Islas

1-16

Authors: Mabiel Hidalgo Martínez

Introduction: The Association of Reporters of Havana (ARH) constitutes the first journalistic organization in Cuba, created on April 14, 1902. From 1941 to 1953, the lines of action were directed to the formation and development of journalists in the country. The organization of the First National Congress of Journalists, the promulgation of membership laws, the creation of the National Association of Journalists and the provincial branches, as well as the establishment of the «Manuel Márquez Sterling» Professional School of Journalism, were important steps beyond the framework of the capital, causing favorable impacts, not exempt from conflicts, in the professional and social recognition of journalists in Cuba. Methods: The theoretical methods such as the historical-logical, analysis-synthesis, inductivedeductive and the techniques of mixed or semi-standardized interview, allowed the study of the ARH, an important space for developing and channeling the demands of journalists, setting the foundations of a critical journalism and high professional rigor. Results: Taking into account the scarce research existing on the ARH during its vital existence (1902-1962) and the contributions to the journalistic guild, the training and professional development actions promoted by the Association, it is our aim to deepen from a historical perspective. The regional profile adopted clears up the relevance of the links that having its headquarters in the capital, impacted on professionals and apprentices all over the country. This research contributes to the studies of the history of press in Cuba, and enriches the sociohistorical studies about information and communication. Conclusions: From the Havana region, the ARH impacted on a much wider national profile, thus making possible to celebrate a First National Congress of Journalists, and the approval and implementation of the Journalistic Association process, as well as the creation of the «Manuel Márquez Sterling» Professional School of Journalism. These actions concretize the efforts of several decades to put an end to professional intrusion and to institutionalize the teaching of journalism in the country, characterized until then by empiricism.

28-47

Authors: Juana Marta León Iglesias

This article examines the place of the aesthetic experience in the cultural philosophical conceptions of Raúl Roa García, during the period between 1940 and 1958. To do this, an interpretive hermeneutic study of some of his works written and published in the stated period is carried out, since it was his stage of most prolific intellectual reflection. Starting from locating the theoretical developments around the aesthetic experience category, we proceeded to assess how this is conceived in Roa's cultural thought, as well as the nuances it brings to his discourse, his position as an intellectual trained in a Western tradition and illustrated that it intends to overcome through the apprehension of Marxism and the Martian legacy. As a result, it can be affirmed that, for Roa, the aesthetic experience is a way of connecting rational thought with sensibility, while claiming the possibilities of the latter to build knowledge. Moreover, it constitutes a tool to deconstruct the cultural expressions of domination and build politics through dissent: its postulates are based on the possibilities of forming critical subjects in order to democratize access to culture for the most neglected social sectors. In this sense, it is concluded that in Raúl Roa the aesthetic experience is projected on a collective level, as he seeks the achievement of social justice, and on an individual level, as he seeks the emancipation of the individual from the ascension of the spirituality.

60-80

Authors: Arleti María Molerio Rosa

Introduction: By studying the musical framework of Cuban composers who are located in a foreign environment, we approach a process of connections that includes different points of view and that, in turn, are discursively intertwined in a scenario that builds cultural codes that reinforce the identity. Within this framework, the work provides special analytical attention to the production of Chamber music by Yalil Guerra Soto (1973). Methods: In this research, the analysis proposal based on the enactive criterion is developed, that is, multivalent and interacting relationships that are unleashed in recipient-creator individuality from specific topics evoked, considering that every analyst is in turn a perceiving subject. -Creative of the work he faces. For traditional historiography, Chamber music is linked to a number of members of an instrumental/vocal format of genres established at the time of classicism, which are performed in a relatively small and intimate space. Results: We focus on an analytical approach to his musical proposal Old Havana by the composer and guitarist Yalil Guerra for its interconnections between academic and popular music. The sound context exposes a traditional string quartet. The timbre image is conventional, but in turn contains a range of profiles that support the discourse and combine effects of semantic interconnection, giving it a unique aesthetic vision. The alternation of compass according to the discursive requirement is notable, acquiring diversity in the development sections. Conclusions: the cameral concept extends its scope to the genres considered folkloric or popular, interweaving a unifying thought that describes music as a whole. We analyse and corroborate in the work of Yalil Guerra, the resignification, of the sound world of traditional Cuban popular music in an academic context.

92-109

Authors: Evelyn Serra Castro, Tania Silverio Pérez, Raquel María García Riverón

Introduction: In this work the analysis of the intonation patterns of the questions is carried out, in interaction with the gestures, in a sample of ten chapters of the Cuban telenovela Destino Prohibido. Total questions and partial questions are taken into account in all appearance contexts. Methods: A communicative approach is used and a perceptual analysis is carried out from the auditory and visual point of view that allows defining the intonation units and the elements related to gestures. The analysis ofintoneme patterns is based in the theory of Raquel García Riverón and the analysis of gestures in McNell´s classification. Results: The gesture, like the intonation peak, is used to draw attention to a certain part of the interrogative where want to emphasize, mostly, in relation to the lexical-grammatical structure. Conclutions: This study is part of a bigger project about expressiveness and affectivity in the intonation of the Cuban variety of Spanish in multimodal discourse. Until now, various uses of gestures that are integrated in correspondence with intonation patterns have been identified