Pasajes: Revista de pensamiento contemporáneo. 2014. No. 44
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Item Historia y microhistoria. Carlo Ginzburg entrevistado por Mauro Boarelli(2014) Ginzburg, Carlo; Boarelli, MauroItem El incierto futuro del Estado del Bienestar en Europa, dos lecturas imprescindibles.: (Luis Moreno, Europa asocial; Europa sin Estados) [Ressenya](2014) Romero González, JoanReseña de los libros de Luís Moreno "La Europa asocial" en Barcelona, Península, 2012 y "Europa sin Estados" Madrid, Los Libros de la Catarata 2014Item ¡Viva la muerte! Lo macabro como arma política.(2014) Núñez Florencio, RafaelItem Razas humanas(2014) Cela Conde, Camilo José; Ayala, FranciscoItem Item Imperio, racismo colonial y antisemitismo.(2014) Podesta, Gian-LucaItem Literatura e historia. Manuel Chaves Nogales y la "tercera España"(2014) Espinosa Maestre, FranciscoItem El editor y la cultura del texto.: (Jaime Salinas, El oficio de editor) [Ressenya](2014) Quintás Alonso, GuillermoReseña del libro "El oficio de editor. Una conversación con Juan Cruz" de Jaime Salinas, Madrid, Alfaguara, 2013, 278 pp.Item Del espíritu del capitalismo al capitalismo espiritual.(2014) Hernàndez i Martí, Gil-ManuelItem Breve historia del concepto de la raza.(2014) Yudell, MichaelItem Literatura, historia y memoria: Almudena Grandes entrevistada por Mario Amorós.(2014) Amorós, Mario; Grandes, AlmudenaItem Del mudable semblante de las víctimas. Imágenes de la aflicción en Camboya (1975-2013)(2014) Sánchez-Biosca, VicenteThis paper examines the mug shots of the detainees produced by the Khmer Rouge machinery at the center of torture and extermination called S-21. These images played a key role for the regime's perpetrators in the process of identifying, repressing and killing the numerous enemies that the paranoia of conspiracy had conceived between 1975 and the beginning of 1979. Yet, these images are used since the vietnamese liberation of Cambodia as 'images of victims' and as such exhibited in the Tuol Sleng Genocidal Museum. This paper aims to carefully analyze the mechanism through which the images were produced by the executioners' machine as a basic step in a chain. In so doing, the photographic act reveals itself as part of a sequence that has left a trace in the photo itself. Then, the article addresses the migration these images have experiences, from museum and art galleries to memorial museums, from books and internet databases to the criminal court.