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This book defends that the pursuit of originality constitutes one of the most important characteristics of creativity, but that originality refers, etymologically, to both origin and originary. Hence, the book is structured into two parts, dedicated, respectively, to the creative categories of origin and the creative categories of originary. Within the former are creation myths, games – the origin of all cultural activity, the dialectic chaos-order, axial civilizations – the germ of our time, and the struggle between generations – a factor of social transformation, and, within the second, creative capitalism, creative work in the context of the global economy of risk and uncertainty, and representative democracy. However, these two concepts are not isolated, but deeply interrelated, in a way that explains how creative originality builds a temporal narrative. It has been dislocated in late modernity and, with it, creativity has been broken.
Desde o século XVII, começaram as disputas. De um lado, as modernidades liberais. De outro, as modernidades alternativas. Entre as múltiplas tendências, um denominador comum - evitar como possível as tragédias provocadas pelos programas liberais de modernidade. No século XX, propostas - pela esquerda, a social-democracia, o socialismo soviético, os nacionais-estatismos; pela direita, os corporativismos, os fascismos, o nazismo. Este livro trata do intervalo dos projetos alternativos de modernidade em seus itinerários, contradições e impasses.
Decolonization and Anti-colonial Praxis presents research on contemporary forms of decolonization and anti-colonialism in practice. It pertains to the ways in which individuals, groups, and communities engage with the logic of epistemic colonial power within areas of citizenship, migration, education, Indigeneity, language, land struggle, and social work. The contributions in this edited volume empirically document the conceptual and bodily engagement of racialized and violated individuals and communities as they use anti-colonial principles to disrupt criminalizing institutional discourses and policies within various global imperial contexts. The terms ‘Decolonization’ and ‘Anti-colonialism’ are used in diverse and interdisciplinary academic perspectives. They are researched upon and elaborated in necessary ways in the theoretical literature, however, it is rare to see these principles employed in applied forms. Decolonization and Anti-colonial Praxis provides a much needed contemporary and representative reclamation of these concepts from the standpoint of racialized communities. It explores the frameworks and methods rooted in their indigeneity, cultural history and memories to imagine a new future. The research findings and methodological tools presented in this book will be of interdisciplinary interest to teachers, graduate students and researchers. Contributors are: Harriet Akanmori, Ayah Al Oballi, Sevgi Arslan, Jacqueline Benn-John, Lucy El-Sherif, Danielle Freitas, Pablo Isla Monsalve, Dionisio Nyaga, Hoda Samater, Rose Ann Torres, Umar Umangay, and Anila Zainub.
The Cyborg Caribbean examines a wide range of twenty-first-century Cuban, Dominican, and Puerto Rican science fiction texts, arguing that authors from Pedro Cabiya, Alexandra Pagan-Velez, and Vagabond Beaumont to Yasmin Silvia Portales, Erick Mota, and Yoss, Haris Durrani, and Rita Indiana Hernandez, among others, negotiate rhetorical legacies of historical techno-colonialism and techno-authoritarianism. The authors span the Hispanic Caribbean and their respective diasporas, reflecting how science fiction as a genre has the ability to manipulate political borders. As both a literary and historical study, the book traces four different technologies—electroconvulsive therapy, nuclear weapons, space exploration, and digital avatars—that have transformed understandings of corporality and humanity in the Caribbean. By recognizing the ways that increased technology may amplify the marginalization of bodies based on race, gender, sexuality, and other factors, the science fiction texts studied in this book challenge oppressive narratives that link technological and sociopolitical progress. .
From the late 1950s until the 1980s, the German-born Venezuelan artist Gego (Gertrud Goldschmidt) made drawings, prints, three-dimensional works, hanging-net pieces (reticulareas), and wire constructions (drawings without paper) of extraordinary quality. Taken as a whole, these works illustrate the issue at the core of her production: the liberation of line from volume and form into space. Though little known outside of Latin America, Gego's work enjoyed a dialogue with twentieth-century artists and movements active not only in Venezuela, but also worldwide. In a series of essays examining her art in relation to Modernism, Informalism, kinetic art, and other tendencies, this volume--the second in the MFAH International Center for the Arts of the Americas series--situates Gego in her international context.