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Tom Vernon's travels took him across the South American pampa to the sierras of Cordoba, through Patagonia, the Andean north-west and the regions around Salta and Tucuman. His encounters with settlements of Old England, France and Italy, German survivors from the SS Graf Spee, Welsh-speaking immigrants, and Mapuche Indians illustrate the diversity of Argentina's culture, and show Tom Vernon to be a perceptive and witty raconteur.
Assignment: Finding one of Argentina's 30,000 "Disappeared" ... likely outcome: Becoming one yourself. The Argentine army's "Dirty War" disappeared 30,000 people, and the last thing Pepe Carvalho wants is to investigate one of the vanished, even if that missing person is his cousin. But blood proves thicker than a fine Mendoza Cabernet Sauvignon, even for a jaded gourmand like Pepe, and so at his family's request he leaves Barcelona for Buenos Aires. What follows is perhaps Manuel Vázquez Montalbán's masterpiece: a combination white-knuckle investigation and moving psychological travelogue. Pepe quickly learns that "Buenos Aires is a beautiful city hell-bent on self-destruction," and finds himself on a trail involving boxers and scholars, military torturers and seductive semioticians, Borges fans and cold-blooded murderers. And despite the wonders of the Tango and the country's divine cuisine, he also knows one thing: He'll have to confront the traumas of Argentina's past head on if he wants not only to find his cousin, but simply stay alive.
Traits that signal belonging dictate our daily routines, including how we eat, move, and connect to others. In recent years, "fat" has emerged as a shared anchor in defining who belongs and is valued versus who does not and is not. The stigma surrounding weight transcends many social, cultural, political, and economic divides. The concern over body image shapes not only how we see ourselves, but also how we talk, interact, and fit into our social networks, communities, and broader society. Fat in Four Cultures is a co-authored comparative ethnography that reveals the shared struggles and local distinctions of how people across the globe are coping with a bombardment of anti-fat messages. Highlighting important differences in how people experience "being fat," the cases in this book are based on fieldwork by five anthropologists working together simultaneously in four different sites across the globe: Japan, the United States, Paraguay, and Samoa. Through these cases, Fat in Four Cultures considers what insights can be gained through systematic, cross-cultural comparison. Written in an eye-opening and narrative-driven style, with clearly defined and consistently used key terms, this book effectively explores a series of fundamental questions about the present and future of fat and obesity.
1967. The brutal murder of a woman sends shockwaves through the city of Krakow. Young detective Andrzej quickly determines the case in question could be connected with the victim's espionage activity during World War II. Alina, the deceased woman's sole relative, is not much help. That is, until she finds one of her mother's letters, a list of names, as well a document in Hebrew script. Andrzej and Alina then join forces to put the pieces of the puzzle together, and discover the love affair between Alina's Polish mother and her German suitor during a turbulent time in history in the process. But how does all of this pertain to references to the "fat man"? A riveting, high-octane thriller that confronts a complicated predicament head-on with unorthodox methods, yet without a moralizing undertone.
Tracing the link between changing attitudes toward body size and modern conceptions of class, society, and self.
In 1972, Jan Sherman was a beautiful 22-year-old actress/stunt woman who fled the Hollywood 'rat race' by moving to the island of Ibiza off the coast of Spain. Her life changed forever after attending an eclectic party of expatriate artists and hippies when the hostess invited her to South America to buy and smuggle a kilo of cocaine. Jan knew nothing about the drug; what it looked like, how it was used, how to sell it or to whom. But the seductive lure of quick, huge profits to finance her travels around the world and a thirst for adventure convinced her to march blindly into the unknown - the ruthless, macho male dominated drug underworld. That decision changed her life forever.In search of the 'precious crystal', Jan chose to live a secret double life while 'acting' as a freelance photographer during the decade of the seventies. It was her preferred alternative to a 9-to-5 job. Luckily, it was before Pablo Escobar's Colombian Medellín cartel in the 1980's and Joaquin "el Chapo" Guzman's Mexican Sinaloa cartel in the 1990's, took control of the cocaine trade. Otherwise, she may not have lived to tell her story.Jan Sherman was a fearless, "kick-ass chick" with balls, who followed her own path. Her mantra was "living life to the fullest meant freedom and freedom meant money." While on the 'cocaine trail,' her gut instincts were her guide to every dilemma she encountered; surviving a coup d'etat in La Paz, mobsters in Lima and arrest in the Bolivian jungle. Most smugglers were busted, languishing in deplorable foreign jails for years or worse yet, murdered. Jan Sherman beat the odds, netting seven kilos of cocaine worth $2 million today.At the end of the book, there's a bonus portfolio of 68 color and B&W photos. Readers can see the 'real cast of characters,' as well as an amazing travelogue of Jan's photojournalism while experiencing her adventures in South America, Africa, and China.
This innovative study finds that, through his unique representation of violence, Argentine director Pablo Trapero has established himself as one of the 21st century's distinctly political filmmakers. By examining the broad concept of violence and how it is represented on-screen, Douglas Mulliken identifies and analyzes the ways in which Trapero utilizes violence, particularly Žižek's concept of objective violence, as a means through which to mediate the political Through a focus on several previously under-studied elements of Trapero's films, Mulliken highlights the ways in which the director's work represents present-day concerns about social inequalities and injustice in neoliberal Argentina on-screen. Finally, he examines how Trapero combines aspects of Argentina's long tradition of political film with elements of Nuevo Cine Argentino to create a unique political voice.