GARANTÍA JURISDICCIONAL PARA LA EFICACIA DE LOS PRINCIPIOS Y VALORES CONSTITUCIONALES

Esta investigación se basa en la trascendencia que tiene la aplicación de los principios y valores por parte del operador jurídico en la declaración del derecho; para considerarlos, es esencial, para su cabal comprensión, explicar sus fundamentos teóricos, esto es, los elementos filosóficos que los sustentan y que servirían, a su vez, de guía interpretativa que deberían seguir los jueces para desatar causas que involucran la afectación de derechos fundamentales y todas aquellas otras actuaciones que tratan de des dignificar los derechos humanos; contemplando así, con otros instrumentos jurídicos, herramientas que garantizan el complimiento de nuestros derechos fundamentales. En alto Tribunal constitucional colombiano, en sede de ser el intérprete legítimo de la Carta Política, ha identificado ejes axiológicos, deontológicos e interpretativos que le permiten fundar su tarea de control constitucional, como: i-el sistema político democrático, participativo y pluralista que especifica el marco democrático participativo y la participación política; y ii-el Estado social y democrático de derecho define nuestro diseño constitucional que determina el compromiso del estado social de derecho de respetar, proteger y garantizar los derechos de la sociedad. Como resultado de esta investigación se observó la forma en que la Corte Constitucional, considera los elementos de Social, democracia, participación y dignidad humana como quicio de eficacia de los valores y principios constitucionales, consagrados en la Constitución Política

Catholic churches in London 1623 - 1916

In 2 vols.SIGLEAvailable from British Library Document Supply Centre-DSC:DX195817 / BLDSC - British Library Document Supply CentreGBUnited Kingdo

Laurel Martyn as the Bluebird, Borovansky Australian Ballet, ca. 1942 [picture] /

Title based on description from the Guide to the papers of Laurel Martyn.; Part of the collection: Papers of Laurel Martyn.; "André Evinson Portraits"--Verso.; Also available in electronic version via the Internet at: http://nla.gov.au/nla.ms-ms9711-1-16

Portrait of Laurel Martyn in the Borovansky Australian Ballet performance of Sigrid, ca. 1940 [picture] /

Title based on description from the Guide to the Papers of Laurel Martyn and Australia dancing.; Part of the collection: Papers of Laurel Martyn.; "Andre Evinson, Melb"-- Mounting board; Also available in electronic version via the Internet at: http://nla.gov.au/nla.ms-ms9711-1-21

The Spirit of Sabotage: Contemporary Art and Political Imagination in Post-industrial Spain

This dissertation is a study of artistic projects that, in response to Spain’s transition into a neoliberal economy, renew the disruptive gesture of the avant-garde, from the country’s 1986 entry into the European Union, to the post-15M uprisings. To do so, I argue that Iberian artists revived strategies of sabotage typical of the 19th-century worker’s struggle, including power cuts, political infiltration, misappropriation of funds, and the destruction of property, to wield the art world’s contradictions against itself. Institutions sponsored these interventions precisely because in attempting to sabotage the art system, museums were able to marshal the idea of the artist’s freedom as a stand-in for Spain’s democratic identity, while also promoting art that fit the regime of spectacle driving the art market. Combining archival research and interviews with visual and cultural analyses of primarily conceptual art projects, each chapter focuses on a sociopolitical concern with Spain’s neoliberalization with which these artworks wrestle. The first chapter centers on imaginaries of technology given the country’s EU-imposed deindustrialization. One of the cases I examine is Catalan sound artist TRES Blackout (2000-16) concerts where he disconnected buildings from the grid, aestheticizing a pre- and post-industrial experience. The second chapter considers how the promotion of contemporary art was crucial for the State’s shift toward financialization, helping tourism and real estate markets’ development. These conditions, I argue, led to a new wave of institutional critique, questioning the museum’s social role. Among the works I analyze is Andalusian-Catalan visual artist Luz Broto’s architectural piece, Abrir un agujero permanente (2015), in which she bored a hole in the façade of the Museum of Contemporary Art of Barcelona and ran a workshop to change the museum’s bylaws for the hole to remain, without authorization, rendering institution making an artistic process in the vein of institutional critique. The third chapter addresses how artists found ways to counter the institution’s capture of cultural labor, such as Núria Güell’s manual, Cómo expropiar a los bancos (2013) —alongside others—on how to obtain bank loans and default on them. Through the lens of sabotage, we can see how artists pry open, in both symbolic and concrete ways, the increasingly nebulous relationship between labor and capital

Designing Motherhood (2021): Reapropiar la fetichización=Designing Motherhood (2021)/ "Reappropriating Fetishization" (2021)

No resumen en reseñasNo abstract in review

Portrait (full length) of Laurel Martyn as the Bluebird, ca. 1942 [picture] /

Title based on description from the Guide to the papers of Laurel Martyn.; Part of the collection: Papers of Laurel Martyn.; "André Evinson, Melb"-- Mounting board.; Also available in electronic version via the Internet at: http://nla.gov.au/nla.ms-ms9711-1-17

Portrait of Laurel Martyn as the Bluebird, Borovansky Australian Ballet, ca. 1942 [picture] /

Title based on description from the Guide to the papers of Laurel Martyn.; Part of the collection: Papers of Laurel Martyn.; "Andre Evinson, Melb"-- Mounting board.; Also available in electronic version via the Internet at: http://nla.gov.au/nla.ms-ms9711-1-15