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Where racism and sexism meet—an understanding of anti-Black misogyny When Moya Bailey first coined the term misogynoir, she defined it as the ways anti-Black and misogynistic representation shape broader ideas about Black women, particularly in visual culture and digital spaces. She had no idea that the term would go viral, touching a cultural nerve and quickly entering into the lexicon. Misogynoir now has its own Wikipedia page and hashtag, and has been featured on Comedy Central’s The Daily Show and CNN’s Cuomo Prime Time. In Misogynoir Transformed, Bailey delves into her groundbreaking concept, highlighting Black women’s digital resistance to anti-Black misogyny on YouTube, Facebook, Tumblr, and other platforms. At a time when Black women are depicted as more ugly, deficient, hypersexual, and unhealthy than their non-Black counterparts, Bailey explores how Black women have bravely used social-media platforms to confront misogynoir in a number of courageous—and, most importantly, effective—ways. Focusing on queer and trans Black women, she shows us the importance of carving out digital spaces, where communities are built around queer Black webshows and hashtags like #GirlsLikeUs. Bailey shows how Black women actively reimagine the world by engaging in powerful forms of digital resistance at a time when anti-Black misogyny is thriving on social media. A groundbreaking work, Misogynoir Transformed highlights Black women’s remarkable efforts to disrupt mainstream narratives, subvert negative stereotypes, and reclaim their lives.
A Rainmaker Translation Grant Winner from the Black Mountain Institute: Senselessness, acclaimed Salvadoran author Horacio Castallanos Moya's astounding debut in English, explores horror with hilarity and electrifying panache. A boozing, sex-obsessed writer finds himself employed by the Catholic Church (an institution he loathes) to proofread a 1,100 page report on the army's massacre and torture of thousands of indigenous villagers a decade earlier, including the testimonies of the survivors. The writer's job is to tidy it up: he rants, "that was what my work was all about, cleaning up and giving a manicure to the Catholic hands that were piously getting ready to squeeze the balls of the military tiger." Mesmerized by the strange Vallejo-like poetry of the Indians' phrases ("the houses they were sad because no people were inside them"), the increasingly agitated and frightened writer is endangered twice over: by the spell the strangely beautiful heart-rending voices exert over his tenuous sanity, and by real danger—after all, the murderers are the very generals who still run this unnamed Latin American country.
For a brief few years in the sixteenth century, Pedro Moya de Contreras was the most powerful man in the New World. A church official and loyal royalist, he came to Mexico in 1571 to establish the Inquisition and later became archbishop and viceroy for the region. This new edition of Stafford Poole's definitive portrait of Moya de Contreras, first published in 1971, now offers an expanded understanding of this enigmatic figure's influence on the development of New Spain. In tracing the career of a sixteenth-century church official and administrator who was more notable for what he did than for who he was, Poole offers a rich source of information about Spanish rule in colonial Mexico and the evolving relationship between the Spanish monarchy and the Catholic Church. For this second edition, Poole draws on newly available sources to fill in gaps regarding Moya de Contreras's shadowy early career and final years in Spain. He also explores in greater depth the churchman's influence as Grand Inquisitor in light of the plethora of new research and recent publications on the Spanish Inquisition. Poole shows that Moya de Contreras was as diligent at carrying out the tortures of the Inquisition as he was at exposing government and church corruption. His reforming zeal reached its culmination in his leadership of the Third Mexican Provincial Council of 1585, which enacted a legal code for the Mexican Church that lasted more than three hundred years.
Jebel Moya (south-central Sudan) is the largest known pastoral cemetery in sub- Saharan Africa with more than 3100 excavated human burials. This research revises our understanding of Jebel Moya and its context.
The 1997 novel that put Horacio Castellanos Moya on the map, now published for the first time in English An expatriate professor, Vega, returns from exile in Canada to El Salvador for his mother’s funeral. A sensitive idealist and an aggrieved motor mouth, he sits at a bar with the author, Castellanos Moya, from five to seven in the evening, telling his tale and ranting against everything his country has to offer. Written in a single paragraph and alive with a fury as astringent as the wrath of Thomas Bernhard, Revulsion was first published in 1997 and earned its author death threats. Roberto Bolano called Revulsion Castellanos Moya’s darkest book and perhaps his best: “A parody of certain works by Bernhard and the kind of book that makes you laugh out loud.”
With pitch-perfect, pitch-black humor, this saga refracts through one family's struggles a whole country's nightmare. The tyrant of the book is the actual pro-Nazi mystic Maximiliano Hernández Martínez, known as the Warlock, who came to power in El Salvador in 1932. An attempted coup in April of 1944 failed, but a general strike in May finally forced him out of office. The book takes place during that tumultuous month between the coup and the strike. With her husband a political prisoner and her son fleeing for his life, wealthy Haydée Aragon takes matters into her own hands. Events ricochet from one near-disaster to the next.--Publisher's description.
This “well-researched, nuanced” study of the rise of social media activism explores how marginalized groups use Twitter to advance counter-narratives, preempt political spin, and build diverse networks of dissent (Ms.) The power of hashtag activism became clear in 2011, when #IranElection served as an organizing tool for Iranians protesting a disputed election and offered a global audience a front-row seat to a nascent revolution. Since then, activists have used a variety of hashtags, including #JusticeForTrayvon, #BlackLivesMatter, #YesAllWomen, and #MeToo to advocate, mobilize, and communicate. In this book, Sarah Jackson, Moya Bailey, and Brooke Foucault Welles explore how and why Twitter has become an important platform for historically disenfranchised populations, including Black Americans, women, and transgender people. They show how marginalized groups, long excluded from elite media spaces, have used Twitter hashtags to advance counternarratives, preempt political spin, and build diverse networks of dissent. The authors describe how such hashtags as #MeToo, #SurvivorPrivilege, and #WhyIStayed have challenged the conventional understanding of gendered violence; examine the voices and narratives of Black feminism enabled by #FastTailedGirls, #YouOKSis, and #SayHerName; and explore the creation and use of #GirlsLikeUs, a network of transgender women. They investigate the digital signatures of the “new civil rights movement”—the online activism, storytelling, and strategy-building that set the stage for #BlackLivesMatter—and recount the spread of racial justice hashtags after the killing of Michael Brown in Ferguson, Missouri, and other high-profile incidents of killings by police. Finally, they consider hashtag created by allies, including #AllMenCan and #CrimingWhileWhite.
A high-octane paranoia deranges a writer and fuels a dangerous plan to return home to El Salvador. High-octane paranoia deranges a writer and fuels a dangerous plan to return home at the tail end of El Salvador's long civil war. Is the plan a dream or a nightmare? Is he courageous, foolhardy, or just plain dumb? Is the bubbling brew of horrors and threats actual or imagined? After he seeks relief for liver pain through hypnosis (while drinking more than ever, despite the treatments), his few impulse-control mechanisms rapidly dissolve, and reality only rarely intrudes on his cogitations. Harebrained murder plots, half-mad arguments, hysterical rants: the narrative escalates at a maniacal pace, infused with Horacio Castellanos Moya's uniquely outlandish and acerbic sense of humor.