Nueva Geograf A De Colombia Pte El Territorio El Medio Y La Raza

Women's awareness of the threat and reality of sexual violence is now perhaps more than ever publicly acknowledged. Yet this fact continues to be almost wholly ignored. This new study, based on in-depth interviews with 60 women, is the first to cover the experience of a range of forms of sexual violence over women's lifetimes. Drawing on feminist theory, developing a critique of male research and quoting extensively from the women interviewed, it developes feminist thought in several key areas: the similarities and differences between forms of sexual violence; the ways women define their experiences; and the strategies women use in resisting, coping with and surviving sexual violence. The author stresses the importance for all women of recognizing the incidents of sexual violence in their lives and seeing themselves and other women as survivors rather than victims. In highlighting the ways in which the media, the criminal justice system and even the "helping" profess ions contribute to the trivialization of sexual violence, she demonstrates the necessity of women organizing collectively to end this suffering.

The majorconflicts between the Global North and the South can be expected toresult from the confrontation of alternative conceptions of democracy,mainly between liberal or representative democracy and participatorydemocracy. The hegemonic model of democracy, while prevailing on aglobal scale, guarantees no more than low-intensity democracy. Inrecent times, participatory democracy has exhibited a new dynamic,engaging mainly subaltern communities and social groups that fightagainst social exclusion and the suppression of citizenship. In thiscollection of reports from the Global South-India, South Africa,Mozambique, Colombia, and Brazil-De Sousa Santos and his colleaguesshow how, in some cases, the deepening of democracy results from thedevelopment of dual forms of participatory and representativedemocracy, and points to the emergence of transnational networks ofparticipatory democracy initiatives. Such networks pave one of the waysto the reinvention of social emancipation. This is volume 1 of the Reinventing Social Emancipation project, edited by Boaventura de Sousa Santos.

Winner of the 2003 Senior Book Prize from the American Ethnological Society. Cholas and Pishtacos are two provocative characters from South American popular culture—a sensual mixed-race woman and a horrifying white killerwho show up in everything from horror stories and dirty jokes to romantic novels and travel posters. In this elegantly written book, these two figures become vehicles for an exploration of race, sex, and violence that pulls the reader into the vivid landscapes and lively cities of the Andes. Weismantel's theory of race and sex begins not with individual identity but with three forms of social and economic interaction: estrangement, exchange, and accumulation. She maps the barriers that separate white and Indian, male and female-barriers that exist not in order to prevent exchange, but rather to exacerbate its inequality. Weismantel weaves together sources ranging from her own fieldwork and the words of potato sellers, hotel maids, and tourists to classic works by photographer Martin Chambi and novelist José María Arguedas. Cholas and Pishtacos is also an enjoyable and informative introduction to a relatively unknown region of the Americas.

This book examines the contemporary art world in Latin America from an anthropological perspective and recognises the recent reconfiguration of Lima's art scene. Giuliana Borea traces the practices of artists, curators, collectors, art dealers and museums, identifying three key moments in this reconfiguration of contemporary art in Lima: artistic explorations and new curatorial narratives; museum reinforcement and the strengthening of Latin American art networks; and of the rise of the art market. In so doing, Borea highlights the different actors that come into play in activating and de-activating directions and imaginations. The book exposes the practices of the local, the global, indigeneity and politics in the arts, and reveals that the strengthening of the Lima art scene has fostered the expansion of dominant art views and formats mobilised by transnational elite actors. Featuring analytical chapters interspersed with personal stories, Borea's book presents an in-depth analysis of a specific art scene to open up a new way of understanding contemporary art practices in relation to globalisation, neoliberalism and the city.

Since its inception, anthropology's authority has been based on the assumption that it is a unified discipline emanating from the West. In an age of heightened globalization, anthropologists have failed to discuss consistently the current status of their practice and its mutations across the globe. World Anthropologies is the first book to provoke this conversation from various regions of the world in order to assess the diversity of relations between regional or national anthropologies and a contested, power-laden Western discourse. Can a planetary anthropology cope with both the 'provincial cosmopolitanism' of alternative anthropologies and the 'metropolitan provincialism' of hegemonic schools? How might the resulting 'world anthropologies' challenge the current panorama in which certain allegedly national anthropological traditions have more paradigmatic weight - and hence more power - than others? Critically examining the international dissemination of anthropology within and across national power fields, contributors address these questions and provide the outline for a veritable world anthropologies project.