"trocamiento" meaning in Spanish

{
  "etymology_templates": [
    {
      "args": {
        "1": "es",
        "2": "trocar",
        "3": "miento"
      },
      "expansion": "trocar + -miento",
      "name": "suffix"
    }
  ],
  "etymology_text": "trocar + -miento",
  "forms": [
    {
      "form": "trocamientos",
      "tags": [
        "plural"
      ]
    }
  ],
  "head_templates": [
    {
      "args": {
        "1": "m"
      },
      "expansion": "trocamiento m (plural trocamientos)",
      "name": "es-noun"
    }
  ],
  "lang": "Spanish",
  "lang_code": "es",
  "pos": "noun",
  "senses": [
    {
      "categories": [
        {
          "kind": "other",
          "name": "Pages with 2 entries",
          "parents": [],
          "source": "w"
        },
        {
          "kind": "other",
          "name": "Pages with entries",
          "parents": [],
          "source": "w"
        },
        {
          "kind": "other",
          "name": "Spanish entries with incorrect language header",
          "parents": [
            "Entries with incorrect language header",
            "Entry maintenance"
          ],
          "source": "w"
        },
        {
          "kind": "other",
          "name": "Spanish terms suffixed with -miento",
          "parents": [],
          "source": "w"
        }
      ],
      "examples": [
        {
          "english": "In that sense, if we pay attention to Vicente Molina, who argues that postmodern cinema maintains three recurrent motives: the disappearance of a referential cinema (referring to Hollywood's industrial paradigm of the '50s and '60s), the exchange and recovery of the body of narration, and the relativisation of certain ideologic or moral patterns; it is clear that Llámenme Mike does not belong to this category, at least in the exchange of narration, since it is alien to postmodern cinema's bifurcated narratives, to the multitude and the fragmented, even it is more faithful to [what is] called the Institutional Mode of Representation (IMR), following the logic of the classic story without discursive fragmentation, not chronological alternation.",
          "ref": "2010, Álvaro Fernández with Marina Moguillansky, Andrea Molfetta, Miguel A. Santagada, “El thriller en su laberinto. Dos miradas del thriller mexicano en el ocaso de los 70”, in Teorías y prácticas audiovisuales: actas del primer Congreso Internacional de la Asociacion Argentina de Estudios de Cine y Audiovisual, Teseo, →ISBN, page 449:",
          "text": "En ese sentido, si atendemos a Vicente Molina, que argumenta que el cine posmoderno mantiene tres motivos recurrentes: la desaparición de un cine referencial (en lo tocante al paradigma industrial de Hollywood de los 50 y 60), el trocamiento y recuperación del cuerpo de la narración, y la relativización de ciertos patrones ideológicos o morales;¹⁶⁴ es claro que Llámenme Mike no pertenece a esta categoría, al menos en el trocamiento de la narración, pues es ajeno a la narrativas bifurcadas del cine posmoderno, a lo múltiple y lo fragmentado, incluso es más fiel al llamado Modo de Representación Institucional (MRI), sigue la lógica del relato clásico de no fragmentación discursiva, no alteración cronológica.",
          "type": "quote"
        }
      ],
      "glosses": [
        "exchange (switch)"
      ],
      "id": "en-trocamiento-es-noun-GYKBnrKt",
      "links": [
        [
          "exchange",
          "exchange"
        ],
        [
          "switch",
          "switch#English"
        ]
      ],
      "raw_glosses": [
        "(rare) exchange (switch)"
      ],
      "tags": [
        "masculine",
        "rare"
      ]
    }
  ],
  "word": "trocamiento"
}

{
  "etymology_templates": [
    {
      "args": {
        "1": "es",
        "2": "trocar",
        "3": "miento"
      },
      "expansion": "trocar + -miento",
      "name": "suffix"
    }
  ],
  "etymology_text": "trocar + -miento",
  "forms": [
    {
      "form": "trocamientos",
      "tags": [
        "plural"
      ]
    }
  ],
  "head_templates": [
    {
      "args": {
        "1": "m"
      },
      "expansion": "trocamiento m (plural trocamientos)",
      "name": "es-noun"
    }
  ],
  "lang": "Spanish",
  "lang_code": "es",
  "pos": "noun",
  "senses": [
    {
      "categories": [
        "Pages with 2 entries",
        "Pages with entries",
        "Spanish countable nouns",
        "Spanish entries with incorrect language header",
        "Spanish lemmas",
        "Spanish masculine nouns",
        "Spanish nouns",
        "Spanish nouns with red links in their headword lines",
        "Spanish terms suffixed with -miento",
        "Spanish terms with quotations",
        "Spanish terms with rare senses"
      ],
      "examples": [
        {
          "english": "In that sense, if we pay attention to Vicente Molina, who argues that postmodern cinema maintains three recurrent motives: the disappearance of a referential cinema (referring to Hollywood's industrial paradigm of the '50s and '60s), the exchange and recovery of the body of narration, and the relativisation of certain ideologic or moral patterns; it is clear that Llámenme Mike does not belong to this category, at least in the exchange of narration, since it is alien to postmodern cinema's bifurcated narratives, to the multitude and the fragmented, even it is more faithful to [what is] called the Institutional Mode of Representation (IMR), following the logic of the classic story without discursive fragmentation, not chronological alternation.",
          "ref": "2010, Álvaro Fernández with Marina Moguillansky, Andrea Molfetta, Miguel A. Santagada, “El thriller en su laberinto. Dos miradas del thriller mexicano en el ocaso de los 70”, in Teorías y prácticas audiovisuales: actas del primer Congreso Internacional de la Asociacion Argentina de Estudios de Cine y Audiovisual, Teseo, →ISBN, page 449:",
          "text": "En ese sentido, si atendemos a Vicente Molina, que argumenta que el cine posmoderno mantiene tres motivos recurrentes: la desaparición de un cine referencial (en lo tocante al paradigma industrial de Hollywood de los 50 y 60), el trocamiento y recuperación del cuerpo de la narración, y la relativización de ciertos patrones ideológicos o morales;¹⁶⁴ es claro que Llámenme Mike no pertenece a esta categoría, al menos en el trocamiento de la narración, pues es ajeno a la narrativas bifurcadas del cine posmoderno, a lo múltiple y lo fragmentado, incluso es más fiel al llamado Modo de Representación Institucional (MRI), sigue la lógica del relato clásico de no fragmentación discursiva, no alteración cronológica.",
          "type": "quote"
        }
      ],
      "glosses": [
        "exchange (switch)"
      ],
      "links": [
        [
          "exchange",
          "exchange"
        ],
        [
          "switch",
          "switch#English"
        ]
      ],
      "raw_glosses": [
        "(rare) exchange (switch)"
      ],
      "tags": [
        "masculine",
        "rare"
      ]
    }
  ],
  "word": "trocamiento"
}