Revista Académica Estesis

41

Authors: César Núñez Ilvar Josué Carantón Sánchez

Product of the reflections and discussions realized in the macro project DEVA (from the Spanish acronym for De-scriptive Dictionary of the Spanish of Aburrá’s Valley), dic-tionary that tries to reflect the lexicon of ten municipalities of Aburrá’s Valley (Antioquia, Colombia), wasborn this document that reveals some of the forms of uses of the lan-guage that become violent, but that are slightly evident in the commonness of the city; uses come from interviews to prominent figures who in magazines and in the television express his ideas. Violence that, historically, have been the constant in the communes of Medellin, but that the crimi-nal conjunctions have put of present in the daily relations and how the urgencies for surviving have forced that many young people assume positions and radical positions. Sub-tleties and changes that take a symbolic heavy load and that are concealed in models and ways of being internalized of the image that drug traffickers project the tastes, con-struction of subjectivities to be accepted socially, not all of them made visible and much less studied

87

Authors: Juan Esteban Lema Ardila

The main purpose of this article is to disseminate the work on creativity exposed in the book Creativity. Flow and the Psychology of Discovery and Invention by the Hun-garian-American psychologist Mihaly Csikszentmihalyi, published in English in 1996 and translated to Spanish in 1998. His work is the result of more than 30 years of re-search. For this article, 3 specific topics were selected from all those unfolded by the author:1. About the daily aspects of creativity, and from there, they intersect with the definition offered by Csikszentmihalyi.2. About the culture and systems that compose creativity: Field, Individual and Domain.3. About the creative personality and creative processes

131

Authors: Carolina Mejía González

The text recounts some significant occurrences, printed on the traveling suitcases: a variety of landscapes, dents, unknown places. It is a story about the aesthetic gestures that the traveler collects, carries and brings, in line with the four geographies of José Luis Pardo's "Geopoetics": writing of the earth, inscription on the earth, writing on the earth and description of the earth, weaved with the skin as a place of common sense, a concept built from Michel Serres. These occurrences constitute the life of the traveler, of the one who has to deal with or worry about a suitcase, carrying his luggage. Occurrences that, printed, configure the pages or hidden images and that when read-ing them will bring back memories and affective premoni-tions —sensitive matters of the emotional being that we are—, when we have traveled and arrived home