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Introduces the jackal and briefly describes its appearance, habits, diet, and young.
Introduces the jackal and briefly describes its appearance, habits, diet, and young.
Learn about the different types of antelopes that live in Africa.
After the modern Mexican state came into being following the Revolution of 1910, hyper-masculine machismo came to be a defining characteristic of "mexicanidad," or Mexican national identity. Virile men (pelados and charros), virtuous prostitutes as mother figures, and minstrel-like gay men were held out as desired and/or abject models not only in governmental rhetoric and propaganda, but also in literature and popular culture, particularly in the cinema. Indeed, cinema provided an especially effective staging ground for the construction of a gendered and sexualized national identity. In this book, Sergio de la Mora offers the first extended analysis of how Mexican cinema has represented masculinities and sexualities and their relationship to national identity from 1950 to 2004. He focuses on three traditional genres (the revolutionary melodrama, the cabaretera [dancehall] prostitution melodrama, and the musical comedy "buddy movie") and one subgenre (the fichera brothel-cabaret comedy) of classic and contemporary cinema. By concentrating on the changing conventions of these genres, de la Mora reveals how Mexican films have both supported and subverted traditional heterosexual norms of Mexican national identity. In particular, his analyses of Mexican cinematic icons Pedro Infante and Gael García Bernal and of Arturo Ripstein's cult film El lugar sin límites illuminate cinema's role in fostering distinct figurations of masculinity, queer spectatorship, and gay male representations. De la Mora completes this exciting interdisciplinary study with an in-depth look at how the Mexican state brought about structural changes in the film industry between 1989 and 1994 through the work of the Mexican Film Institute (IMCINE), paving the way for a renaissance in the national cinema.
We've all seen them—the broken-down car by the side of the road, mutely signaling for help from passing drivers … the stubborn tail-gater who follows too close, for too long … the wild driver who weaves through lanes on a crowded highway—the driver who causes accidents but is never a victim of one … These are the jackals, hunters who follow the nation's highways and byways, preying on the weak and unsuspecting. The jackals are human enough - except for a strangeness about their eyes, and the way their laughter lingers in the night air—but they have no mercy. Jim Scott's been hunting jackals for some time now. They took someone he loved, once, and he's never forgiven them. And he's never loved again. Love makes you vulnerable. But love isn't predictable, and when beautiful, battered Rachel turns up on Jim Scott's doorstep with a tale that can only mean she barely escaped a hunting pack, Jim finds that the barricades he built around his heart are not impregnable. The jackals have come in force for their final showdown with Jim Scott. But Jim no longer fights alone—he leads a group of jackal-killers, each determined to exterminate the hunters or die trying.
This is the definitive Gnostic text on Kabalah. This Book consists of 7 parts: -Prologue -Esoteric Study and Description of the Tarot -Initiation through the Arcana of the Tarot -Kabalah -Numerology and Esoteric Mathematics -The Kabalah of Predition +Editor's Appendix Este es el texto definitivo Gnóstica de Kábala. Este Libro consta de 7 piezas: -Prologo -Descripción y Estudio Esotérico del Tarot -La Iniciación a través de los Arcanos del Tarot -Kábala -Numerología y Matemáticas Esotéricas -Kábala De Predicción +Apéndice del Editor
Describe la vida y costumbres de las avestruces.
Mexico City is one of Latin America’s cultural capitals, and one of the most vibrant urban spaces in the world. The Mexico City Reader is an anthology of "Cronicas"—short, hybrid texts that are part literary essay, part urban reportage—about life in the capital. This is not the "City of Palaces" of yesteryear, but the vibrant, chaotic, anarchic urban space of the1980s and 1990s—the city of garbage mafias, necrophiliac artists, and kitschy millionaires. Like the visitor wandering through the city streets, the reader will be constantly surprised by the visions encountered in this mosaic of writings—a textual space brimming with life and crowded with flâneurs, flirtatious students, Indian dancers, food vendors, fortune tellers, political activists, and peasant protesters. The essays included in this anthology were written by a panoply of writers, from well-known authors like Carlos Monsiváis and Jorge Ibagüengoitia to younger figures like Fabrizio Mejía Madrid and Juieta García González, all of whom are experienced practitioners of the city. The texts collected in this anthology are among the most striking examples of this concomitant "theory and practice" of Mexico City, that most delirious of megalopolises. “[An] exciting literary journey . . .”—Carolyn Malloy, Multicultural Review
Jeckle appears more human than dog. However, his attorney and barking interpreter, Juan Antonio, consistently argues that he should be judged as a dog. First, Jeckle is arraigned as an adult on several serious felony charges, before being transferred to juvenile court. There, he testifies about his experience in the K9 unit, goes after a flipped bone, and both he and Juan Antonio end up in juvenile hall. After Jeckle's escape, the two protagonists are returned to adult court for a preliminary hearing that leads to Flatton mental hospital and a ninety-day dognostic study to determine their competency to go to trial. Once at Flatton, Jeckle and Juan Antonio find themselves at the mercy of a giant counselor and a psycho/psychiatrist. At the end of the dognostic study, a riot allows all dogs to escape. The fleeing dogs soon find themselves racing south on California freeways and being pursued by helicopters, police, the news media, Governor Schwarzendogger, and others. The run leads into Mexico where the dogs run a race at a Tijuana dog racetrack and later party at Rosarito Beach. Unfortunately, Jeckle is finally extradited to Los Angeles to stand trial for all his alleged atrocities.
To the world they are known as Berbers, but they prefer to call themselves Imazighen, or “free people.” The claim to this unique cultural identity has been felt most acutely in Algeria in the Kabylia region, where an Amazigh consciousness gradually emerged after WWII. This is a valuable model for other Amazigh movements in North Africa, where the existence of an Amazigh language and culture is denied or dismissed in countries such as Morocco, Algeria, Tunisia, and Libya. By tracing the cultural production of the Kabyle people—their songs, oral traditions, and literature—from the early 1930s to the end of the twentieth century, Fazia Aïtel shows how they have defined their own culture over time, both within Algeria and in its diaspora. She analyzes the role of Amazigh identity in the works of novelists such as Mouloud Feraoun, Tahar Djaout, and Assia Djebar, and she investigates the intersection of Amazigh consciousness and the Beur movement in France. She also addresses the political and social role of the Kabyles in Algeria and in France, where after independence it was easier for the Berber community to express and organize itself. Ultimately, Aïtel argues that the Amazigh literary tradition is founded on dual priorities: the desire to foster a genuine dialogue while retaining a unique culture.