Blood And Boundaries

As Spaniards and Portuguese settled their overseas empires, these exclusionary policies continued to be applied to the converts who had settled in the colonies, but the regulations were now also instituted to control the subject indigenous and enslaved African populations, and over time, especially applied to the growing numbers of mestizos, peoples of mixed ethnic or "racial" origins who also seemed to overturn the idea of stable identities. Rather than concentrating on the three principal divisions of colonial society--Indians, Europeans, and people of African origins,as is usually done in studies of these colonial societies, the book examines the three minority groups of moriscos, conversos, and mestizos whose existence challenged the principles of social hierarchy.

This interdisciplinary volume maintains the importance of a spatial understanding of society and history, but suggests a way of conceiving of borders and space that goes beyond a school map of states. Its subject is the struggle among differing spatial logics, or mental maps. It is concerned with the meaning that state borders hold for people, but recognizes that such meaning varies and is contested by other social formations. To what degree do state borders encase the mechanisms that make the decisive rules governing people's lives and to what extent do they give way to other rulemakers? To what extent do states circumscribe the communities to which people feel attached and to what extent do they intersect with other communities of belonging? These essays home in on the struggles and conflicting demands on people, given that state borders are not automatically pre-eminent and that other spatial logics demand attention.

Presents the role communication plays in advancing society's and the individual's understanding of HIV/AIDS, with examples from around the globe. It is of particular relevance to scholars in comm, public health, health psychology, and related disciplines

Reading Vampire Gothic Through Blood examines the manifestations of blood and vampires in various texts and contexts. It seeks to connect, through blood, fictional to real-life vampires to trace similarities, differences and discontinuities. These movements will be seen to parallel changing notions about embodiment and identity in culture.

Why have governments responded to the HIV/AIDS pandemic in such different ways? During the past quarter century, international agencies and donors have disseminated vast resources and a set of best practice recommendations to policymakers around the globe. Yet the governments of developing countries in sub-Saharan Africa, Asia, Latin America, and the Caribbean continue to implement widely varying policies. Boundaries of Contagion is the first systematic, comparative analysis of the politics of HIV/AIDS. The book explores the political challenges of responding to a stigmatized condition, and identifies ethnic boundaries--the formal and informal institutions that divide societies--as a central influence on politics and policymaking. Evan Lieberman examines the ways in which risk and social competition get mapped onto well-institutionalized patterns of ethnic politics. Where strong ethnic boundaries fragment societies into groups, the politics of AIDS are more likely to involve blame and shame-avoidance tactics against segments of the population. In turn, government leaders of such countries respond far less aggressively to the epidemic. Lieberman's case studies of Brazil, South Africa, and India--three developing countries that face significant AIDS epidemics--are complemented by statistical analyses of the policy responses of Indian states and over seventy developing countries. The studies conclude that varied patterns of ethnic competition shape how governments respond to this devastating problem. The author considers the implications for governments and donors, and the increasing tendency to identify social problems in ethnic terms.

Moving between the American South and Mexico, these stories explore how immigrant and native characters are shaped by absent family and geography. A Chilanga teen wins a trip to Miami to film a reality show about family while pining for the American brother she’s never met. A Louisiana carpenter tends to his drug-addicted son while rebuilding his house after a slew of hurricanes. A New Orleans ne’er-do-well opens a Catholic-themed bar in the wake of his devout mother’s death. A village girl from Chiapas baptizes her infant on a trek toward the U.S. border. In the collection’s second half, we follow a Veracruzan-born drifter, Manuel, and his estranged American son, Tommy. Over decades, they negotiate separate nations and personal tragicomedies on their journeys from innocence to experience. As Manuel participates in student protests in Mexico City in 1968, he drops out to pursue his art. In the 1970s, he immigrates to Louisiana, but soon leaves his wife and infant son behind after his art shop fails. Meanwhile, Tommy grows up in 1980s Louisiana, sometimes escaping his mother’s watchful eye to play basketball at a park filled with the threat of violence. In college, he seeks acceptance from teammates by writing their term papers. Years later, as Manuel nears death and Tommy reaches middle age, they reconnect, embarking on a mission to jointly interview a former riot policeman about his military days; in the process, father and son discover what it has meant to carry each other’s stories and memories from afar.

Nearly a decade of divisive debate over foxhunting in Britain culminated with the passage of the Hunting with Dogs Act of 2004. But the battle over the future of hunting is not yet resolved, and polarizing right-or-wrong debates continue undiminished. This book recounts the history of hunting in Britain and offers a fresh perspective on conflicts.

"Haunting ... teems with raw emotion, and McCullough deftly captures the experience of learning to behave in a male-driven society and then breaking outside of it."—The New Yorker "I will be haunted and empowered by Artemisia Gentileschi's story for the rest of my life."—Amanda Lovelace, bestselling author of the princess saves herself in this one A William C. Morris Debut Award Finalist 2018 National Book Award Longlist Her mother died when she was twelve, and suddenly Artemisia Gentileschi had a stark choice: a life as a nun in a convent or a life grinding pigment for her father's paint. She chose paint. By the time she was seventeen, Artemisia did more than grind pigment. She was one of Rome's most talented painters, even if no one knew her name. But Rome in 1610 was a city where men took what they wanted from women, and in the aftermath of rape Artemisia faced another terrible choice: a life of silence or a life of truth, no matter the cost. He will not consume my every thought. I am a painter. I will paint. Joy McCullough's bold novel in verse is a portrait of an artist as a young woman, filled with the soaring highs of creative inspiration and the devastating setbacks of a system built to break her. McCullough weaves Artemisia's heartbreaking story with the stories of the ancient heroines, Susanna and Judith, who become not only the subjects of two of Artemisia's most famous paintings but sources of strength as she battles to paint a woman's timeless truth in the face of unspeakable and all-too-familiar violence. I will show you what a woman can do. ★"A captivating and impressive."—Booklist, starred review ★"Belongs on every YA shelf."—SLJ, starred review ★"Haunting."—Publishers Weekly, starred review ★"Luminous."—Shelf Awareness, starred review