A Discordant Voice from the Trenches: Juan José de Soiza Reilly's War Chronicles

The First World War represented a deep crisis of the European civilization that called into question the values and certitudes of the Belle Époque society. Trenches became the symbol of the dehumanization produced by a conflict that marked a watershed in modern history. As a global conflict, its impact was felt beyond the confines of Europe, involving even neutral countries, puzzled by that unexpected spectacle of violence. In this new scenery, war correspondents were first-hand witnesses of the horrors of the battlefields, transmitted through their journalistic contributions to a public opinion profoundly shaken by this new kind of warfare. Non-European war correspondents were exceptional cultural mediators between the experiences of the theater of war and distant regions like Latin America, contributing to disseminate different understandings of the wartime crisis. This article aims to explore the response of the Argentine war correspondent Juan José de Soiza Reilly (1879-1959) to the challenge of making the nature of the Great War intelligible to his readers. He embodied the new figure of the professional journalist-writer who contributed to establishing commercial mass press as the fulcrum of Argentine cultural life and as the field of convergence of literature and journalism at the beginning of the twentieth century. The primary sources of this study are Soiza Reilly’s war chronicles, published by two large circulation periodicals, the newspaper La Nación and the illustrated magazine Fray Mocho, from October 1914 to October 1916. Those contributions were the result of his more than two years’ experience in the Western and Eastern fronts. Soiza Reilly’s perspectives on the First World War were clearly unconventional for his national framework, where most of the intellectuals and the press took sides early in favor of the Allies, due to the deep-rooted Francophilia prevailing in Argentine cultural field. As a result, they devoted themselves to arguing over the question of the war responsibilities and the belligerents’ attributes. Unlike them, Soiza Reilly denounced the absurdity of the war, which he strongly condemned, and made a pacifist profession of faith. In addition, far from the Argentine social consensus, he was often critical of the Allies and sympathetic to the German Empire. However, since Italy’s entry into the war in May 1915, Soiza Reilly adopted a belligerent attitude in favor of the Allies, expressing an intense admiration for Italy and a virulent anti-Austrian sentiment. These two last features were very unusual in the Argentine context, where the devotion for France was hegemonic as well as the vehement anti-German stance. Through the analysis of Soiza Reilly’s war chronicles and reportages, this article intends to shed light on the reception of the war in a neutral country, the general climate of public opinion, and its dissensions around the significance of the Great War.Fil: Tato, María Inés. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Saavedra 15. Instituto de Historia Argentina y Americana "Dr. Emilio Ravignani". Universidad de Buenos Aires. Facultad de Filosofía y Letras. Instituto de Historia Argentina y Americana "Dr. Emilio Ravignani"; Argentin

Split and Migrate: Resource-Driven Placement and Discovery of Microservices at the Edge

Microservices architectures combine the use of fine-grained and independently-scalable services with lightweight communication protocols, such as REST calls over HTTP. Microservices bring flexibility to the development and deployment of application back-ends in the cloud. Applications such as collaborative editing tools require frequent interactions between the front-end running on users\u27 machines and a back-end formed of multiple microservices. User-perceived latencies depend on their connection to microservices, but also on the interaction patterns between these services and their databases. Placing services at the edge of the network, closer to the users, is necessary to reduce user-perceived latencies. It is however difficult to decide on the placement of complete stateful microservices at one specific core or edge location without trading between a latency reduction for some users and a latency increase for the others. We present how to dynamically deploy microservices on a combination of core and edge resources to systematically reduce user-perceived latencies. Our approach enables the split of stateful microservices, and the placement of the resulting splits on appropriate core and edge sites. Koala, a decentralized and resource-driven service discovery middleware, enables REST calls to reach and use the appropriate split, with only minimal changes to a legacy microservices application. Locality awareness using network coordinates further enables to automatically migrate services split and follow the location of the users. We confirm the effectiveness of our approach with a full prototype and an application to ShareLatex, a microservices-based collaborative editing application

El negocio del pasatiempo

The eruption of television sets in North American homes represented a strong attack on the oily machinery of Hollywood. In play was not only the financial aspect (at a time that the cinema industry was also confronted with anti-monopoly laws), but also the question of the hierarchies within audiovisual language itself. This led to a radical strategy on the part of Hollywood to specta- cularize the cinema format (for example, with Cinema- Scope), while at the same time launching a virulent attack on television as a medium incapable of genera- ting any genuine type of message. This strategy genera- ted a whole way of seeing television through the cinema, a vision that was as exaggerated as it was out-dated and which has gone on to promote the concept of trash TV

Integration of Post-Soviet Republics into NATO: Comparative Analysis of Euro-Atlantic Integration of Estonia and Georgia

Estonia and Georgia, the two former Soviet republics, at the time of the collapse of the USSR, had quite a similar experience of statecraft: they bothlived under communist rule, did not have any experience of democratic development and market relations, were approximately at the same levelof development among the 15 Soviet republics and also experienced the same pressure on awakening national identity and orientation towardsEuropean values. However, with the collapse of the USSR, very distinct tendencies emerged in these two states. If Estonia, together with otherpost-Soviet Baltic countries, took a course towards deep reformation of the country and integration with Europe and ensuring security through joiningthe North Atlantic alliance, then Georgia, under the newly elected nationalist government of Gamsakhurdia, chose the path of confrontation withnational minorities and its closest neighbors, and the building of a Common Caucasian Home (primarily with the North Caucasian republics beingpart of the Russian Federation), which led the country to a civil war, self-isolation and alienation from the West. This led to two completely differenttrajectories in the conduct of these countries in the international arena in the next three decades. The paper compares the two Euro-centric post-Sovietstates, Estonia and Georgia, in the context of NATO integration. By drawing a variety of parallels, the research refers to both historical experiences,transformational abilities, the readiness of political elites to carry out radical reforms and explores several reasons explaining differences in the Euro-Atlantic international path of Estonia and Georgia. At the same time, the article examines several external factors and particularly the Russian one,that influenced the integration path of these countries: in one case, giving the green light to joining the alliance (a case of Estonia) and, in the other,all kinds of opposition to NATO membership (a case of Georgia)

Análisis del personaje en el cine y en los videojuegos. Inmersión y empatía

El videojuego ha heredado el lenguaje y las formas del cine en un nuevo medio basado tanto en lo visual como en lo interactivo, produciendo una combinación innovadora en el terreno de la narrativa. Los primeros títulos que se lanzaron tenían como baremo su cercanía al cine, pero mantenían una aspiración que no hacía justicia a las posibilidades del videojuego en su vertiente más comunicativa, tal y como le sucedía al cine en sus primeros años. La influencia del cine en el videojuego deja abierta la cuestión de una narración que, en la práctica totalidad del cine comercial, se considera como eje vertebrador de la obra. El guion es el primer paso para entender el sentido y el objetivo de la película y en su epicentro está el personaje, que da sentido a la historia a través de la empatía generada en el espectador y que, a su vez, representa y verbaliza las funciones ocultas que pudiera albergar la película. ¿Cabe hablar de la misma forma del personaje cuando estamos en un entorno interactivo donde el jugador tiene a veces un peso similar en el desarrollo de la narración al del creador del juego? ¿Cómo debemos cambiar nuestra percepción de la narración cuando el personaje toma caminos ni siquiera previstos por el guionista? El artículo trata de responder a estas preguntas que se generan cuando relacionamos un medio con posibilidades todavía por explorar como el videojuego con otro como es el cine. Para ello, se realizará un análisis de los videojuegos narrativos y veremos la función que puede ejercer en cada uno de los mismos el personaje principal y hasta qué punto puede incluirse en la escritura del videojuego la interpretación del jugador cuando adopta este papel. Nos planteamos hasta qué punto jugador y personaje son entidades separadas, si el videojuego es una actividad de interpretación de un papel o interpreta la forma de jugar del jugador, si es una labor de interpretación o de empatía