous, but had a high impact, especially in view counts. In addition, it is concluded that YouTube search filters are not accurate enough to be used in informetric studies without a high data cleansing workload. Likewise, the existence of channels applying defective positioning techniques makes it difficult to carry out this type of study. [ABSTRACT FROM AUTHOR]

In recent years, Instagram has become established as a powerful tool for electoral communication and building political leadership. Our objective herein is to analyze the audiovisual management of the leading party on this social media platform, Vox, in the key period of its political consolidation in Spain. The methodological design is based on content analysis. Using our own model, inspired by the structure of the five classic journalistic questions (5W), nine thematic and formal categories associated with spectacularization have been reviewed during two key periods of the electoral year 2019. The final sample includes 189 videos published via five official accounts belonging to the party with a significant volume of followers (between 735k and 21.9k). The results of this analysis provide three main contributions: the identification of an innovative use of Instagram that includes new functions such as mobilization and political attack; the identification of a reference model for audiovisual management of social media at three strategic levels (operational, thematic, and expressive); and the integration of the results into the current debate on the spectacularization of politics, the advance of populist discourse, and its democratic consequences. [ABSTRACT FROM AUTHOR]

Any confrontation seeks the (partial) imposition of one party’s will on an adversary. In recent years, digital technologies and data science have combined to create new ways of controlling the narrative and carrying out powerful information or disinformation campaigns that are part of a new type of warfare with digital characteristics. In particular, based on a literature review and the direct work of authors in different expert groups, this paper studies the use of either static or moving images (real, altered, or wholly artificially generated) as one of the most efficient means of altering perceptions and thereby narratives in the so-called cognitive domain. To this aim, this article collects in an orderly and exhaustive way the most recent military and intelligence doctrine related to such “influence operations,” from a dual technological– sociological perspective. Based on this, the paper determines the differences between traditional disinformation techniques and those incorporating digital and artificial intelligence technologies in the form of images and video. The paper proposes a new double-entry taxonomy that can display the degree of image faking and the objective of disinformation. This helps to identify and prioritize the most relevant cases and thus adopt the most appropriate countermeasures. These are also examined in detail, leading to the conclusion that only a combination of transparency, consumer education, technology, and regulation can counteract the increasing use of images and video with false content. [ABSTRACT FROM AUTHOR]

This article aims to study the television series Muchachos al lo bien and Rostros y rastros, and their importance as an audiovisual archive and as memory documents of the city. It is based on the need to recognize the importance of video documentary production and its contribution to the construction of social representations about the life and inhabitants of Medellín and Cali in times marked by violence. Additionally, it seeks to contribute to the evaluation of the video as a significant documentary collection, which has social, communicative and aesthetic contributions, and to highlight the contribution of filmmakers who participated in the series and their training in audiovisual production. [ABSTRACT FROM AUTHOR]

This article analyzes the benefits of the use of video in the learning process of taekwondo in children in school age and the relationship between motivation by the use of this technology and other pedagogical benefits of this. For this, an experiment with a group of 42 children aged 7 to 12 was performed. The results indicate that the use of videos is a generator factor of high motivation in children to make the practice of this sport, However, this motivation is relates only with the improvement of the technique in the execution of the figures and the correction of the errors of execution in combat and not with the other benefits of the use of video. The study aims to contribute to the understanding of the implications of the use of video in the learning process and the role of motivation in that process. [ABSTRACT FROM AUTHOR]

Introduction: TikTok has been one of the most used social networks by younger users during confinement by COVID-19. Objective: To analyze the main trends and videos published on the platform during the quarantine period. Methodology: The main contents and trends published on TikTok were analyzed during 25 days of confinement from April 9 to May 3, 2020. It is presented a qualitative and quantitative analysis of viral trends and challenges related to COVID-19. Results: The study presents a completely new content generation and viralization model, based on the presentation of content that, apparently, is not useful, does not change the world or the lives of citizens, and presents empty products and based exclusively on fun and imitation. Conclusions: In front of the actions generated in other networks making face masks and protection screens, TikTok has only provided humor and entertainment. However, under an apparent layer of superficiality and frivolity, you can discover a picture of our society behind closed doors. [ABSTRACT FROM AUTHOR]

Copyright of Quintana: Revista do Departamento de Historia da Arte USC is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones 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 Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador 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 Fotocinema is the property of Revista Fotocinema 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 Española de Sociología is the property of Federacion Espanola de Sociologia 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.)

YouTube has turned into an audiovisual platform worldwide that leaves neither adults nor children indifferent. This work focuses on how the last sector mentioned, that is, minors and their imaginaries are represented in Spain and the United States through the phenomenon of youtubers. We examined 20 YouTube channels with a total of 204 videos, applying formal and content variables and manifest criteria based on minor's privacy. The analysis reveals similarities in the pattern of behaviour, insertion of advertising and the role of parents in content publication. The results show that adverti- sing is the central axis and that parents become guides throughout this process. In conclusion, parents overexpose their children in a business without regulations on advertising and representation of minors, who show unreal worlds and incite other minors to make a compulsive use. [ABSTRACT FROM AUTHOR]

Video-based eye image acquisition in the visible spectrum for iris recognition has taken great importance in the current context of the extensive use of video surveillance cameras and mobile devices. This modality can provide more information from the video capture of the eye region, but it is essential that the images captured have a quality that allows an effective recognition process. In this work, an approach for video iris recognition in the visible spectrum is presented. It is based on a scheme whose novelty is in the possibility of evaluating the quality of the eye image simultaneously with the process of video capturing. A measure of image quality that takes into account the elements defined in the ISO / IEC 19794-6 2005 standard and its combination with automatic detection methods is proposed. The experiments developed on two international databases and own video database demonstrate the relevance of the proposal. [ABSTRACT FROM AUTHOR]

Copyright of Revista Espacios is the property of Talleres de Impresos Oma 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 audiovisual creation in the classroom has become a tool of mass use in a few years. But the speed of the changes produced has meant that a good part of the current faculty does not have life-experienced examples in their instruction as students. This implies that there are many questions about the appropriate way to incorporate those resources: how to use YouTube, how to design and produce educational-content videos, how to include these issues into teacher training, etc. In this paper, we focus on analyzing the future-teachers progressions in the treatment of contents when the teachers face the creation of educational audiovisual on science topics. Our results indicate that the lack of previous references for this task pushes future teachers to explore new paths. From the point of view of teacher educators, this would imply that confronting our students to unfamiliar tasks causes them to abandon their standardized roles. That is to say, it seems that the change of format (from text to video for the content creation) induces to an evolution towards a less standardized and more innovative approach to the content treated. [ABSTRACT FROM AUTHOR]

YouTube is a company representative of its original context, Web 2.0, that originally positioned itself as an open and collaborative platform to broadcast videos created by all kinds of users; their slogan was, and remains, Broadcast yourself. The acquisition of YouTube by Google introduced it in the search for profit in the framework of OTT (over the top) communication. The YouTube homepage reveals the successive business policies followed by the platform. In this work we analyze the evolution of the unlogged homepage of YouTube Spain between 2009 and 2018. We observe the gradual disappearance of the videos produced by private users and its replacement by those made by professional users (youtubers) and cultural industries. There is a remarkable parallelism between the implementation of business models and the greater or lesser recommendation of video from one kind of user or another. [ABSTRACT FROM AUTHOR]

The article deals with the ways of using visual technologies, photography and video, to promote the city of Ayacucho as a tourist destination, an identity builder, reminiscent of memory and a sense of belonging to the city. Pay attention to the use, made for this purpose, of architecture as an image technology through which it seeks to produce temporary simulations and sentiment structures related to the colonial period. Argues that the identification and use of colonial aesthetics or not in the buildings of Ayacucho serves to establish social classifications, distinctions and exclusions among those who identify themselves as «huamanguinos» and «new huamanguinos». The article is divided into two parts. The first deals with the videos that promote Ayacucho as a tourist destination and the second with the use of photographs in exhibitions and social networks. [ABSTRACT FROM AUTHOR]

Copyright of Revista Razón Crítica is the property of La Fundacion Universidad de Bogota Jorge Tadeo Lozano 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 Colombiana de Ciencias Sociales is the property of Fondo Editorial Fundacion Universitaria Luis Amigo 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.)