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Based on thorough ethnographic fieldwork in a refugee camp in Tanzania this book provides a rich account of the benevolent “disciplining mechanisms” of humanitarian agencies, led by the UNHCR, and of the situated, dynamic, indeterminate, and fluid nature of identity (re)construction in the camp. While the refugees are expected to behave as innocent, helpless victims, the question of victimhood among Burundian Hutu is increasingly challenged, following the 1993 massacres in Burundi and the Rwandan genocide. The book explores how different groups within the camp apply different strategies to cope with these issues and how the question of innocence and victimhood is itself imbued with ambiguity, as young men struggle to recuperate their masculinity and their political subjectivity.
Hutu (African people) --- Refugees --- Humanitarian assistance --- #SBIB:39A73 --- #SBIB:39A6 --- Humanitarian aid --- International relief --- Displaced persons --- Persons --- Aliens --- Deportees --- Exiles --- Bahutu --- Banyaruanda (African people) --- Banyarwanda (African people) --- Lera (African people) --- Ndara (African people) --- Ndoga (African people) --- Ndogo (African people) --- Ruanda (African people) --- Rwanda (African people) --- Shobyo (African people) --- Tshogo (African people) --- Ethnology --- Rundi (African people) --- Etnografie: Afrika --- Etniciteit / Migratiebeleid en -problemen --- Tanzania --- Hutu (Peuple d'Afrique) --- Réfugiés --- Migration. Refugees --- Sociology of minorities --- Development aid. Development cooperation --- Réfugiés --- Aide humanitaire
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"This book is an antidote to the forms of American nationalism, masculinity, exceptionalism, and self-anointed prowess that are currently being flexed on the global stage. Through a fascinating combination of ethnographic research across seven US states and the application of postcolonial, anti-racist, feminist and poststructuralist theories, Land, God, and Guns reveals how time-honoured rites of passage associated with taken-for-granted notions of manhood in the American Heartland are constitutive of a constellation of colonial worldviews, capitalist logics, gender essentialisms, ethnocentric religious beliefs, jingoistic populism, racial animus, and embodied violence. A constellation that, within the US, upholds a heteropatriarchal and racist ordering of life that both privileges and ultimately damages its main proliferators ? white settler men. This is a detailed work that at once unravels rural white settler masculinity and the US state at their roots, whilst demonstrating why any analysis of the cultural production and social practice of masculinity in the United States must take into account the country's historical trajectories of imperialism, land dispossession, nation-state building, enslavement, extractive accumulation and valorisation of masculinist assertions of dominance."-- Provided by publisher.
Marginality, Social. --- Marginality, Social --- Religious aspects.
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Architecture, Baroque --- Influence. --- Turin (Italy) --- Buildings, structures, etc. --- Architecture baroque --- Construction --- Italie --- Influence --- Turin --- Turin (italie)
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Composé majoritairement d’archives familiales du cinéaste, complétées d’images de ruines et de décadence, The Last of England, d’une actualité stupéfiante, dénonce la médiocrité d’une société, l’Angleterre ultra-libérale de Thatcher, dans une vision futuriste et altruiste où violences politiques, sociales et psychologiques sont intimement mêlées.Tourné en super-8 gonflé, par moments filmé en vidéo, The Last of England est unsuperbe journal intime underground, avant-gardiste, époustouflant de poésie et de beauté plastique. Utilisant l’Histoire comme métaphore de la société de son époque avec un esprit frondeur, anarchiste et lyrique, The Last of England, majestueux requiem à la bande son rageuse, célèbre le romantisme de la violence comme pure révolte. Ce film phare, visionnaire, pierre angulaire de la post-modernité a notamment révélé Tilda Swinton, meilleure amie et muse de Derek Jarman.
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