Suchergebnisse

El paisaje no es lo que está ante nosotros, a nuestro alrededor, es un concepto inventado, una construcción cultural relativamente moderna. Es evidente que el paisaje ha existido siempre, pero nunca, hasta épocas relativamente cercanas, fue considerado algo más que un terreno, lugar o espacio con valor político o económico. Los primeros en tomar conciencia del territorio como objeto de contemplación estética son los poetas y pintores, capaces de otorgar otro significado al espacio que se extiende ante sus ojos y redefinirlo en virtud de lo sentido y experimentado en él. Así pues, el paisaje sólo existe realmente cuando existe la contemplación, la voluntad de saber mirar y ver como objeto estético lo que se presenta ante nosotros en el espacio abierto al exterior. Por todo ello, me parece fundamental fomentar la enseñanza de una disciplina artística vinculada con la pintura y el dibujo, que nos capacita para valorar, comprender, recrear y sentir el paisaje. ; Landscape is not what stands in front of us or around us, it is an invented concept, a relatively modern cultural construction. It is evident that there has always been landscape, but it has been only recently that it has been considered as something else than a plot of land, a place or a space with political or economic value. Poets and painters were the first to be aware of territory as an object of aesthetic contemplation, the first to give another meaning to the concept of space which surrounds us, and re-define it according to the feelings it provokes. Thus, landscape only exists where there is contemplation and the wish to know how to look and see, as an aesthetic object, what is represented before us in the open air. For all that, I find it essential to promote the teaching of an artistic discipline related to painting and drawing, and which enables us to value, understand, recreate and feel the landscape. ; Universidad de Granada. Grupo de Investigación "Desarrollo Educativo de las Didácticas en la Comunidad Andaluza" (HUM742).

A description of the life of M'hamed Ali (late 1880s-1928), reflecting the tensions & contradictions of his times. He was a key figure in the struggle for independence in Tunisia, & is considered the father of the Tunisian trade union movement. In M'hamed Ali's time, all political activities were developed in a colonial context that characteristically included economic exploitation, racial confrontations, the creation of dependent economies, etc. At the time of colonialization, Tunisia was very open to change, & the French Protectorate was calmly accepted while modern reform was combined with religious & cultural integrity. Tension began to appear as a result of racism & the occupation of other Moslem countries. It was at this time that M'hamed Ali first became involved in the anticolonial struggle. Tunisian workers entered into national politics as a result of protests & battles between the city's population & the colonial authorities, which lasted until 1919. During the period between WWI & WWII, a new generation of nationalists & a new proletariat emerged. In Tunisia, the native Wc had to compete with Europeans, who were the most privileged workers, & increased immigration of Europeans threatened the life-style of the Tunisian elite. M'hamed Ali stressed Tunisian revolt against foreign domination & the economic & social conditions of 1920-1924 led to the entrance of the first organized group of Tunisian workers into nationalist politics. The existence of class-dominated nationalism & Wc socialism in Tunisian politics reflects the influence of European Marxism & the cultural nationalism of the Destour Party formed in 1920. The CGTT (Confederation generale des travailleurs tunisiens), formed in 1924, was headed by M'hamed Ali & an Executive Committee of twelve members. Although the CGTT initially made rapid gains for the Tunisians, continuing strikes led to the arrest of several leaders, with the majority of the remaining members leaving to adopt the Socialist Party position. However, the CGTT leaders did help later generations by: (1) demonstrating that popular & party support could help workers achieve their objectives; (2) demonstrating the power of nationalism; (3) demonstrating the consequences of the antagnostic collaboration between Destour nationalists & the labor unions; & (4) laying the ideological foundations of the Tunisian labor movement. M. K. Razo.

Historical ecologies, heterarchies and transtemporal landscapes : introductory perspectives / Celeste Ray and Manuel Fernández-Götz -- Dialectic in historical ecology / William H. Marquardt -- Historical ecology and longitudinal research strategies around Lake Mývatn, Iceland / Thomas H. McGovern, George Hambrecht, Megan Hicks -- Gender, feminism, and heterarchy / Janet Levy -- "Can you hear me now?" : heterarchy as an instrument and outcome of collective action in Iron Age and medieval Europe / T.L. Thurston -- Reconstructing African landscape historical ecologies : an integrative approach for managing biocultural heritage / Anneli Ekblom, Paul Lane, and Paul Sinclair -- Resilience of agrarian land use practices in Burgundy, France : evolving approaches to historical ecology / Seth Murray, Elizabeth Anne Jones and Scott Madry -- Resilience, heterarchy, and the Native American cultural landscapes of the Yazoo Basin and the Mississippi River Delta / Christopher B. Rodning and Jayur M. Mehta -- Mapping British and Irish hillforts / Gary Lock and Ian Ralston -- Humanizing the western Cantabrian mountains in northwestern Iberia : a diachronic perspective on the exploitation of the uplands during late prehistory / David González Álvarez -- The end of Iron Age societies in northwestern iberia : equality, heterarchy and hierarchy in contexts of interaction / Inés Sastre and Brais Currás -- Iron Age societies at work : towns, kinship and territory in historical analogies / Manuel Fernández-Götz and Raquel Liceras-Garrido -- Empires of stone, politics of shadow : the historical ecology and political economy of mortuary monuments in Mongolia (1500 BC- 1400 AD) / Erik G. Johannesson -- A landscape of ancestors : looking back and thinking forward / Matthew Murray and Bettina Arnold -- Civic-ceremonial transition at Lambityeco, Oaxaca, Mexico / Gary M. Feinman and Linda M. Nicholas -- Sacred wells across the longue durée / Celeste Ray -- Afterword : integrating time and space in dynamic systems / Carole L. Crumley.

"This book builds on recent anthropological work to explore the social and cultural dynamics of cemetery practice and its transformation over generations in Virginia's Shenandoah Valley. Anthropologist Alison Bell finds that people are using material culture-images and epitaphs on grave markers, as well as objects they leave on graves-to assert and maintain relationships and fight against alienation. She draws on fieldwork, interviews, archival sources, and disciplinary insights to show how cemeteries both reveal and participate in the grassroots cultural work of crafting social connections, assessing the transcendental durability of the deceased person, and asserting particular cultural values. The book's chapters range across cemetery types, focusing on African American burials, grave sites of institutionalized individuals, and modern community memorials"--

"The Dominican Racial Imaginary subverts the way of knowledge of Dominican elites by telling the stories of 'the forced delivered child.' This child (a blend of Africans, Tainos, and Spanish) fled to the mountains escaping the abuses of the colonizer and became an adult in maroon communities. This book takes a look at history as a space of interrogation. When and how did Africa become part of the Dominican racial mix? In renewing the past, rather than the imposed Indo-Hispanic racial homogenization narrative, we might see something more--the historical creation of a multiracial rainbow. The stories the child/adult tell about the slave traffic, anti-colonial movements, the division of the island, more anti-colonial revolutions, abolition, and renewal of colonial oppressions. These stories also tell about cultural constructions unique to the island and the formation of a subversive racial imaginary. Battles against the continuity of white supremacist values people cultural practices, and ways of knowing attest to this subverted imaginary. In telling the stories of women dancing under the spell of the snake, of youngsters in New York City wearing dreadlocks, of Dominican intellectuals and politicians searching for their true identity, of people creating cooperation at the Haitian-Dominican border, this book strongly argues that there is a nation of Dominicans battling against the continuity of white supremacist values"--Provided by publisher

As a colonial author, Naipaul is deeply concerned with the exploration of the nature of the colony from a cultural and a political perspective. Being of Indian descent, his interest in pondering over Indian history and understanding its cultural identity is central to his fiction. In Magic Seeds Naipaul moves from the colonial India under British rule where the protagonist, Willie Chandran, was born to a post-independence rural India besieged by a Maoist insurgent group whose aim was to fight poverty and be trusted by poor villagers. Drawing from Bhabha's concept of mimicry which holds that the colonized seeks to copy the colonizer thus producing a subject who is "almost the same, but not quite," (Bhabha, 1994:86). This paper seeks to read Magic Seeds as a fictional parody of political mimicry based upon the information on the movement provided by Dipanjan and Debu in India: A Million Mutinies Now. Following Willie Chandran's trials and tribulations as a member of a Maoist guerrilla in India, Naipaul dissects the divorce between foreign political discourse and Indian cultural heritage. ; La exploración de la naturaleza de la colonia desde un punto de vista cultural y político es un elemento central en la literatura de Naipaul, autor de ascendencia india nacido en la India colonial. Su interés en reflexionar sobre la historia de la India y comprender su identidad cultural es clave en sus obras de ficción. En Semillas mágicas, Naipaul abandona la India colonial bajo dominio británico en la que nació su protagonista, Willie Chandran, para centrarse en una India poscolonial asediada por un grupo revolucionario de corte maoísta que busca luchar contra la pobreza y ganarse el apoyo de los campesinos. Partiendo del concepto de mimetismo de Bhabha según el cual el colonizado busca imitar al colonizador convirtiéndose consecuentemente en un individuo que es "casi lo mismo, pero no del todo", este artículo propone una lectura de Semillas mágicas como parodia en clave de ficción del mimetismo político a partir de la información proporcionada por Dipanjan y Debu en India: tras un millón de motines acerca del movimiento naxalita. A través de las vivencias de Willie Chandran como miembro activo de la guerrilla maoísta en India, Naipaul disecciona el divorcio entre el discurso político foráneo y la herencia cultural india.

In several writings on political science, political philosophy, history and political anthropology, the question of visibility has acquired centrality in the debates related to multicultural citizenship. This article purports to illuminate some of the processes of cultural construction at stake in Caribbean Colombia today. In the first instance borrowing from the evolutionary model of citizenship proposed by T.H. Marshall in which the cultural phase turns out to be the last of a chain of claims towards recognition by the nation-state, I later argue that this framework nonetheless continues to reproduce and obscures a phenomenological primacy inherent in the derivative conception of political modernity, wherein the sense of sight - and the resulting political term of "visibility" has become the one and only mode of categorization. In this article, I intend to demonstrate how the case of the production of a form of cultural citizenship through "Afro" identifications in Caribbean Colombia today both interrupts this phenomenological-political chain, and allows us to imagine other sensory modalities forming an integral part of a "multicultural" citizenship practice. ; En varios escritos de ciencias políticas, filosofía política, historia y antropología política, la cuestión de la visibilidad ha adquirido un lugar central dentro de los debates relativos a la ciudadanía multicultural. En estas páginas, trataré de esclarecer los procesos de construcción cultural que están en juego en el Caribe colombiano de hoy, a través del caso de Santa Marta, tomando prestado el modelo evolutivo de la ciudadanía propuesto por T.H. Marshall. En este modelo, la fase cultural resulta ser la última de una cadena de reivindicaciones hacia un reconocimiento por parte del Estado-nación. Sin embargo, este marco sigue reproduciendo y obscureciendo una primacía fenomenológica inherente a la concepción derivada de la modernidad política, en donde el sentido de la vista – y el término resultante de "visibilidad"– se ha vuelto el único modo de categorización. En este artículo, se pretende demostrar cómo el caso de la producción de una forma de ciudadanía cultural por medio de "lo afro" en la ciudad de Santa Marta, interrumpe actualmente esta cadena fenomenológico-política, y nos faculta para imaginar otras modalidades sensoriales que lleguen a ser parte integrante de una práctica ciudadana "multicultural".

The Oromo people are one of the ancient Kushitic speaking indigenous peoples of Africa. According to linguistic studies, archaeological findings and their Oral history, the original home of the Oromo is believed to be the Nubian Valley of the ancient Kushitic empire. They might have organized themselves as a nation, developed their holistic culture, the gadaa, about 4000 B.C. in their original home, then moved southwards and settled in their current regions as a single independent nation. However, the Abyssinian Emperor Minilik II, who got firearms from some European Christian Kingdoms, colonized the Oromo and built the current Ethiopian empire towards the end of 19th century. Since then the Oromo lost their independence, were economically marginalized and culturally segregated. Using this situation as an opportunity, the missionaries of Christianity and Islam expanded their religions and established their own religious institutions in Oromia. On one hand, these two new religions brought new cultural elements that could enrich the Oromo culture. On other hand, they destroyed some valuable Oromo cultural heritages preserved by the Oromo Indigenous Religion (OIR). Their mission agents did not carefully consider cultural elements that could have continued. Instead, they destroyed them indiscriminately. The OIR galmaas (worship houses) were destroyed together with Oromo cultural and symbolic objects, and were replaced by Church buildings and mosques. The Christian missionaries and their local agents assumed the OIR to be idolatry; its feasts, rites, and ritual practices contradictory to the Bible and the Christian faith. Therefore, at the baptismal rite they changed Oromo names to foreign names and discontinued Moggaasaa (OIR child naming rite). Among the Protestant groups of Oromo Christianity (OC), the Oromo's cultural songs and dances were regarded to be sinful and were therefore abandoned. Oromo cultural foods and drinks were also forbidden. Against such generalized judgment on the OIR this dissertation raises a question: Are OIR elements contradictory or compatible with the OC? To answer this question, I conducted scientific research, compared OIR and OC elements, and produced this dissertation. This work identifies some identical, similar, partially similar and some differing elements in the two Oromo religions (OIR & OC). It is my hope that these findings might contribute to a religious dialogue that aims to create a peaceful religious coexistence in Oromia and beyond.

Zimbabwean history is rooted in ethnic and cultural identities, inequalities, and injustices which the post-colonial government has sought to address since its national independence in 1980. Marginalisation of some ethnic groups has been one of the persistent problems in post-colonial Zimbabwe. Of particular significance to this thesis has been the marginalisation of the BaTonga people of north-western Zimbabwe. The marginalisation of the BaTonga people is historical with its roots traceable from the colonial era through the early years of national independence. Post-colonial Zimbabwe's emphasis on cultural identity and confirmation has, however, prompted the establishment of community museums such as the BaTonga Community Museum (BCM), to promote cultures of the local people. The establishment of cultural heritage sites such as the BCM has, however, impacted on the lives of the local people in various ways. This study critically examines the effects and socio-economic contribution of the BCM to the local communities, which ranges from generation of revenue to education training, environmental conservation and creation of employment in several sectors of the economy. On examining this topic, I draw extensively on the work of Kopytoff, who wrote about biographies of things. In his work, Kopytoff argues that all things, including cultural objects relate in a way that allows the analysis of relationships between persons and things as a process of social transformation that involves a series of changes in status. As Kopytoff (1986) insists, cultural biographical approach is culturally informed given that things are culturally constructed and reconstructed in much the same way people are culturally (re-)constructed through time. I draw on the work of Kopytoff in a critically sympathetic manner to delve into the effects and socio-economic contribution of the BCM to the local communities. I, nevertheless, bring to the fore the argument that although Kopytoff does not explicitly argue that things have life, his cultural biographical approach implies this and that by tracing a biography of a thing we recognise its agency as 7 well. It is through the careful analysis of agency of these things that I examine the effects and socio-economic contribution of the BCM to communities surrounding the site.

Mi interés por el análisis del muralismo político en relación del arte pluralista contemporáneo, nace de mi práctica artística y la respuesta colectiva a este arte que visibiliza el devenir de los pueblos. El objetivo de esta investigación es indagar acerca de la función socio-comunicacional y reflexiva del mural histórico-político. La hipótesis plantea que la práctica del pluralismo, tendencia de la contemporaneidad, difiere con el espíritu de la inclusión de las memorias sociales de Latinoamérica por pasar por alto la identidad cultural que son particulares y diversas, la unificación cultural y las prácticas artísticas son un irrespeto a la identidad de los pueblos. La metodología está desarrollada en la investigación bibliográfica de pensadores universales y latinoamericanos que defienden y justifican un arte que se desarrolle principalmente dentro de los valores culturales del medio que los genera. La conclusión general se refiere a la importancia que tiene el arte mural histórico-político en la sociedad para que el espectador pueda reflexionar sobre los acontecimientos que han marcado la historia nacional e incidir en su pensamiento que marcarán sus acciones futuras. ; My interest in the analysis of political murals in relation to the pluralistic contemporary art arose from my art practice and the collective response to this art that visualizes the evolution of the civilizations. The objective of this work is to investigate the role of the socio-communicative and reflective of historical-political mural. The hypothesis is that the practice of pluralism in the contemporary trend differs from the spirit of the inclusion of Latin American social memories by overlooking cultural identity that are unique and diverse cultural unification; artistic practices constitute a disrespect to the identity of people. The methodology is developed on the literature of universal and Latin American thinkers who defend and justify an art that is primarily within the cultural values of the medium that generates them. The general conclusion regards the importance of the historical-political mural art in society in order for the viewer to think about the events that have marked the country's history and influence the thinking that will shape his future actions.

У статті визначено значення художника як автора соціокультурного проекту, спрямованого на перетворення дійсності. Зазначено, що у Львові ще з початку ХХ ст. концентрується значна частина українських митців, влаштовуються художні виставки й починають виходити українською мовою літературно-мистецькі часописи, а також виникають українські культурно-освітні товариства. Виокремлено 1905-й рік, який можна назвати роком народження української преси і звільнення українського слова. Вказано, що художні діячі вбачали у пресі інструмент вираження національної думки в умовах радянського режиму. Визначено, що процес розвитку художньої культури в національному інформаційному просторі в Україні на початку ХХ ст. характеризувався нерівномірністю та неоднорідністю, а також високою залежністю від політичної ситуації та мірою тиску імперських репресивних структур ; The article defines the importance of the artist as the author of a socio-cultural project aimed at transforming reality. It is noted that the views of artists of the early XX century on creativity were formed not only as a result of criticism of the aesthetics of realism, its denial and rejection, but also as a result of changes that took place in the cultural life of Ukraine at that time. It is noted that in Lviv since the beginning of the twentieth century. a considerable part of Ukrainian artists concentrates and the first Ukrainian societies emerge, art exhibitions are organized and literary and art magazines begin to appear in Ukrainian, and Ukrainian cultural and educational societies emerge. The year 1905, which can be called the year of birth of the Ukrainian press and the beginning of the liberation of the Ukrainian word, was distinguished (as a result, one can see the first works of art in the information space of the early twentieth century). There are Ukrainian cultural and educational societies – «Prosvita». Emphasis is given that the undisputed artistic achievements are observed in the graphic art, which in this period is aware of itself as a whole, fundamentally new phenomenon of Ukrainian art. Shortly before the outbreak of the war and the corresponding ban on the Ukrainian edition, popular illustrated weekly newspapers appeared in Kiev (articles about Russian artists depicting Ukraine in their works were published). The study of the history and practice of periodicals in the USSR began as early as the mid-1920s: the traditional school of national press history; the Soviet press. The establishment of the Soviet press was connected with the activities of the Ukrainian Scientific Institute of Book Research (UNIK) and the Ukrainian Communist Institute of Journalism (UKIZ), namely the Department of Newspaper Science. It is stated that artistic figures saw in the press an instrument of expression of national opinion in the conditions of the Soviet regime. It is determined that the process of development of artistic culture in the national information space in Ukraine in the early twentieth century. was characterized by unevenness and heterogeneity, as well as a high dependence on the political situation and the degree of pressure of the imperial repressive structures. In its turn, the Soviet government was investing in the development of Ukraine's information space and the popularization of new media at that time, first of all understanding the power and perspective of their social influence, which greatly increased the power of the propaganda machine.

Poetry and radical politics in fin de siecle France' explores the relations between poetry and politics in France in the last decade of the 19th century. The period covers perhaps the most important developments in modern French poetry: from the post-Commune climate that spawned the 'decadent' movement, through to the (allegedly) ivory-towered aestheticism of Mallarme and the Symbolists. In terms of French politics, history and culture, the period was no less dramatic with the legacy of the Commune, the political and financial instability that followed, the anarchist campaigns, the Dreyfus affair, and the growth of 'Action francaise'. Patrick McGuinness argues that the anarchist politics of many Symbolist poets is a reaction to their own isolation, and to poetry's anxious relations with the public: too 'difficult' be be widely read, Symbolist poets react to the loss of poetry's centrality among the arts by delegating their radicalism to prose: they can call, in prose, for the overthrow of the state and support anarchist bombers, while at the same time writing poems about dribbling fountains and dazzling sunsets for each other. This study demonstrates the connections between the anti-Symbolist reaction of the ecole romane of 1891 (in which Charles Maurras first made his name), and the far-right cultural politics of Action francaise in the early 20th century. It also redefines many of the debates about late 19th-century French poetry by putting an argument forward for the political engagement(s) of the Symbolists while the French 'intellectuel' as a national icon was being forged. McGuinness insists on profound continuities between the end of the 19th century and the beginning of the 20th in terms of cultural politics, literary debate, and poetic theory, and shows how politics is to be found in unexpected ways in the least political-seeming literature of the period

В статье анализируется распорядительная документация первого в России антибольшевистского правительства Комитета членов Всероссийского учредительного собрания (КОМУЧ), касающаяся социальной и культурной политики. В своей основе распорядительный документопоток имеет форму приказов Комитета, а также постановлений управляющих ведомствами КОМУЧа и Совета управляющих ведомствами. Целью статьи стал также анализ исходящих из правящих структур КОМУЧа обращений, листовок, прокламаций и других документов, несущих социальную, культурную и коммуникативную функции. По разновидности все рассматриваемые документы относятся к машинописным, официальным, служебным документам. В результате их всестороннего анализа автор пришёл к выводу, что, несмотря на краткость существования, КОМУЧ выразил тенденции демократического антибольшевизма. Он стал реальной альтернативой советской власти, в том числе в области социальной и культурной сферы, но его документально подтверждённые шаги в этом направлении показывают устремлённость к сильной социокультурной политике, охватывающей все социальные слои и группы. Политическая обстановка гражданской войны требовала сосредоточение на военных вопросах и выдвигала на первый план нужды солдат, строительство армии, но это не означало отказ от решения общекультурных проблем и социальных вопросов гражданского населения рабочих, крестьян, служащих, интеллигенции, предпринимателей. Изучение данного направления в сфере альтернативной истории вызывает всё больший интерес со стороны исторической культурологии и приобретает актуальность для современной социальной практики. ; The article analyzes the administrative documentation of the first Russian anti-bolshevik government -the members of All-Russian Constituent Assembly (KOMUCH) concerning the social and cultural policy. At its core, the administrative information flow is in the form of orders of the Committee, as well as the decisions of the KOMUCH Governing Council and agencies its departments managers. The purpose of the article was also the analysis emanating from the ruling KOMUCH structures: calls, flyers, leaflets and other documents supporting the social, cultural and communicative functions. According to all kinds of the documents in question are related to the typewriter, official, official documents. As a result of their comprehensive analysis, the author came to the conclusion that, despite the brevity of existence, KOMUCH expressed democratic tendencies of anti-Bolshevism. It has become a real alternative to the Soviet regime, including the field of social and cultural sphere, but it confirmed documented steps in this direction showing the aspiration for a strong socio-cultural policy encompassing all social strata and groups. The political situation of civil war called for a focus on military matters and highlighted the need to plan for soldiers, army building, but that did not mean the rejection of the decision of problems of common cultural and social issues of the civilian population: workers, peasants, employees, intellectuals and businessmen. The study of this area in the field of alternative history is growing interest on the part of the historical and cultural studies and it acquires relevance for contemporary social practice.

Between the first PhD in computer graphics (defended in 1968) and the first entirely synthetic advertisement broadcast on television (1983), computer-generated images became "new images". The aim is not to assess these so-called new images according to their distinctive qualities of rupture or continuity, as the expression would suggest, but rather to study their mode of production and representation in order to determine what they show from the techniques employed, and the imaginative worlds that they convey at the time of the emergence of digital images, like so many creative suggestions but also ideological issues. Studied first from a technical, then from an aesthetic point of view, thanks to the cross-study of testimonies, grey literature and a formal analysis of the movies, these productions show a process of recovery of the medium, before and after the image. This PhD not only defines an "official" history of computer-generated images in France, replacing as precisely as possible the productions in their technical, political and cultural environment, but it also reveals when computer-generated images are innovating products, from their places of fabrication to their places of legitimacy. The conclusions question the different local circulations of people, tools and images, at a time when the cultural policies of the year 1981 promotes the bond between art and computer, and the indiscipline of creations. ; Entre la première thèse en informatique graphique (soutenue en 1968) et la première publicité entièrement synthétique diffusée à la télévision (en 1983), les images de synthèse se transforment en "nouvelles images". Il ne s'agit pas d'évaluer ces prétendues images nouvelles en fonction de leurs qualités distinctives de rupture ou de continuité que l'expression a tendance à appeler, mais d'étudier leur mode de production et de représentation afin de déterminer ce qu'elles montrent des techniques employées, et les imaginaires que ces dernières véhiculent au moment d'émergence de l'image numérique, comme ...

De la mirada colonial a las diferencias combinables / Rosalía Cornejo Parriego -- "Americanos," indianos, mulatas y Otros : Cataluña y Cuba entre el deseo colonial y la nostalgia imperial / Galina Bakhtiarova -- De Cristo negro a Cristo hueco : formulaciones de raza y religión en la Guinea española / Susan Martin-Márquez -- "No somos unos zulús" : musica de masas, inmigración negra y cultura española contempotánea / Jorge Marí -- Paseo con la negra flor : sujetos subalternos en la canción popular de la "movida" / Alberto Villamandos -- Masculinidad y negritud en Se buscan fulmontis, de Álex Calvo-Sotelo / Salvador Oropresa -- Desde la mirada oscura : geografías filmicas de la inmigración en España / Olga López Cotín -- Migración, racismo e identidad cultural domenicana en Flores de otro mundo, de Icíar Bollaín / Fernando Valerio-Holguín -- El proceso de construcción de la otredad en Las voces del Estrecho y Las cartas de Alou / Simplice Boyogueno -- Alianzas marginales entre Camerún y Galicia : el discurso contestatario del inmigrante african en Calella sen saída, de Víctor Omgbá / María P. Tajes -- Miradas éticas o fascistas? : representaciones de inmigrantes africanos en Salvajes y Poniente / Dosinda García-Alvite -- Lucrecia Pérez en el imaginario cultural de España : del racismo a la ética del perdón / Silvia Bermúdez