By Leonardo Ferreira

The background of Latin American journalism is eventually the tale of a those that were silenced over the centuries, basically local americans, girls, peasants, and the city terrible. This ebook seeks to right the checklist propounded by way of such a lot English-language surveys of Latin American journalism, which are inclined to forget pre-Columbian types of reporting, the ways that expertise has been used as a device of colonization, and the Latin American conceptual foundations of a unfastened press.Challenging the traditional idea of a unfastened industry of principles in a sector plagued with critical difficulties of poverty, violence, propaganda, political intolerance, terrible ethics, journalism schooling deficiencies, and media focus within the palms of an elite, Ferreira debunks the parable of a loose press in Latin the US. The diffusion of colonial presses within the New global led to the imposition of a structural censorship with parts that stay to at the present time. They contain ethnic and gender discrimination, technological elitism, kingdom and non secular authoritarianism, and ideological controls. Impoverished, frightened of crime and violence, and with no entry to an efficient democracy, usual Latin americans nonetheless dwell silenced via ruling actors that come with a dominant and focused media. therefore, not just is the clicking no longer loose in Latin the United States, however it is additionally itself an device of oppression.

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168 In a jungle of merchants, forgers, and speculators, this conclusion has been consistently rejected in various circles. 169 34 Centuries of Silence: The Story of Latin American Journalism Although critics are becoming more vocal, those who believe this codex is a forgery simply choose not to mention it among the trilogy of uncontested ones. For example, a 1997 chart in Arqueolog´ıa Mexicana (no. 170 When experts think of a fake codex, archaeologist Jos´e Luis Franco usually comes to mind, warning that there are blank sheets of genuine preHispanic paper in caves with no humidity waiting to be forged.

Anonymous Viking tales before Col´on such as the Icelandic Sagas, namely Eirik the Red’s, The Greenlanders’, and The Saga of Bjarni Herjolfsson, spoke of encounters with aborigines in new lands whom they called Skraelings (savages). These chronicles, also known as the Vinland Sagas and published in the early thirteenth century, described the enigmatic rendezvous between two worlds when Norse sailors attempted to settle, timber, and trade in the Canadian Arctic. 195 The sagas had also reported how the Vikings colonized the Shetland, the Hebrides, and the Faeroe Islands (860 ce), advancing toward Iceland (870 ce) and Greenland (982 ce) prior to the Norse westward exploration of the Land of Wine or Vinland in today’s Canada.

In Middle America, the jaguar is a complex duality, another self that evokes power and government, intelligence, beauty, strength, courage, danger, victory, war, magic, and sacrifice, especially among kings and priests. This icon is repeatedly expressed in sculpture, architecture, ceramics, painting, and paper. 111 Painting, particularly mural painting, is an indispensable communication medium that spread throughout Mesoamerica. Unlike universal traditional arts, which try to create a virtual reality, the pre-Columbian murals reproduce plain and direct conceptual representations of what people believed of themselves, their environment, and the cosmos.

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