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En este artículo presento abordajes en relación a la intervención sobre el fenómeno de la trata de personas con fines de explotación sexual en Barcelona desde la perspectiva de los profesionales implicados en los diferentes recursos existentes. Primeramente, considero las diferencias entre trata y prostitución, noción de víctima y perspectiva de género, y la influencia de la globalización en el fenómeno. En seguida, presento el contraste de perspectivas de los profesionales entrevistados en relación a los siguientes tópicos: problemas asociados a la trata, dificultades para la intervención en el fenómeno, coordinación de entidades, recursos humanos/materiales y políticas gubernamentales. Como conclusión, presento las soluciones propuestas por estos informantes clave para la intervención sobre la trata de personas con fines de explotación sexual. Pretendo lograr una visión antropológica que promueva la reflexión individual sobre soluciones y nuevas medidas de actuación. ; This paper presents approaches in relation to the intervention on the phenomenon of trafficking in persons for the purposes of sexual exploitation in Barcelona from the perspective of professionals involved in the different resources. First, I consider differences between trafficking and prostitution, the notion of victim and gender perspective and the influence of globalization on the phenomenon. Next, I present contrasting perspectives of the professionals interviewed in relation to the following topics: problems associated with trafficking, difficulties to the intervention on the phenomenon, coordination of entities, human / material resources and government policies. As a conclusion, I present the solutions proposed by these key informants for the intervention on trafficking for the purposes of sexual exploitation. I intend to achieve an anthropological vision that promotes individual reflection on solutions and new measures.

An apology and a long thank you -- A National Portrait -- Part 1: Origin -- The power of stories -- Chapter 1: Interest in Sterility -- Chapter 2: Managing Reproduction -- Shifting -- Chapter 3: Interest in Assisting Reproduction -- Part 2 Reproducing Assisted Reproduction -- ARTs as Technological Innovation & Cultural Novelty -- Chapter 4: The Universe is Expanding -- Chapter 5: The Discursive Landscape -- Chapter 6: Contemplating a Repronational Portrait -- Appendix -- Glossary -- References

In this text, a discursive strategy is applied by Colombian artist Helena Martín Franco. She analyzes the perception of an alter ego to demonstrate the oppressive principals in which the feminine identity is framed. Given that identity is a set of traits that distinguish a group or individual to others, artists like Martín Franco are not satisfied with passively assuming the traits that define the identity of her gender. She is mindful that the identity she practices is a result of fiction created within the political patriarchy framework, in which she resorts to the creation of her own alter ego as a strategy for liberation and resistance against oppressive principals. Thus, evidencing the need to resignify the concept of identity like post-colonial theory had proposed that it is not correct to assume "identity" as an unequivocal class. ; En este texto se analiza el concepto de alter ego (otro yo), como estrategia discursiva utilizada por parte de la artista colombiana Helena Martín Franco, para desmontar los criterios opresores en los que se enmarca la identidad femenina. Teniendo en cuenta que la identidad es un conjunto de rasgos que caracterizan a un sujeto o un colectivo determinado frente a los demás, artistas como Martín Franco, no están conformes con asumir pasivamente los rasgos con los que se define la identidad de su género. Consciente de que la identidad que ejerce es producto de la ficción, creada en el marco de políticas patriarcales, acude a la creación de su propio alter ego como una estrategia de liberación y de resistencia en contra de los criterios opresores. Evidenciando así, la necesidad de resignificar el concepto de la identidad, pues tal como lo había señalado la teoría poscolonial, no es correcto asumir la 'identidad' como una categoría inequívoca.

En este texto se analiza el concepto de alter ego (otro yo), como estrategia discursiva utilizada por parte de la artista colombiana Helena Martín Franco, para desmontar los criterios opresores en los que se enmarca la identidad femenina. Teniendo en cuenta que la identidad es un conjunto de rasgos que caracterizan a un sujeto o un colectivo determinado frente a los demás, artistas como Martín Franco, no están conformes con asumir pasivamente los rasgos con los que se define la identidad de su género. Consciente de que la identidad que ejerce es producto de la ficción, creada en el marco de políticas patriarcales, acude a la creación de su propio alter ego como una estrategia de liberación y de resistencia en contra de los criterios opresores. Evidenciando así, la necesidad de resignificar el concepto de la identidad, pues tal como lo había señalado la teoría poscolonial, no es correcto asumir la `identidad¿ como una categoría inequívoca. ; In this text, a discursive strategy is applied by Colombian artist Helena Martín Franco. She an-alyzes the perception of an alter ego to demon-strate the oppressive principals in which the feminine identity is framed. Given that identi-ty is a set of traits that distinguish a group or individual to others, artists like Martín Franco are not satisfied with passively assuming the traits that define the identity of her gender. She is mindful that the identity she practices is a result of fiction created within the political patriarchy framework, in which she resorts to the creation of her own alter ego as a strategy for liberation and resistance against oppressive principals. Thus, evidencing the need to resignify the concept of identity like post-colonial theory had proposed that it is not correct to assume ¿identity¿ as an unequivocal class. ; Universidad Pablo de Olavide

URL del artículo en la web de la Revista: https://www.upo.es/revistas/index.php/atrio/article/view/3080 ; En este artículo se plantea un análisis en cuanto a la repercusión del cuerpo como territorio de acción política y al performance como medio de reacción frente a la injusticia e impunidad sobre algunos acontecimientos suscitados en Colombia ligados a la violación de los derechos humanos, tales como: desapariciones forzadas, masacres, desplazamientos, violencia sexual y explotación ecológica, en el marco temporal de 1980 hasta la fecha, a partir de las obras de María Evelia Marmolejo y Nadia Granados. A lo largo de este texto se establece una reflexión acerca de la manera en que estas artistas asumen su cuerpo como un elemento discursivo de alto impacto, capaz de cuestionar y confrontar aspectos relevantes de la realidad sociopolítica del país. ; This article proposes an analysis regarding the repercussion of the body as a territory of political action and performance as a means of reacting to injustice and impunity about some events in Colombia linked to the violation of human rights, such as: forced disappearances, massacres, displacements, sexual violence and ecological exploitation, In the time frame of 1980 to date, from the works of María Evelia Marmolejo and Nadia Granados. Throughout this text a reflection is established about the way in which these artists assume their body as a discursive element of high impact, capable of questioning and confronting relevant aspects of the sociopolitical reality of the country. ; Universidad Pablo de Olavide

This article proposes an analysis regarding the repercussion of the body as a territory of political action and performance as a means of reacting to injustice and impunity about some events in Colombia linked to the violation of human rights, such as: forced disappearances, massacres, displacements, sexual violence and ecological exploitation, In the time frame of 1980 to date, from the works of María Evelia Marmolejo and Nadia Granados. Throughout this text a reflection is established about the way in which these artists assume their body as a discursive element of high impact, capable of questioning and confronting relevant aspects of the sociopolitical reality of the country. ; En este artículo se plantea un análisis en cuanto a la repercusión del cuerpo como territorio de acción política y al performance como medio de reacción frente a la injusticia e impunidad sobre algunos acontecimientos suscitados en Colombia ligados a la violación de los derechos humanos, tales como: desapariciones forzadas, masacres, desplazamientos, violencia sexual y explotación ecológica, en el marco temporal de 1980 hasta la fecha, a partir de las obras de María Evelia Marmolejo y Nadia Granados. A lo largo de este texto se establece una reflexión acerca de la manera en que estas artistas asumen su cuerpo como un elemento discursivo de alto impacto, capaz de cuestionar y confrontar aspectos relevantes de la realidad sociopolítica del país.

This article has two objectives: the first, to analyze the professionalization process of assisted reproduction (AR) in order to see how AR is consolidating into an independent field within medicine, and the second, to see how AR arrived and was assimilated into Mexican culture. As opposed to other projects that have traced back the story of a particular specialty to see how it emerged as such, this article looks at an ongoing process: specialization in action. By analyzing the data collected through three years of multisited ethnography using tools offered by the sociology of professions and the history of medical specialization, I identify specific moments in which AR is gaining cognitive, normative, and evaluative consolidation, structure, and independence. This leads me to suggest that AR might separate from gynecology and become an independent specialty within medicine. I offer examples to support this argument and show how AR has developed into a biomedical service, a professional biomedical field, and a biomedical business.

This article investigates the spatial articulation of architecture and home through the exploration of current domestic experiences in Basil Spence's Claremont Court housing scheme (1959-1962), Edinburgh. How architecture and home are both idealized and lived is the backdrop for a discussion that draws on the concept of "model home," or physical representation of a domestic ideal. The article reads Claremont Court as an architectural prototype of the modern domestic ideal, before exploring its reception by five of its households through the use of visual methods and semistructured interviews. Receiving the model home involves negotiating between ideal and lived homes. Building on this idea, the article contributes with a focus on the spatiality of such reception, showing how it is modulated according to the architectural affordances that the "model home" represents. The article expands on scholarship on architecture and home with empirical evidence that argues the reciprocal spatiality of home.