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thequeenofthedisneyverse · 7 months ago

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La Violencia (Research I did for Encanto fic writers so you don't have to)

TW: Assassination and death

Long but necessary post

@yellowcry @miracles-and-butterflies @evostar (if you already knew about it, that's fine, but reblog so others can too.)

To put it simply;

During this time, an estimated 200,000 people lost their lives, with 112,000 of those deaths occurring between 1948 and 1950. Additionally, two million people were forcibly displaced from their homes, primarily to Venezuela.

The root of this conflict lies in the intense partisan rivalries between Colombia’s two traditional political parties: the Liberal Party and the Conservative Party. These tensions created a divide between liberals and conservatives, eventually leading to the partial collapse of the state and existing institutional structures. As violence escalated, economic motivations began to outweigh political ones, and armed bands took advantage of the chaos to commit robberies, assaults, and revenge against their neighbors.

More in depth;

La Violencia was a ten-year civil war in Colombia from 1948 to 1958, between the Colombian Conservative Party and the Colombian Liberal Party, fought mainly in the countryside.

Liberal hegemony continued through the 1930s and the World War II era, and Alfonso López Pumarejo was reelected in 1942; however, wartime conditions were not favourable to social change. In the elections of 1946, two Liberal candidates, Gabriel Turbay and Jorge Eliécer Gaitán, stood for election and thus split the Liberal vote. A Conservative, Mariano Ospina Pérez, took office.

Conservatives had been embittered by political sidelining and, since 1930, had suffered violent attacks at the hands of Liberal supporters. With the electoral victory of 1946 they instituted a series of crude reprisals against Liberals. It was the initiation of the period that was dubbed La Violencia. On April 9, 1948, Gaitán, leader of the left wing of the Liberal Party, was assassinated in broad daylight in downtown Bogotá. The resulting riot and property damage (estimated at $570 million throughout the country) came to be called the bogotazo.

La Violencia originated in an intense political feud between Liberals and Conservatives and had little to do with class conflict, foreign ideologies, or other matters outside Colombia. Authoritative sources estimate that more than 200,000 persons lost their lives in the period between 1946 and 1964.

The most spectacular aspect of the violence, however, was the extreme cruelty perpetrated on the victims, which has been a topic of continuing study for Colombians. La Violencia intensified under the regime of Laureano Gómez (1950–53), who attempted to introduce a fascist state. His excesses brought his downfall by military coup—Colombia’s first in the 20th century. Gen. Gustavo Rojas Pinilla assumed the presidency in 1953 and, aided by his daughter, María Eugenia Rojas, began an effort to end La Violencia and to stimulate the economy.

Rojas was a populist leader who supported citizens’ demands for the redress of grievances against the elite. Support for Rojas began to collapse when it appeared that he would not be able to fulfill his promises, when he showed reluctance to give up power, and when the economy faltered as a result of a disastrous fall in coffee prices in 1957. He was driven from office that year by a military junta.

The arrangement for the National Front government—a coalition of Conservatives and Liberals—was made by Alberto Lleras Camargo, representing the Liberals, and Laureano Gómez, leader of the Conservative Party, in the Declaration of Sitges (1957).

The unique agreement provided for alternation of Conservatives and Liberals in the presidency, an equal sharing of ministerial and other government posts, and equal representation on all executive and legislative bodies. The agreement was to remain in force for 16 years—equivalent to four presidential terms, two each for Conservatives and Liberals. The question of what governmental structure would follow the National Front was left unsettled.

It had been contemplated that a Conservative would be the first to occupy the presidency in 1958. When the Conservative Party could not agree on a candidate, however, the National Front selected Lleras, who had previously served in that office for 12 months in 1945–46.

During Lleras’s tenure an agrarian reform law was brought into effect, national economic planning for development began, and Colombia became the showcase of the Alliance for Progress (a U.S. attempt to further economic development in Latin America). But severe economic difficulties caused by low coffee prices, domestic unemployment, and the apparent end of the effectiveness of import substitution were only partially offset by Alliance aid.

The Alliance increased Colombia’s economic dependence on the United States, which, to some Colombians, had serious disadvantages. By 1962 economic growth had come almost to a standstill.

The precarious state of the economy and the degree of social tension were revealed when only about half of those eligible to vote did so in the 1962 presidential elections, which brought Guillermo León Valencia, a Conservative, to the presidency.

During Valencia’s first year in office internal political pressures led to devaluation of the peso (Colombia’s currency), wage increases among unionized workers of some 40 percent, and the most rampant inflation since 1905. Extreme deflationary policies were applied in the next three years, raising the unemployment rates above 10 percent in the major cities and turning even more Colombians against the National Front.

Less than 40 percent of the electorate went to the polls in the 1964 congressional elections.

Marxist guerrilla groups began appearing in Colombia during Valencia’s presidency. The first was the National Liberation Army (Ejército de Liberación Nacional; ELN), which was created by a group of Colombian students who had studied in Cuba.

Founded in 1964, the ELN followed strategies espoused by Che Guevara. Another guerrilla group, which followed two years later, was the Colombian Revolutionary Armed Forces (Fuerzas Armadas Revolucionarias de Colombia; FARC), which was more connected to Soviet-influenced communist movements. Much of FARC originated in the “resistance committees” that had appeared in Colombia during La Violencia.

Carlos Lleras Restrepo was the third National Front president (1966–70). He returned the economy to a sound footing, improved government planning for economic development, and pushed through political reforms essential to an orderly end to the Front (which seemed increasingly to constitute a monopoly of power by the Conservative-Liberal oligarchy).

Although the constitutional reform of 1968 stipulated that elections would become competitive again after 1974, the president was still required to give “adequate and equitable” representation to the second largest political party in his cabinet and in the filling of other bureaucratic posts.

Read more here (This article is mostly where I got my info from as well as copilot.ai. I know, AI is bad, but please don't judge me. I was not about to do six hours of research when I have a tool that can help me in seconds.)

What does this have to do with the madrigals?

Well, if you're planning on writing any madrigal (or all) outside of Encanto, La violencia is something you need to take into consideration. It's an important part of Colombia's culture and shouldn't be ignored.

(I just learned about it recently and in turn, need to rewrite some stuff. So I can only imagine that half of the Encanto fandom knows nothing about it)

What cities were safe you ask? I don't think there really was any.

Bogotá: As the capital of Colombia, Bogotá witnessed significant unrest during this period. Political factions clashed, leading to violence and instability.

Cali: Cali, located in the southwestern part of the country, also suffered from La Violencia. It was a hotspot for clashes between Liberal and Conservative supporters.

Medellín: Medellín, another major city, faced its share of violence. The conflict often played out in the streets, affecting civilians and communities.

Barranquilla: This coastal city experienced tensions between rival political groups, resulting in bloodshed and loss of life.

Cartagena: Cartagena, known for its historical significance, was not immune to the violence. The struggle between Liberals and Conservatives left scars on its urban landscape.

Cúcuta: Located near the border with Venezuela, Cúcuta also witnessed violence during La Violencia.

Palmira, Santa Marta, Soledad Atlántico, Armenia, Pereira, Neiva, Valledupar, Bucaramanga, Popayán, Villavicencio, and Soacha were other cities affected by the turmoil.

So, in either city, the madrigals would be exposed to this war if they chose to come out. Now, let's say Encanto is in the very center of Colombia (or at lease close to it) -

(Right where the red dot is)

The closest area is Villavicencio, Puerto Lypez, and Bogota. All three cities that were affected by the war. And I'm not saying Villavicencio is THAT close to Encanto, probably a week trip at best, but still.

Why did I choose the center of Colombia?

Because I don't see it sitting anywhere else. And it's convenient fic wise. But you can do what you want.

Now I'm not saying the Madrigals won't experience fun in the new world. They most certainly will (culture and technology wise), but the war is really unavoidable for them.

That's all for now, but if you have anything to add or for me to correct, reblog or message me.

#Encanto #encanto fanfic #mirabel madrigal #luisa madrigal #isabela madrigal #julieta madrigal #agustin madrigal #alma madrigal #bruno madrigal #antonio madrigal #camilo madrigal #dolores madrigal #pepa madrigal #felix madrigal

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gloosth-b · 1 year ago

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COLLAB MADNESS COMBAT X BREAKING BAD

Dudes, it’s a pleasure to show you these wonderful drawings from these amazing people who participated in my collab about draw Madness Combat characters as Breaking Bad characters.

I LOVE all of them.

Doc — Mike Ehrmantraut.

I drew my man lol.

Hank J. Wimbleton — Jack Welker

By Isis Paola

Twitter: @dibujante51

https://twitter.com/dibujante51?s=21&t=WSLy5OyPO6-OXOAnXG3Rfw

Deimos — Jesse Pinkman.

By Yuridia Barboza

Twitter: @KimochiChara

https://twitter.com/kimochichara?s=21&t=WSLy5OyPO6-OXOAn

Jebus — Walter White.

Andrya Vega Cervantes

Twitter: @aducklingdraws

https://twitter.com/aducklingdraws?s=21&t=WSLy5OyPO6-OXOAnXG3Rfw

Auditor — Gustavo Fring.

Dani Gómez

Instagram: _cvtedeath.

Tumblr: @cvtedeath

#madness combat #madcom #madness combat fanart #hank j. wimbleton #hank madness combat #hank madcom #deimos madness combat #deimos madcom #doc madness combat #2bdamned #auditor madness combat #auditor madcom #jebus madness combat #madcom jebus #breaking bad #art collab

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idollete · 7 months ago

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oi juju oq vc acha do gustavo gómez? faria? nossa acho ele um tesão, hmmm tem cara de homem surtado possessivo do jeitinho que eu gosto, sem contar que ele é bem mais velho e eu amo 💚

ÓBVIO QUE EU FARIA!!!!!!!! ai amiga esse homem tem uma grande HUSBAND ENERGY que é doidinho por você, sente tesão o tempo inteiro e quer te comer todo dia, ciúmes absurdos e arruma briga quando macho tenta se engraçar contigo, te põe no colo e aperta suas coxas pra dizer que você é dele, te trata que nem rainha daily basis mas te come feito você fosse uma piranha 💭😣💚 e nossa sobre ele ser mais velho..........AMAMOS TRINTÕES POR AQUI!!!! eu fico giggling and kicking my feet pra um cenário onde a leitora é a babá dos filhos dele e o resto vcs já sabem, é um clichê que eu adoro

#papo de divas 𐙚 #eu seria a controversially young girlfriend dele IN A BLINK OF AN EYE #ai ele é tao gostoso #aquele braço todo tatuado #[ miando no cio ]#e o fato dele ser capitão do palmeiras me faz pensar atrocidades #pq ele sofre muita pressão e fica mto sobrecarregado né......#então...........#like ele putinho precisando descontar a raiva.........#he could bend me over that's not a problem #gustavo gomez

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bigmacdaddio · 2 years ago

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Generation of 27

The Generation of '27 (Spanish: Generación del 27) was an influential group of poets that arose in Spanish literary circles between 1923 and 1927, essentially out of a shared desire to experience and work with avant-garde forms of art and poetry. Their first formal meeting took place in Seville in 1927 to mark the 300th anniversary of the death of the baroque poet Luis de Góngora. Writers and intellectuals paid homage at the Ateneo de Sevilla, which retrospectively became the foundational act of the movement.

Terminology:

The Generation of '27 has also been called, with lesser success, "Generation of the Dictatorship", "Generation of the Republic", "Generation Guillén-Lorca" (Guillén being its oldest author and Lorca its youngest), "Generation of 1925" (average publishing date of the first book of each author), "Generation of Avant-Gardes", "Generation of Friendship", etc. According to Petersen, "generation group" or a "constellation" are better terms which are not so much historically restricted as "generation".

Aesthetic style:

The Generation of '27 cannot be neatly categorized stylistically because of the wide variety of genres and styles cultivated by its members. Some members, such as Jorge Guillén, wrote in a style that has been loosely called jubilant and joyous and celebrated the instant, others, such as Rafael Alberti, underwent a poetic evolution that led him from youthful poetry of a more romantic vein to later politically-engaged verses.

The group tried to bridge the gap between Spanish popular culture and folklore, classical literary tradition and European avant-gardes. It evolved from pure poetry, which emphasized music in poetry, in the vein of Baudelaire, to Futurism, Cubism, Ultraistand Creationism, to become influenced by Surrealism and finally to disperse in interior and exterior exile following the Civil Warand World War II, which are sometimes gathered by historians under the term of the "European Civil War". The Generation of '27 made a frequent use of visionary images, free verses and the so-called impure poetry, supported by Pablo Neruda.

Members:

In a restrictive sense, the Generation of '27 refers to ten authors, Jorge Guillén, Pedro Salinas, Rafael Alberti, Federico García Lorca, Dámaso Alonso, Gerardo Diego, Luis Cernuda, Vicente Aleixandre, Manuel Altolaguirre and Emilio Prados. However, many others were in their orbit, some older authors such as Fernando Villalón, José Moreno Villa or León Felipe, and other younger authors such as Miguel Hernández. Others have been forgotten by the critics, such as Juan Larrea, Pepe Alameda, Mauricio Bacarisse, Juan José Domenchina, José María Hinojosa, José Bergamín or Juan Gil-Albert. There is also the "Other generation of '27", a term coined by José López Rubio, formed by himself and humorist disciples of Ramón Gómez de la Serna, including: Enrique Jardiel Poncela, Edgar Neville, Miguel Mihura and Antonio de Lara, "Tono", writers who would integrate after the Civil War (1936–39) the editing board of La Codorniz.

Furthermore, the Generation of '27, as clearly reflected in the literary press of the period, was not exclusively restricted to poets, including artists such as Luis Buñuel, the caricaturist K-Hito, the surrealist painters Salvador Dalí and Óscar Domínguez, the painter and sculptor Maruja Mallo, as well as Benjamín Palencia, Gregorio Prieto, Manuel Ángeles Ortiz and Gabriel García Maroto, the toreros Ignacio Sánchez Mejías and Jesús Bal y Gay, musicologists and composers belonging to the Group of Eight, including Bal y Gay, Ernesto Halffter and his brother Rodolfo Halffter, Juan José Mantecón, Julián Bautista, Fernando Remacha, Rosa García Ascot, Salvador Bacarisse and Gustavo Pittaluga. There was also the Catalan Group who presented themselves in 1931 under the name of Grupo de Artistas Catalanes Independientes, including Roberto Gerhard, Baltasar Samper, Manuel Blancafort, Ricard Lamote de Grignon, Eduardo Toldrá and Federico Mompou.

Finally, not all literary works were written in Spanish: Salvador Dalí and Óscar Domínguez also wrote in French. Foreigners such as the Chilean poets Pablo Neruda and Vicente Huidobro, the Argentine writer Jorge Luis Borges, and the Franco-Spanish painter Francis Picabia also shared much with the aesthetics of the Generation of '27.

The Generation of '27 was not exclusively located in Madrid, but rather deployed itself in a geographical constellation which maintained links together. The most important nuclei were in Sevilla, around the Mediodía review, Tenerife around the Gaceta de Arte, and Málaga around the Litoral review. Others members resided in Galicia, Catalonia and Valladolid.

The Tendencies of '27:

The name "Generation of 1927" identifies poets that emerged around 1927, the 300th anniversary of the death of the Baroque poet Luis de Góngora y Argote to whom the poets paid homage. It sparked a brief flash of neo-Gongorism by outstanding poets like Rafael Alberti, Vicente Aleixandre, Dámaso Alonso, Luis Cernuda, Gerardo Diego and Federico García Lorca.

Spanish Civil War aftermath:

The Spanish Civil War ended the movement: García Lorca was murdered, Miguel Hernandez died in jail and other writers (Rafael Alberti, Jose Bergamin, León Felipe, Luis Cernuda, Pedro Salinas, Juan Ramón Jiménez, Bacarisse) were forced into exile, although virtually all kept writing and publishing late throughout the 20th century.

Dámaso Alonso and Gerardo Diego were among those who reluctantly remained in Spain after the Francoists won and more or less reached agreements with the new authoritarian and traditionalist regime or even openly supported it, in the case of Diego. They evolved a lot, combining tradition and avant-garde, and mixing many different themes, from toreo to music to religious and existentialist disquiets, landscapes, etc. Others, such as Vicente Aleixandre and Juan Gil-Albert, simply ignored the new regime, taking the path of interior exile and guiding a new generation of poets.

However, for many Spaniards the harsh reality of Francoist Spain and its reactionary nature meant that the cerebral and aesthetic verses of the Generation of '27 did not connect with what was truly happening, a task that was handled more capably by the poets of the Generation of '50 and the social poets.

Statue:

A statue dedicated to the Generation 27 Poets is now in Seville in Spain. The inscription on the monument translates as 'Seville The poets of the Generation of 27'

List of members[edit]

Rafael Alberti (1902–1999)

Vicente Aleixandre (1898–1984)

Amado Alonso (1897–1952)

Dámaso Alonso (1898–1990)

Manuel Altolaguirre (1905–1959)

Francisco Ayala (1906–2009)

Mauricio Bacarisse (1895–1931)

José Bello (1904–2008)

Rogelio Buendía (1891–1969)

Alejandro Casona (1903–1965)

Juan Cazador (1899–1956)

Luis Cernuda (1902–1963)

Juan Chabás (1900–1954)

Ernestina de Champourcín (1905–1999)

Gerardo Diego (1896–1987)

Juan José Domenchina (1898–1959)

Antonio Espina (1894–1972)

Agustín Espinosa (1897–1939)

León Felipe (1884–1968)

Agustín de Foxá (1903–1959)

Pedro García Cabrera (1905–1981)

Federico García Lorca (1898–1936)

Pedro Garfias (1901–1967)

Juan Gil-Albert (1904–1994)

Ernesto Giménez Caballero (1899–1988)

Jorge Guillén (1893–1984)

Emeterio Gutiérrez Albelo (1905–1937)

Miguel Hernández (1910–1942)

José María Hinojosa (1904–1936)

Enrique Jardiel Poncela (1901–1952)

Rafael Laffón (1895–1978)

Antonio de Lara (1896–1978)

Juan Larrea (1895–1980)

José López Rubio (1903–1996)

José María Luelmo (1904–1991)

Francisco Madrid (1900–1952)

Paulino Masip (1899–1963)

Concha Méndez (1898–1986)

Miguel Mihura (1905–1977)

Edgar Neville (1899–1967)

Antonio Oliver (1903–1968)

Pedro Pérez-Clotet (1902–1966)

Rafael Porlán (1899–1945)

Emilio Prados (1899–1962)

Joaquín Romero Murube (1904–1969)

Pedro Salinas (1891–1951)

Guillermo de Torre (1900–1971)

José María Souvirón (1904–1973)

Miguel Valdivieso (1897–1966)

Fernando Villalón (1881–1930)

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acosoenredesymass · 8 months ago

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-Aaron Miguel Delgado Gómez

-Gustavo Calvillo Gonzales

#acoso

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bocadosdefilosofia · 1 year ago

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«La Idea de Materia desempeña en la Ontología general materialista, como hemos dicho, las funciones que corresponden a la Idea de Ser en la metafísica clásica no materialista.

Pero la Idea de Materia sólo puede entenderse como término de un proceso crítico regresivo. En el instante en que la materia sea pensada como una entidad o conjunto de entidades que pueden ser consideradas en sí mismas, recaeríamos en la metafísica.»

Gustavo Bueno: Ensayos materialistas. Taurus Ediciones, pág. 59. Madrid, 1972

TGO

@bocadosdefilosofia

@dies-irae-1

#gustavo bueno #ensayos materialistas #materia #idea de materia #ser #idea de ser #metafísica #metafísica clásica #proceso crítico #proceso crítico regresivo #materia ontológico general #materialismo filosófico #ontología materialista #filosofía española #filosofía contemporánea #teo gómez otero #pensamiento español

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mrosabel · 2 years ago

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De la serie a veces 1/3

"A veces quiero recordar tus palabras y tu voz, tu sonrisa y tu silencio" … Maru

En conmemoración de los 75 años de la Universidad Industrial de Santander, exposición “Variopinto - Varias pintan” 19 artistas plásticas santandereanas

Apertura miércoles, 01 de marzo.

Salas de exposiciones Rafael Prada Ardila y Gustavo Gómez Ardila.

#DireccionCulturalUIS #UISCultural #UISparacompartir #LaUISquequeremos @lacolectiva

#original phography #phootgraphers on tumblr #artists on tumblr #portait #conceptual #experimental #contemporary #black and white #fotografia blanco y negro #fineart #fotografia original experimental #photographers on tumblr #portrait #fotografia experimental #fotografia digital #susurros del corazón #sentimientos #cosas del alma #cosas que duelen

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lacantuauthor · 2 years ago

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Character creation - sample 2

Alicia Rovira Gómez

For this exercise, I filled my character template based on a real person for a potential historical novel (the story is quite intriguing).

I had to do some research before filling it out, too.

The template was provided by instructor Valentín Fernández-Tubau.

PERSONAL AND PHYSICAL

Gender: Female

Age: 20

Hair: Dark brown, long, worn in the Gibson girl style.

Build: Slim, mildly athletic

Physical peculiarities: Good posture, always keeps her back straight and her movements are very graceful

Speech: She was educated to speak soft, not to laugh loudly. Uses words that give away a high level of education

Health: Eats very little because she has frequent stomachaches--she keeps that to herself

Addictions: None

Dress: Follows latest trends. Has dresses brought from Europe and some others designed in Mexico, but based on designs from European magazines

SOCIOLOGICAL

Civil status: Married her first love

Family background: The youngest of five siblings. Her family has Catalan roots. She was born and grew up in Orizaba, Veracruz

Social status: Wealthy

Education: Concluded her basic education in a school for young ladies of medium-high class in Orizaba. She was taught about manners and household chores expected from a woman of her time

Economics: Depends on her husband

Current occupation: Housewife and teacher. Teaches the island's children to write, read, play the piano and pray

Past occupation: Hadn't had any

Interests: Wants to build the closest thing there is to a paradise on the island. Contribute by bringing education to Clipperton's children

Social connections: She has a close relationship with her family in Orizaba and other friends that she made back in school. On the island, she builds a good relationship with the soldiers' wives and the children of the island

Ethics/Sense of morality: Her sense of ethics and morality is based on Catholicism, which she grew up with, but which she doesn't follow strictly. She's flexible, capable of making decisions based on her own criteria of what's right and wrong

Political inclinations: She isn't interested in politics. She finds her sense of purpose by acting to bring change at a local level

Sports: Doesn't practice sports actively, but she likes going out on walks

Hobbies: She likes to play the piano, reading and art in general. She likes to teach what she knows to everyone else

Idealism level: High

Pragmatism level: High, although she doesn't always acts the way she thinks

Materialism level: Medium-high

Intellectual capabilities: Besides being cultured, she's smarter than she lets on in other respects. She has learned to play the character she was taught a lady like her should be. She avoids speaking her mind when she knows this might make her husband or others uncomfortable

Ambition level: Medium-high, motivated by altruism

PSYCHOLOGY

Favorite fantasy: To see the island prosper with her husband as governor and with her work as a teacher

Paradox: The island can't support so many people on its own, dependency of external provisions complicates her dream from coming true when they stop coming

Problems: Identity problems. She's in a constant battle with who she is and the effort to continue presenting herself as a perfect woman before her husband and others

Fears: She fears to be known for who she really is and being rejected

Sexual preference: Bi-curious but not open about it, heterosexual because she was taught that's how it should be

She would've loved to have been the partner of: Gustavo Adolfo Bécquer

Values: She's moved by having a positive impact on the lives of other people

Qualities: Hard worker, responsible, witty, creative and generous

Skills: Speaks French, plays the piano very well, is good at writing although she doesn't do it frequently. Great teacher.

Defects: A coward when it comes to show her true self, easy to subdue

Antisocial behavior: In moments of tension or stress she searches for a place to be alone where she can lose composure without worrying--a place where she can scream, cry freely and express herself with her body

Likes: Reading poetry, art from the Romanticism, music by Beethoven, Chopin and Liszt

Dislikes: Politics, art from the Realism in all its shapes and forms

Actor that reminds you of the character: Ximena Sariñana

#character creation #historical fiction

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