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Esta obra pretende ocupar um espaço ainda em aberto na área da Sociologia da Infância reunindo os contributos de 55 autores/as, nacional e internacionalmente reconhecidos/as, oriundos de geografias diversificadas, numa análise crítica sobre questões, temáticas e desafios que se colocam hoje na investigação em torno da infância e da(s) criança(s). O objetivo é reunir, num único volume, um conjunto significativo de reflexões científicas sobre conceitos centrais da investigação contemporânea na área, em português e em inglês, para desta forma possibilitar uma maior partilha e divulgação do conhecimento que se vai construindo a nível mundial. This book intends to fill a gap still open in the scientific area of Sociology of Childhood. It brings togheher the contributions of 55 authors, nationally and internationally recognized, from diverse geographies, in a renewed critical analysis on issues, themes and challenges currently placed in research on childhood and on the child(ren). The main goal is to share in a single volume a significant set of scientific reflections on key concepts of contemporary research in the area, in Portuguese and English, aiming to reach wider audiences around the globe.
This book offers readers insights into the transformations taking place in the presentation of gender portrayals in television productions aimed at younger audiences.
United by the belief that the most significant factor in shaping the minds of young people is the cultural setting in which learning takes place, the twenty eminent contributors to this volume present new thinking on education across the boundaries of school, home, work and community.
Como si un antiguo tren del Oeste americano nos invitara a avanzar por raíles de papel, dispongámonos a sumergirnos en las páginas de este libro para disfrutar de un apasionante viaje a través del cine. Podemos apearnos en cada estación del trayecto para pasear, sin prisa, por el interior de cada uno de los géneros cinematográficos. En la estación del Drama, exploraremos conflictos personales, sentimientos, emociones. En la siguiente parada, Cine Histórico, contemplaremos hechos relevantes de épocas pasadas. La próxima, Cine Cómico, nos hará reír a gusto con Charlot, Buster Keaton, Harold Lloyd, el Gordo y el Flaco y los hermanos Marx... Las carcajadas se convertirán en sonrisas en la estación de La Comedia y así cobraremos fuerzas para lanzarnos con entusiasmo a visitar Cine de Aventuras. To d a v í a sin aliento, de tanta acción, nos dejaremos invadir por la intriga y el misterio en la estación El Thriller. El tren nos llevará luego a los grandes espacios épicos de Cine Bélico y nos conmoveremos con la grandeza humana que puede palpitar en el mayor de los horrores. Después de haber disfrutado de sustos y de situaciones que nos erizan los cabellos en la estación Cine de Terror, alcanzaremos las grandes praderas por las que cabalga John Wayne, el gran héroe americano. Tras el Western, la próxima parada. Cine Musical, nos permitirá disfrutar de elaboradas coreografías, con música, canción y baile. Y, como fin de trayecto, la estación Ciencia Ficción, nos lanzará una llamada de atención sobre asuntos clave del presente, proyectándolos a un futuro imaginario. Al concluir nuestro paseo por los géneros cinematográficos y haber hecho nuestras propias elecciones, comprenderemos que, mientras en los manuales se sigue elucubrando sobre qué son exactamente dichos géneros, en realidad somos nosotros, los espectadores, cuando elegimos ir a ver una del Oeste o de la Segunda Guerra Mundial, o una de terror, o una comedia romántica..., quienes, con nuestras preferencias, le damos sentido a cada uno de ellos. A fin de cuentas, los géneros cinematográficos existen y son lo que son porque el público, el imaginario colectivo, con sus gustos y preferencias, así lo ha decidido. ¡FELIZ VIAJE A TRAVÉS DEL CINE!
This book focuses on gender and family entrepreneurship, as they are interrelated concepts particularly important in today’s global society. The book highlights the significance of the role of gender in the development and growth of family businesses. It helps readers understand the role of family dynamics in business, particularly in terms of succession planning, strategic development and internationalization. Often, both gender and family entrepreneurship are studied independently, but this book aims to marry both perspectives with a novel approach. This creates a synergy between gender and family entrepreneurship that increases the potential value to entrepreneurship scholarship, policy and business practice. This edited book is a useful and insightful addition to the entrepreneurship field.
Since the early 1980s Ecuador has experienced a series of events unparalleled in its history. Its “free market” strategies exacerbated the debt crisis, and in response new forms of social movement organizing arose among the country’s poor, including women’s groups. Gendered Paradoxes focuses on women’s participation in the political and economic restructuring process of the past twenty-five years, showing how in their daily struggle for survival Ecuadorian women have both reinforced and embraced the neoliberal model yet also challenged its exclusionary nature. Drawing on her extensive ethnographic fieldwork and employing an approach combining political economy and cultural politics, Amy Lind charts the growth of several strands of women’s activism and identifies how they have helped redefine, often in contradictory ways, the real and imagined boundaries of neoliberal development discourse and practice. In her analysis of this ambivalent and “unfinished” cultural project of modernity in the Andes, she examines state policies and their effects on women of various social sectors; women’s community development initiatives and responses to the debt crisis; and the roles played by feminist “issue networks” in reshaping national and international policy agendas in Ecuador and in developing a transnationally influenced, locally based feminist movement.
The wickedly entertaining, hunger-inducing, behind-the-scenes story of the revolution in American food that has made exotic ingredients, celebrity chefs, rarefied cooking tools, and destination restaurants familiar aspects of our everyday lives. Amazingly enough, just twenty years ago eating sushi was a daring novelty and many Americans had never even heard of salsa. Today, we don't bat an eye at a construction worker dipping a croissant into robust specialty coffee, city dwellers buying just-picked farmstand produce, or suburbanites stocking up on artisanal cheeses and extra virgin oils at supermarkets. The United States of Arugula is a rollicking, revealing stew of culinary innovation, food politics, and kitchen confidences chronicling how gourmet eating in America went from obscure to pervasive—and became the cultural success story of our era.