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This book chronicles the experiences of Quechuan bilingual college students who strive to maintain their ethnolinguistic identity while succeeding in Spanish-centric curricula. The book presents visual and textual insights and merges decolonial theory and participatory action research in pursuit of mobilizing Indigenous languages.
Bilingualism --- Education, Bilingual --- Language and education --- Language maintenance --- Quechua Indians --- Quechua language --- Spanish language --- LANGUAGE ARTS & DISCIPLINES / Linguistics / General. --- Education (Higher) --- Castilian language --- Romance languages --- Inca language --- Kechua language --- Quichua language --- Runasimi language --- Cacán language --- Indians of South America --- Kechua Indians --- Kichwa Indians --- Napo Kichwa Indians --- Quichua Indians --- Language and languages --- Language loyalty --- Maintenance of language --- Sociolinguistics --- Educational linguistics --- Education --- Bilingual education --- Multilingual education --- Languages in contact --- Multilingualism --- Languages --- Maintenance --- Education, Bilingual - Peru - Cuzco --- Language maintenance - Peru - Cuzco --- Quechua Indians - Education (Higher) - Peru - Cuzco --- Bilingualism - Peru - Cuzco --- Quechua language - Peru - Cuzco --- Spanish language - Peru - Cuzco --- Language and education - Peru - Cuzco
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"The Peruvian painter Francisco Laso (1823-69) was born to an aristocratic Creole family. After studying painting in Europe, he returned to Peru and began to focus on portraiture and religious paintings. Over time, he increasingly grew interested in portraying the lives of everyday people rather than the ruling elite class. In addition, he began to depict people of indigenous and African descent, often in traditional dress, as in the cases of the Quechua and Aymara people he painted. His solemn and still studies serve to underscore a shift in depicting indigenous peoples as servants or slaves to representing a noble and lost figure in the Peruvian imagination. Laso's work was part of a broader transformation among nineteenth-century Peruvian painters that influenced writers and intellectuals, who were actively crafting a new national identity in the aftermath of independence from Spain. These images and the ideas they represented continued to shape Peruvian national identity even as the country began to implement modernization programs in the early twentieth century. Natalia Majluf contextualizes Laso's corpus of work within the longer visual culture rooted in the Enlightenment of the late eighteenth century and through portraits of indigenous peoples in the early twentieth century"--
Aymara Indians --- Indigenous peoples --- National characteristics, Peruvian --- Painting, Peruvian --- Quechua Indians --- Portraits --- History --- National characteristics, Peruvian. --- Laso, Francisco, --- indigeneity, Indigenous peoples, Indigenous cultures, indigenous, visual culture, Latin American visual culture, art history. --- 1800-1999 --- Peru
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