Ignacio Ramonet - Works

Works

  • 1981 : Le Chewing-gum des yeux (French: Chewing Gum for the Eyes)
  • 1989 : La Communication victime des marchands
  • 1995 : Cómo nos venden la moto, with Noam Chomsky
  • 1996 : Nouveaux pouvoirs, nouveaux maîtres du monde (French: New Powers, New World Masters)
  • 1997 : Géopolitique du chaos (French: Geopolitics of Chaos)
  • 1998 : Internet, el mundo que llega (Spanish: Internet, the Coming World)
  • 1998 : Rebeldes, dioses y excluidos (Spanish: Rebels, Gods, and the Excluded), with Mariano Aguirre
  • 1999 : La Tyrannie de la communication (French: The Tyranny of Communication)
  • 1999 : Geopolítica y comunicación de final de milenio (Spanish: Geopolitics and Communication at the End of the Millennium)
  • 2000 : La golosina visual
  • 2000 : Propagandes silencieuses
  • 2001 : Marcos, la dignité rebelle
  • 2002 : La Post-Télévision
  • 2002 : Guerres du XXIe siècle (Wars of the 21st Century)
  • 2004 : Abécédaire partiel et partial de la mondialisation, with Ramón Chao and Wozniak
  • 2006: Fidel Castro: biografía a dos voces (Spanish: Fidel Castro: Biography with Two Voices) also titled Cien horas con Fidel (One Hundred Hours with Fidel)

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    Men seem anxious to accomplish an orderly retreat through the centuries, earnestly rebuilding the works behind them, as they are battered down by the encroachments of time; but while they loiter, they and their works both fall prey to the arch enemy.
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    The difference between de jure and de facto segregation is the difference open, forthright bigotry and the shamefaced kind that works through unwritten agreements between real estate dealers, school officials, and local politicians.
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    Separatism of any kind promotes marginalization of those unwilling to grapple with the whole body of knowledge and creative works available to others. This is true of black students who do not want to read works by white writers, of female students of any race who do not want to read books by men, and of white students who only want to read works by white writers.
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