Sobreproducción musical, sampling y DJ Shadow: un análisis benjaminiano de Endtroducing…
El presente artículo buscará responder, desde una perspectiva bejaminiana, la siguiente pregunta: ¿Cómo el sampleo, como técnica, y la sobreproducción musical, como contexto socioeconómico, construyen y se reflejan en Endtroducing…? Por esta razón, se rastreará la respuesta a esta pregunta en las di...
- Autores:
-
Carvajalino, Daniel
- Tipo de recurso:
- Article of journal
- Fecha de publicación:
- 2022
- Institución:
- Universidad de Cartagena
- Repositorio:
- Repositorio Universidad de Cartagena
- Idioma:
- spa
- OAI Identifier:
- oai:repositorio.unicartagena.edu.co:11227/17983
- Acceso en línea:
- https://hdl.handle.net/11227/17983
https://doi.org/10.32997/2346-2884-vol.22-num.1-2022-4098
- Palabra clave:
- Avant-garde art
Pop art
Artistic style
Cultural creation
Historical research
Cultural research
Arte de vanguardia
Arte pop
Estilo artístico
Investigación cultural
Investigación histórica
Creación cultural
- Rights
- openAccess
- License
- https://creativecommons.org/licenses/by-nc-sa/4.0
| id |
UCART2_8a2cd59206c3f46f7772db58c71d9085 |
|---|---|
| oai_identifier_str |
oai:repositorio.unicartagena.edu.co:11227/17983 |
| network_acronym_str |
UCART2 |
| network_name_str |
Repositorio Universidad de Cartagena |
| repository_id_str |
|
| dc.title.spa.fl_str_mv |
Sobreproducción musical, sampling y DJ Shadow: un análisis benjaminiano de Endtroducing… |
| dc.title.translated.eng.fl_str_mv |
Music overproduction, sampling and DJ Shadow: a Benjaminian analysis of Endtroducing... |
| title |
Sobreproducción musical, sampling y DJ Shadow: un análisis benjaminiano de Endtroducing… |
| spellingShingle |
Sobreproducción musical, sampling y DJ Shadow: un análisis benjaminiano de Endtroducing… Avant-garde art Pop art Artistic style Cultural creation Historical research Cultural research Arte de vanguardia Arte pop Estilo artístico Investigación cultural Investigación histórica Creación cultural |
| title_short |
Sobreproducción musical, sampling y DJ Shadow: un análisis benjaminiano de Endtroducing… |
| title_full |
Sobreproducción musical, sampling y DJ Shadow: un análisis benjaminiano de Endtroducing… |
| title_fullStr |
Sobreproducción musical, sampling y DJ Shadow: un análisis benjaminiano de Endtroducing… |
| title_full_unstemmed |
Sobreproducción musical, sampling y DJ Shadow: un análisis benjaminiano de Endtroducing… |
| title_sort |
Sobreproducción musical, sampling y DJ Shadow: un análisis benjaminiano de Endtroducing… |
| dc.creator.fl_str_mv |
Carvajalino, Daniel |
| dc.contributor.author.spa.fl_str_mv |
Carvajalino, Daniel |
| dc.subject.eng.fl_str_mv |
Avant-garde art Pop art Artistic style Cultural creation Historical research Cultural research |
| topic |
Avant-garde art Pop art Artistic style Cultural creation Historical research Cultural research Arte de vanguardia Arte pop Estilo artístico Investigación cultural Investigación histórica Creación cultural |
| dc.subject.spa.fl_str_mv |
Arte de vanguardia Arte pop Estilo artístico Investigación cultural Investigación histórica Creación cultural |
| description |
El presente artículo buscará responder, desde una perspectiva bejaminiana, la siguiente pregunta: ¿Cómo el sampleo, como técnica, y la sobreproducción musical, como contexto socioeconómico, construyen y se reflejan en Endtroducing…? Por esta razón, se rastreará la respuesta a esta pregunta en las dinámicas de sobreproducción musical en la constitución y desarrollo de la industria musical, y en la historia del sampleo como técnica fundadora del hip-hop como género musical. Una vez abarcados ambos puntos, se hilarán ambas vertientes en las relaciones que existen entre técnica y contexto socioeconómico en el álbum objeto de estudio. |
| publishDate |
2022 |
| dc.date.accessioned.none.fl_str_mv |
2022-12-02T11:38:44Z 2024-09-05T20:44:19Z |
| dc.date.available.none.fl_str_mv |
2022-12-02T11:38:44Z 2024-09-05T20:44:19Z |
| dc.date.issued.none.fl_str_mv |
2022-12-02 |
| dc.type.spa.fl_str_mv |
Artículo de revista |
| dc.type.coar.fl_str_mv |
http://purl.org/coar/resource_type/c_2df8fbb1 |
| dc.type.version.spa.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
| dc.type.coarversion.spa.fl_str_mv |
http://purl.org/coar/version/c_970fb48d4fbd8a85 |
| dc.type.coar.spa.fl_str_mv |
http://purl.org/coar/resource_type/c_6501 |
| dc.type.content.spa.fl_str_mv |
Text |
| dc.type.driver.spa.fl_str_mv |
info:eu-repo/semantics/article |
| dc.type.local.eng.fl_str_mv |
Journal article |
| dc.type.redcol.spa.fl_str_mv |
http://purl.org/redcol/resource_type/ARTREF |
| format |
http://purl.org/coar/resource_type/c_6501 |
| status_str |
publishedVersion |
| dc.identifier.issn.none.fl_str_mv |
1657-0111 |
| dc.identifier.uri.none.fl_str_mv |
https://hdl.handle.net/11227/17983 |
| dc.identifier.doi.none.fl_str_mv |
10.32997/2346-2884-vol.22-num.1-2022-4098 |
| dc.identifier.eissn.none.fl_str_mv |
2346-2884 |
| dc.identifier.url.none.fl_str_mv |
https://doi.org/10.32997/2346-2884-vol.22-num.1-2022-4098 |
| identifier_str_mv |
1657-0111 10.32997/2346-2884-vol.22-num.1-2022-4098 2346-2884 |
| url |
https://hdl.handle.net/11227/17983 https://doi.org/10.32997/2346-2884-vol.22-num.1-2022-4098 |
| dc.language.iso.spa.fl_str_mv |
spa |
| language |
spa |
| dc.relation.ispartofjournal.spa.fl_str_mv |
Revista Palobra palabra que obra |
| dc.relation.bitstream.none.fl_str_mv |
https://revistas.unicartagena.edu.co/index.php/palobra/article/download/4098/3286 |
| dc.relation.citationendpage.none.fl_str_mv |
124 |
| dc.relation.citationissue.spa.fl_str_mv |
1 |
| dc.relation.citationstartpage.none.fl_str_mv |
109 |
| dc.relation.citationvolume.spa.fl_str_mv |
22 |
| dc.relation.references.spa.fl_str_mv |
Bell, J. (2021, septiembre 22). DJ Shadow’s ‘Endtroducing’ Explained. Retrieved from udiscovermusic: https://www.udiscovermusic.com/stories/dj-shadow-endtroducing-explained-feature/ Benjamin, W. (2018). Iluminaciones. Bogotá: Taurus. Bourriaud, N., & Lebenglik, F. (2007). Postproducción/ Postproduction. Adriana Hidalgo Editora. Byung-Chul Han. (2016). Shanzhai: El arte de la falsificación y la deconstrucción en China. Buenos Aires: Caja Negra. Crilly, A. (2019, septiembre 29). A Brief History of Sampling. Retrieved from The University Observer: https://universityobserver.ie/a-brief-history-of-sampling/ Crytzer, G. (2019, julio 16). A History of the Music Business and Where it’s Headed Now. Retrieved from The Syncopated Times: https://syncopatedtimes.com/a-history-of-the-music-business-and-where-its-headed-now/ Draper, J. (2018, noviembre 15). A Brief History Of Sampling. Retrieved from udiscovermusic: https://www.udiscovermusic.com/stories/a-brief-history-of-sampling/ Grimes, T. (2020, septiembre 2). How Spotify Made Music Disposable. Retrieved from Swim Into The Sound: https://swimintothesound.com/blog/2020/9/2/how-spotify-made-music-disposable Guasch, A. M. (2011). Arte y archivo, 1920-2010. Ediciones Akal. Iassa. (2015, agosto 14). 3. A brief history of the record industry. Retrieved from International Association of Sound and Audiovisual Archives: https://www.iasa-web.org/sound-archives/brief-history-record-industry Ingham, T. (2019, mayo 15). ‘Fake Artists’ Have Billions of Streams on Spotify. Is Sony Now Playing the Service at Its Own Game?. Retrieved from Rolling Stone: https://www.rollingstone.com/pro/features/fake-artists-have-billions-of-streams-on-spotify-is-sony-now-playing-the-service-at-its-own-game-834746/ InVisible Culture Editorial. (2020, noviembre 15). Get Down: Funk, Movement, and the End of the Great Migrations. Retrieved from InVisible Culture: An Electronic Journal for Visual Culture: https://ivc.lib.rochester.edu/funk-movement-and-the-end-of-the-great-migrations/ Joe. (2018, julio 1). A Brief History of Sampling. Retrieved from Thomann: https://www.thomann.de/blog/en/a-brief-history-of-sampling/ Kadenze Creative. (2018, noviembre 14). To The Beat: Tracing The Origins of Sampling Music. Retrieved from Kadenze: https://blog.kadenze.com/creative-technology/to-the-beat-tracing-the-origins-of-sampling-in-music/ Kennedy Center. (2021). Hip Hop: A Culture of Vision and Voice . Retrieved from Kennedy Center: https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/hip-hop/hip-hop-a-culture-of-vision-and-voice/ Krohn-Grimberghe, L. (2020, septiembre 15). Has Music Become a Disposable Commodity? Retrieved from New York Public Radio: https://www.wqxr.org/story/technology-music/ Laderman, D., & Westrup, L. (2014). Sampling Media (English Edition) . Oxford University Press. Leight, E. (2020, julio 28). There’s So Much Music on Spotify, Artists Are Paying for You to (Hopefully) Find Them . Retrieved from Rolling Stone: https://www.rollingstone.com/music/music-features/spotify-streams-third-partyplaylisting-1033700/ Lexis. (2016, noviembre 17). DJ Shadow’s Endtroducing – The Sample List. Retrieved from Music is my sanctuary: https://www.musicismysanctuary.com/dj-shadows-endtroducing-sample-list Maddahi, R. (2018, julio 10). The Music Industry: From Piracy To Profits. Retrieved from Forbes: https://www.forbes.com/sites/forbesfinancecouncil/2018/07/10/the-music-industry-from-piracy-to-profits/?sh=48f22b5770f8 McCormick, S. (2018, octubre 19). James Brown and the invention of funk music. Retrieved from Disc Makers Blog: https://blog.discmakers.com/2018/10/james-brown-and-the-invention-of-funk-music/ McGuinness, P. (2021, junio 29). Pop Music: The World’s Most Important Art Form. Retrieved from uDiscoverMusic: https://www.udiscovermusic.com/in-depth-features/pop-the-worlds-most-important-art-form/ MN2S. (2016, julio 18). And Ya Don’t Stop: The Early Days of Hip-Hop. Retrieved from MN2S: https://mn2s.com/news/features/ya-dont-stop-early-days-hip-hop/ Murphy, T. (2013, septiembre 26). DJ Shadow isn't so sure that Endtroducing was the first 100 percent sample-based record . Retrieved from Westworld: https://www.westword.com/music/dj-shadow-isnt-so-sure-that-endtroducing-was-the-first-100-percent-sample-based-record-5692493 Music Radar Clan. (2019, enero 2). DJ SHADOW - Endtroducing... (la música con desechos). Retrieved from https://www.youtube.com/watch?v=_WFtfeq-7y8 Music Radar Clan. (2020, noviembre 29). El sonido motown. Cómo una discográfica conquistó el mundo. Retrieved from https://www.youtube.com/watch?v=cwOGTu8TaXk Percino, G., Klimek, P., & Thurner, S. (2014). Instrumentational Complexity of Music Genres and Why Simplicity Sells. PLOS ONE 9 (12). Pray, D. (2001). Scratch. Estados Unidos: Palm Pictures. Rory PQ. (2019, noviembre 13). Hip Hop History: From the Streets to the Mainstream. Retrieved from ICON Collective: https://iconcollective.edu/hip-hop-history/ RSL. (2021, abril 12). A Brief History of Music Production. Retrieved from RSL Awards: https://www.rslawards.com/a-brief-history-of-music-production/ Rule, G. (1997). DJ Shadow + Akai MPC = History. Keyboard. Vol. 23 no. 10., 51–60. Sengupta, S. (2014). Reglas por inventar: estética y emancipación. In M. Botery, & C. S. Medina, Estética y emancipación: Fantasma, fetiche, fantasmagoría. Siglo XXI Editores. Smith, T. (2012, junio 7). A Brief History of The Music Industry. Retrieved from Music Think Tank: https://www.musicthinktank.com/mtt-open/a-brief-history-of-the-music-industry.html Tello, A. M. (2021). Anarchivismo. Ediciones La Cebra. Tran, C. (2021, octubre 11). On Endtroducing..., DJ Shadow took broken dreams and made them shine. Retrieved from ABC: https://www.abc.net.au/doublej/music-reads/features/endtroducing-dj-shadow/13579748 Wilder, E. (2005). DJ Shadow's Endtroducing. Londres: Bloomsbury. Wilder, E. (2015, julio 22). How DJ Shadow’s Endtroducing turned forgotten vinyl into a postmodern masterpiece. Retrieved from The Vinyl Factory: https://thevinylfactory.com/features/how-dj-shadows-entroducing-turned-forgotten-vinyl-into-a-postmodern-masterpiece/ |
| dc.rights.uri.spa.fl_str_mv |
https://creativecommons.org/licenses/by-nc-sa/4.0 |
| dc.rights.coar.spa.fl_str_mv |
http://purl.org/coar/access_right/c_abf2 |
| dc.rights.accessrights.spa.fl_str_mv |
info:eu-repo/semantics/openAccess |
| rights_invalid_str_mv |
https://creativecommons.org/licenses/by-nc-sa/4.0 http://purl.org/coar/access_right/c_abf2 |
| eu_rights_str_mv |
openAccess |
| dc.format.mimetype.spa.fl_str_mv |
application/pdf |
| dc.publisher.spa.fl_str_mv |
Universidad de Cartagena |
| dc.source.spa.fl_str_mv |
https://revistas.unicartagena.edu.co/index.php/palobra/article/view/4098 |
| institution |
Universidad de Cartagena |
| bitstream.url.fl_str_mv |
https://repositorio.unicartagena.edu.co/bitstreams/74613d87-465d-4056-8d06-0db0bb7017bb/download |
| bitstream.checksum.fl_str_mv |
586164b13e7877ce5054b8e1bb138fed |
| bitstream.checksumAlgorithm.fl_str_mv |
MD5 |
| repository.name.fl_str_mv |
Biblioteca Digital Universidad de Cartagena |
| repository.mail.fl_str_mv |
bdigital@metabiblioteca.com |
| _version_ |
1812210172388442112 |
| spelling |
Carvajalino, Daniel2022-12-02T11:38:44Z2024-09-05T20:44:19Z2022-12-02T11:38:44Z2024-09-05T20:44:19Z2022-12-021657-0111https://hdl.handle.net/11227/1798310.32997/2346-2884-vol.22-num.1-2022-40982346-2884https://doi.org/10.32997/2346-2884-vol.22-num.1-2022-4098El presente artículo buscará responder, desde una perspectiva bejaminiana, la siguiente pregunta: ¿Cómo el sampleo, como técnica, y la sobreproducción musical, como contexto socioeconómico, construyen y se reflejan en Endtroducing…? Por esta razón, se rastreará la respuesta a esta pregunta en las dinámicas de sobreproducción musical en la constitución y desarrollo de la industria musical, y en la historia del sampleo como técnica fundadora del hip-hop como género musical. Una vez abarcados ambos puntos, se hilarán ambas vertientes en las relaciones que existen entre técnica y contexto socioeconómico en el álbum objeto de estudio.This paper will seek to answer, from a Bejaminian perspective, the following question: How sampling, as a technique, and musical overproduction, as a socioeconomic context, construct and reflect themselves in Endtroducing...? For this reason, the answer to this question will be traced back to the dynamics of musical overproduction in the constitution and development of the music industry, and to the history of sampling as a founding technique of hip-hop as a musical genre. Once both points have been covered, both aspects of the relationship between technique and socio-economic context in the album under study will be threaded together.application/pdfspaUniversidad de CartagenaRevista Palobra palabra que obrahttps://revistas.unicartagena.edu.co/index.php/palobra/article/download/4098/3286124110922Bell, J. (2021, septiembre 22). DJ Shadow’s ‘Endtroducing’ Explained. Retrieved from udiscovermusic: https://www.udiscovermusic.com/stories/dj-shadow-endtroducing-explained-feature/Benjamin, W. (2018). Iluminaciones. Bogotá: Taurus.Bourriaud, N., & Lebenglik, F. (2007). Postproducción/ Postproduction. Adriana Hidalgo Editora.Byung-Chul Han. (2016). Shanzhai: El arte de la falsificación y la deconstrucción en China. Buenos Aires: Caja Negra.Crilly, A. (2019, septiembre 29). A Brief History of Sampling. Retrieved from The University Observer: https://universityobserver.ie/a-brief-history-of-sampling/Crytzer, G. (2019, julio 16). A History of the Music Business and Where it’s Headed Now. Retrieved from The Syncopated Times: https://syncopatedtimes.com/a-history-of-the-music-business-and-where-its-headed-now/Draper, J. (2018, noviembre 15). A Brief History Of Sampling. Retrieved from udiscovermusic: https://www.udiscovermusic.com/stories/a-brief-history-of-sampling/Grimes, T. (2020, septiembre 2). How Spotify Made Music Disposable. Retrieved from Swim Into The Sound: https://swimintothesound.com/blog/2020/9/2/how-spotify-made-music-disposableGuasch, A. M. (2011). Arte y archivo, 1920-2010. Ediciones Akal.Iassa. (2015, agosto 14). 3. A brief history of the record industry. Retrieved from International Association of Sound and Audiovisual Archives: https://www.iasa-web.org/sound-archives/brief-history-record-industryIngham, T. (2019, mayo 15). ‘Fake Artists’ Have Billions of Streams on Spotify. Is Sony Now Playing the Service at Its Own Game?. Retrieved from Rolling Stone: https://www.rollingstone.com/pro/features/fake-artists-have-billions-of-streams-on-spotify-is-sony-now-playing-the-service-at-its-own-game-834746/InVisible Culture Editorial. (2020, noviembre 15). Get Down: Funk, Movement, and the End of the Great Migrations. Retrieved from InVisible Culture: An Electronic Journal for Visual Culture: https://ivc.lib.rochester.edu/funk-movement-and-the-end-of-the-great-migrations/Joe. (2018, julio 1). A Brief History of Sampling. Retrieved from Thomann: https://www.thomann.de/blog/en/a-brief-history-of-sampling/Kadenze Creative. (2018, noviembre 14). To The Beat: Tracing The Origins of Sampling Music. Retrieved from Kadenze: https://blog.kadenze.com/creative-technology/to-the-beat-tracing-the-origins-of-sampling-in-music/Kennedy Center. (2021). Hip Hop: A Culture of Vision and Voice . Retrieved from Kennedy Center: https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/hip-hop/hip-hop-a-culture-of-vision-and-voice/Krohn-Grimberghe, L. (2020, septiembre 15). Has Music Become a Disposable Commodity? Retrieved from New York Public Radio: https://www.wqxr.org/story/technology-music/Laderman, D., & Westrup, L. (2014). Sampling Media (English Edition) . Oxford University Press.Leight, E. (2020, julio 28). There’s So Much Music on Spotify, Artists Are Paying for You to (Hopefully) Find Them . Retrieved from Rolling Stone: https://www.rollingstone.com/music/music-features/spotify-streams-third-partyplaylisting-1033700/Lexis. (2016, noviembre 17). DJ Shadow’s Endtroducing – The Sample List. Retrieved from Music is my sanctuary: https://www.musicismysanctuary.com/dj-shadows-endtroducing-sample-listMaddahi, R. (2018, julio 10). The Music Industry: From Piracy To Profits. Retrieved from Forbes: https://www.forbes.com/sites/forbesfinancecouncil/2018/07/10/the-music-industry-from-piracy-to-profits/?sh=48f22b5770f8McCormick, S. (2018, octubre 19). James Brown and the invention of funk music. Retrieved from Disc Makers Blog: https://blog.discmakers.com/2018/10/james-brown-and-the-invention-of-funk-music/McGuinness, P. (2021, junio 29). Pop Music: The World’s Most Important Art Form. Retrieved from uDiscoverMusic: https://www.udiscovermusic.com/in-depth-features/pop-the-worlds-most-important-art-form/MN2S. (2016, julio 18). And Ya Don’t Stop: The Early Days of Hip-Hop. Retrieved from MN2S: https://mn2s.com/news/features/ya-dont-stop-early-days-hip-hop/Murphy, T. (2013, septiembre 26). DJ Shadow isn't so sure that Endtroducing was the first 100 percent sample-based record . Retrieved from Westworld: https://www.westword.com/music/dj-shadow-isnt-so-sure-that-endtroducing-was-the-first-100-percent-sample-based-record-5692493Music Radar Clan. (2019, enero 2). DJ SHADOW - Endtroducing... (la música con desechos). Retrieved from https://www.youtube.com/watch?v=_WFtfeq-7y8Music Radar Clan. (2020, noviembre 29). El sonido motown. Cómo una discográfica conquistó el mundo. Retrieved from https://www.youtube.com/watch?v=cwOGTu8TaXkPercino, G., Klimek, P., & Thurner, S. (2014). Instrumentational Complexity of Music Genres and Why Simplicity Sells. PLOS ONE 9 (12).Pray, D. (2001). Scratch. Estados Unidos: Palm Pictures.Rory PQ. (2019, noviembre 13). Hip Hop History: From the Streets to the Mainstream. Retrieved from ICON Collective: https://iconcollective.edu/hip-hop-history/RSL. (2021, abril 12). A Brief History of Music Production. Retrieved from RSL Awards: https://www.rslawards.com/a-brief-history-of-music-production/Rule, G. (1997). DJ Shadow + Akai MPC = History. Keyboard. Vol. 23 no. 10., 51–60.Sengupta, S. (2014). Reglas por inventar: estética y emancipación. In M. Botery, & C. S. Medina, Estética y emancipación: Fantasma, fetiche, fantasmagoría. Siglo XXI Editores.Smith, T. (2012, junio 7). A Brief History of The Music Industry. Retrieved from Music Think Tank: https://www.musicthinktank.com/mtt-open/a-brief-history-of-the-music-industry.htmlTello, A. M. (2021). Anarchivismo. Ediciones La Cebra.Tran, C. (2021, octubre 11). On Endtroducing..., DJ Shadow took broken dreams and made them shine. Retrieved from ABC: https://www.abc.net.au/doublej/music-reads/features/endtroducing-dj-shadow/13579748Wilder, E. (2005). DJ Shadow's Endtroducing. Londres: Bloomsbury.Wilder, E. (2015, julio 22). How DJ Shadow’s Endtroducing turned forgotten vinyl into a postmodern masterpiece. Retrieved from The Vinyl Factory: https://thevinylfactory.com/features/how-dj-shadows-entroducing-turned-forgotten-vinyl-into-a-postmodern-masterpiece/https://creativecommons.org/licenses/by-nc-sa/4.0http://purl.org/coar/access_right/c_abf2info:eu-repo/semantics/openAccessEsta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-CompartirIgual 4.0.https://revistas.unicartagena.edu.co/index.php/palobra/article/view/4098Avant-garde artPop artArtistic styleCultural creationHistorical researchCultural researchArte de vanguardiaArte popEstilo artísticoInvestigación culturalInvestigación históricaCreación culturalSobreproducción musical, sampling y DJ Shadow: un análisis benjaminiano de Endtroducing…Music overproduction, sampling and DJ Shadow: a Benjaminian analysis of Endtroducing...Artículo de revistainfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/version/c_970fb48d4fbd8a85http://purl.org/coar/resource_type/c_6501http://purl.org/coar/resource_type/c_2df8fbb1Textinfo:eu-repo/semantics/articleJournal articlehttp://purl.org/redcol/resource_type/ARTREFPublicationOREORE.xmltext/xml2575https://repositorio.unicartagena.edu.co/bitstreams/74613d87-465d-4056-8d06-0db0bb7017bb/download586164b13e7877ce5054b8e1bb138fedMD5111227/17983oai:repositorio.unicartagena.edu.co:11227/179832024-09-05 15:44:19.846https://creativecommons.org/licenses/by-nc-sa/4.0metadata.onlyhttps://repositorio.unicartagena.edu.coBiblioteca Digital Universidad de Cartagenabdigital@metabiblioteca.com |