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periodicomirador · 6 years ago

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Zacatecas, Zac.-El Consejo General del Instituto Nacional Electoral (INE) determinó por unanimidad que partidos políticos y candidatos independientes deberán regresar 54.6millones de pesos de remanentes del financiamiento público de campaña que no ejercieron durante los procesos electorales federal y locales de 2017-2018.

Partidos políticos nacionales, partidos políticos locales y candidatos independientes deberán reintegrar a la Tesorería de la Federación y a las tesorerías locales, a más tardar en cinco días a partir de la notificación, 50 millones de pesos, 1.5 millones de pesos y 3.0 millones de pesos, respectivamente, pues se trata de recursos públicos que recibieron para el pasado proceso electoral y que no gastaron.

En sesión extraordinaria, el presidente de la Comisión de Fiscalización del INE, Benito Nacif Hernández,explicó que los remanentes que no sean reintegradosen el plazo establecido, serán descontados de las prerrogativas que reciban los partidos políticos este año.

Mientras que en el caso de los candidatos independientes que no realicen el reintegro de los remanentes en el plazo señalado, las autoridades electorales deberán dar vista al Servicio de Administración Tributaria (SAT) para que en el ámbito de su competencia determine lo que en derecho proceda, a efecto de que el adeudo se clasifique y tenga tratamiento de un crédito fiscal.

El Consejero Nacif agregó que los candidatos independientes también registran cuentas por pagar por un monto de 20.8 millones de pesos que no liquidaron, por lo que se instruye a la Unidad Técnica de Fiscalización a iniciar los procedimientos administrativos sancionadores correspondientes.

La autoridad electoral también aprobó por unanimidad un criterio para que los partidos políticos puedan pagar multas, impuestos pendientes de pago y deudas a proveedores del ejercicio 2018, con dinero no gastado del financiamiento público recibido en ese periodo.

Para ello, explicó el Consejero Benito Nacif, deberán cumplir las siguientes condiciones “que los conceptos estén registrados como cuentas por pagar al fisco, o a proveedores, que sean pasivos relacionados con cuentas por pagar y que ya estén devengados”.

Se definen límites a las aportaciones individuales que pueden recibir organizaciones de ciudadanos

En otro punto de la sesión, consejeras y consejeros aprobaron por unanimidad un criterio general de interpretación que establece que las organizaciones de ciudadanos que pretenden obtener registro como partido político nacional, podrán recibir vía aportaciones individuales de simpatizantes y asociados, en dinero o en especie, un límite de 2millones 148 mil pesos por persona.

“Este proyecto propone al Consejo General fijar como criterio que los partidos políticos en formación están sujetos a las mismas reglas de financiamiento que los partidos políticos con registro, en lo que concierne a los límites a las aportaciones que de manera individual las y los ciudadanos pueden hacer a los partidos políticos en formación, en calidad de simpatizantes o de militantes”, subrayó el Consejero Nacif.

Designan a consejeras y consejeros electorales de los OPL

El Consejo General aprobó por unanimidad la designación de María Magdalena Vila Domínguez, Sofía Martínez de Castro León y Edmundo Henríquez Arellano como consejeras y consejeros electorales de Chiapas; David Alonso Arámbula Quiñones como consejero electoral de Durango y Azucena Cayetano Solano como consejera electoral en Guerrero.

El presidente de la Comisión de Vinculación con Organismos Públicos Locales, Marco Antonio Baños,subrayó que se cumplió rigurosamente con las diferentes etapas del proceso desde la convocatoria, el examen de conocimientos, el ensayo presencial, valoración curricular y entrevista.

Además de que se declaró desierto el proceso de designación de la Consejera o Consejero Presidente del Organismo Público Local de Tamaulipas, por lo quela Consejera Presidenta Provisional del Instituto Electoral de la entidad, María de los Ángeles Quintero Rentería, continuará en el cargo, en tanto se realiza el nombramiento definitivo.

Partidos e independientes deben regresar 54.6 mdp was originally published on Periódico Mirador

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magicaldreamexpert-blog · 8 years ago

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filmographie

Culture: literature In the first phase of the colonial period, literature was mainly an otium, in the classic sense and humanistic of the word, of scholars religious and laity, in a country on the margins of history who boasted of having been founded by a scholar (Gonzalo Jimenez de Quesada, founder of Bogotá) and speak a pure Castilian, almost academic, at least in the top layers of the Creole population (the humanist tradition is alive in Colombia, that not by chance has given in the XIX century two philologists and grammatici value, M. A. Dear and R. J. Cuervo, to whose names is titled an excellent Institute of Classical Studies of Bogotá).

Subsequently Bogotá became one of epicentri dissemination of "enlightenment" ideas, a prelude to the modern age.

The Conquest inspired by Juan de Castellanos (1522-1607) The Elegías de Varones ilustres de Indias, colossal narration in verse (150,000 hendecasyllables), and various chronicles to other writers, ecclesiastical species (the same Quesada, Aguado, Simón and Bishop Piedrahita, as well as the rear Gumilla and Silvestre). But the work more attractive for a certain narrative ability, this is the chronicle said El Carnero of Juan Rodríguez Freyle (1566-ca. 1638), crowded with particular curious and sometimes romance.

In the seventeenth century is distinguished above all the baroque poet Hernando Domínguez Camargo (m. ca. 1660), author of a vast poem on St Ignatius of Loyola and valuable lyrics, and sister clarissa Francisca del Castillo (1671-1742), which must be two ascetic works in prose (Vida and Afectos espirituales) of singular value. The data pulses by the viceroy illuminated (Caballero y Góngora, Ezpeleta) and visits of famous European (Mutis, Humboldt) in the second half of the XVIII century worked a radical change of the cultural climate: flourished scientists, publicists, autonomous thinkers (albeit with strong European influences and in particular french), among which emerged Antonio Nari (1765-1823), the botanist F. A. Zea (1786-1822), the poets and playwrights neoclassical José Fernández Madrid (1789-1830) and Luis Vargas Tejada (1802-1829) and especially the publicist and popularizer of science and politics Francisco J. Caldas (1771-1816), which was shot by the Spanish authorities and must be considered a good right one of the founders of the independent Colombia. This, that had as its first president the writer Francisco de Paula Santander (1792-1840), the successor and historian of Bolívar, welcomed the romance with enthusiasm. Many were the poets, prosatori, playwrights, translators: José J. Ortiz (1814-1892) to Rafael Nuñez (1825-1894), another president-writer, by Ricardo Carrasquilla (1827-1886), author of popular verses comic-satirical cartoonists, José E. Dear (1817-1853) and Julio Arboleda (1817-1862), romantic of distinct personality, until Gregorio Guitiérrez González (1826-1872), whose memory sobre el cultivo of maíz en Antioquia remains one of the masterpieces of poetry in Latin America of the Nineteenth Century, and to rear Fallón Diego (1834-1905), Epifanio Mejia (1838-1913), Rafael Pombo (1833-1912), one of the greatest poets and prosatori of his time, and Julio Flórez (1867-1923), that precorsero the modernist renewal. The prose had its major names in Eugenio Díaz (1804-1865), José M. Marroquin (1827-1908) and Jorge Isaacs (1837-1895), whose masterpiece, María, novel idyllic delicate sensitivity, became quite rightly a classic of the literature of Latin America. Numerous are also the narrators of costumes, historians, publicists and scholars, among which the aforementioned M. A. Dear (1843-1909), Rufino J. Cuervo (1844-1911) in addition to M. F. Suárez and R. M. Carrasquilla. With the modernism, represented primarily by José A. Silva (1865-1896), lirico in relief, opens the History of contemporary poetry, continued by Guillermo Valencia (1873-1943), Porfirio Barba Jacob (1883-1942), Max Grillo, L. C. López; while among the prosatori outstand José E. Rivera (1889-1928), J. M. Vargas Vila, Tomás Carrasquilla (1858-1940) and the critics and humanists Antonio Gómez Restrepo (1869-1947) and B. Sanín Cano (1861-1957). The blossoming of lyric poetry continues thanks to Leon de Greif (1895-1976), Rafael Maya, Germán Pardo García, Jorge Rojas, Eduardo Carranza, Gonzalo Arango (among the founders of the "Nadaismo"), Jorge Gaitán and Álvaro Mutis. Between the prosatori emerge Germán Arciniegas, authentic teacher of Latin American culture, whose nourished work culminates in El continent de los colores you (1965), wonderful synthesis of the civil history of the continent; E. Caballero Calderón (n. 1910), author of the strong Christ de espaldas; Manuel Mejia Vallejo (1923-1989), which must be the tierra éramos nosotros, the pié de la ciudad, El señalado día. But above all it must be remembered Gabriel Garcia Marquez (n. 1928), Nobel Prize in 1982, that with Cien Años de Soledad (1967; One Hundred Years of Solitude) has won one of the first places among the contemporary writers in the Spanish language. To these was added a host of new authors that address in different ways but of sure validity, the social reality and the problems of the country. Significant narrative tests gave H. Moreno Durán(1946-2005; between whose main works remembers the trilogy Femina Suite, composed between 1977 and 1983), P. A. Mendoza, O. Collazos, M. Moreno. Some of them have written good novels out from the native country, as if the exile, forced or voluntary, they had beneficially sprovincializzati. The essays is not very flourishing, apart from the literary criticism exerted by many writers already appointed. The publication, between the 1990s and the two thousand, of numerous new works, without counting the contributions saggistici journalistic and from part of the character of most importance of Colombian narrative, the Nobel Prize G. García Márquez (twelve stories raminghi, 1992; of love and other demons, 1994; News of a seizure, 1996, memory of my sad whores, 2004), is a proof of the inexhaustible vitality, beyond that of this writer-symbol of Latin American culture, of the entire literature of the country, which demonstrates its vitality through the works of a substantial number of new authors, active both in prose, as A. Hoyos, E. García Aguilar, G. Espinosa (1938-2007; Sinfonía desde el Nuevo Mundo, 1990; besan Cuando las sombras, 2004), R. Burgos Cantor (El vuelo de la Paloma, 1992; Señas particulares: witness de a vocación literaria, 2001), Germán Castro Caycedo, E. Roserio Diago (Cuento para matar a perro, 1990) and H. Kremer (Rumor de Mar, 1990), both in the poem, which saw in this same period the return of some exponents of the generation of the Sixties (G. Quessep and J. García Maffla), the production of which complements that of new authors such as J. M. Roca, S. Mutis, M. M. Carranza and O. Lozano. The author of the first floor in the literature Colombian and internationally known is F. Buitrago (n. 1943), which has published novels (including the damning summer of the gods, 1963; the lady of honey, 1993; an animal beautiful, 2002), and with great success, as well as books for children (the house of the rainbow, 1996). Also the generation blossomed between the end of the twentieth century and the beginning of the Year Two Thousand counts many names from the bright future; among the most interesting are reported Ricardo Silva Romero (n. 1975), author of stories, poems, novels and essays and Ephraim Medina Reyes (n. 1964), author of the collection Cinema Arbol y otros cuentos, awarded in the country with the National Prize for literature, and one of the main supporters of the criticism toward realism, especially that which continues to be also reintroduced by the 'big'. Much less original theater, despite some notable attempt in this area remains exceptional case of Enrique Buenaventura (1924-2003, author and director very known even abroad and director of the Teatro experimental de Cali. Between the authors more young people remember Guillermo Maldonado with Grupo Teatral de Cúcuta and Esteban Navas Cortés with the Teatro Libre de Bogotá, expression both of a dramaturgy engaged and social background; has also written for the theater to the already cited F. Buitrago (, 1991). Culture: Art Colombia is a complex area, rich in archaeological sites, in which they were discovered works of notable artistic value. By the Low Lands of Colombia, and precisely from Puerto Hormiga, comes the ceramic more ancient of the entire American continent, dating back to 3000. C.; numerous archaeological centers minors (Barlovento Momil, El Horno, Calima, etc..), known for the art fictile and sculpture in stone . of upper level the artistic production of cultures sub-Andean valleys of the Cauca and Magdalena: among the most important centers of San Agustín, famous for the sculpted in stone, and the region of Tierradentro, with its rooms underground burial walls painted with depictions stylized human and geometric motifs. Lastly we mention the area of Quimbaya from which come interesting documentation of ceramics and jewelry,that of Tairona (Sierra Nevada de Santa Marta), that distinguished themselves as architects, sculptors and ceramists, and that of the chibcha (located on the hills around Bogota), famous for the stone carving and jewelry production. The figurative arts knew initial development thanks to the work of cultural diffusion of Europeans, and Catholics in particular. In the wake of the cultural climate and the movements more important developed in Europe (from the Mannerist and Baroque to the romanticism) The Colombian art of colonial era has long insisted on themes related to the religious sphere. The twentieth century has brought the intensification of relations with the countries not only Europe, a diversification of styles and currents, the birth of artists of the world, the recovery of pre-Columbian roots. The latter theme is a throwback to the work of painters such as A. Acuña, I. G. Gomez Jaramillo, P. No. Gomez; exponents of the abstraction are instead M. Ospina, E. R. Villamizal, O. Rayo, painter and sculptor. The most famous Colombian Painter and sculptor is F. Botero (n. 1932), which figures from volumes markedly accentuated, a distinctive feature of his art, are now internationally appreciated and sought after and are hosted in the major museums of the world. In modern architecture reveal the names of Álvaro Barrera and Rogelio Zalmonah,. Culture: Music The first musical events date back to the colonial period; in 1783 it opened the first theater and opera in 1846 Enrique Price founded the Philharmonic Society, which followed the next year by the establishment of a music school. J. C. Osorio, J. Quevedo Arverlo, J. M. Ponce de Leon, author of the first operas composed in the country, Esther and Florinda were, with J. W. Price, founder of the National Academy of Music (1882), A. Martínez and S. Cifuentes, the most relevant personalities of the century XIX. Among the figures the most eminent of the twentieth century stand out G. Uribe-Holguinto, director from 1910 to 1933 of the National Conservatory of Bogota and the founder of the Society of symphonic concerts of the Conservatory, J. Bermúdez Silva, E. Murillo, J. Rozo Contreras, C. Posada Amadór, A. Mejia and G. Espinosa, founder (1936) and director of the National Symphony Orchestra. Among the composers younger, heirs of the fundamental work of Holguín, you cite L. A. Escobar, B. E. Atehortúa, J. H. Pinzón Malagón. Culture: cinema While going back to the years around 1920 (pioneers brothers Donato and Vicente di Domenico), the Colombian cinema was not able to develop in an organic way, nor is he found a way to protect from the invasion of Hollywood national production. After a dozen feature films in the era of the mute (1922 to 1927), only toward the 1940 took place the first film spoken, and only in the Sixties film of excellent quality, with Raíces de Piedra (1962) J. M. Arzuga and Tres cuentos colombianos (1963) of Julio Luzardo and Alberto Mejia. The latter signed in 1968 a film of fitting the significant title: Bolívar, dónde estás que no te veo. The Documentary Planas, analysis of a genocide won the Colomba d'Oro to the 15th Festival of Leipzig (1972), an award which recognized the work of the best filmmakers militants. In subsequent years the C. has made considerable progress from the point of view of production and of the birth, at least embryo, a film industry. Despite the hundreds of foreign films (over 80% in the US) that every year are invading the screens Colombians in the years 1973-74 the film Préstame tu marido, produced and directed by Julio Luzardo, gathered a true primacy of takings, passed in 1979 by Mamagay Jorge Gaitán. In the Eighties have multiplied the stories divita daily, as well as those who denounce the atrocities of the past. The joint at the Cannes film festival in 1984, Condores no entierran todos los dias of Francisco Norden is a violent chronicle on the use of the murder in the political struggle. Between the narrative film can also remember Gamin (1979) of Ciro Duran, which tackles the theme of juvenile delinquency, or La Virgen y el fotógrafo (1983) by Luis Alfredo Sanchez; between the short films Ajuste de cuentas (1983) of Dunav Kuzmanich; between cartoons Cristóbal Colón (1983) by Fernando Laverde. Among the directors who were imposed in the Nineties, S. Cabrera, who directed Ilona llega with the Lluvia (Ilona arrives with the rain, 1996), drawn from the homonymous tale of Á. Mutis, and V. Gaviria, that after the successful debut in the Regia, in 1990, with Rodrigo D. No future, has been a remarkable success, even at international level, with the vendidora de Rosas (the seller of roses, 1998).

Over two thousand years the films more interesting were Rosario Tijeras E. Maillé, i abuelo, i dad y yo of Dago García, Jorge Echeverri, while were reconfirmed Cabrera with wasting cuestión es de método, and Gaviria who directed Sumas y restas. Alongside these, there are several new talents are emerging, also thanks to the increasing support offered by the institutions and the festival; among the many, C. War, R. Mendoza, J. M. True, A. Buitrago, J. Mejia, J. M. Acuña, L. E. Gómez.

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