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Fifty million people in the world today are victims of forced relocation caused by wars and violence. Whole new countries are being created, occupied by Afghan refugees, displaced Columbians, deported Rwandans, exiled Congolese, fleeing Iraqis, Chechens, Somalians and Sudanese who have witnessed wars, massacres, aggression and terror. New populations appear, defined by their shared conditions of fear and victimhood and by their need to survive outside of their homelands. Their lives are marked by the daily trudge of dislocation, refugee camps, humanitarian help and the never-ending wait. These populations are the emblems of a new human condition which takes shape on the very margins of the world. In this remarkable book Michel Agier sheds light on this process of dislocation and quarantine which is affecting an ever-growing proportion of the world's population. He describes the experience of these people, speaking of their pain and their plight but also criticising their victimization by the rest of the world. Agier analyses the ambiguous and often tainted nature of identities shaped in and by conflicts, but also the process taking place in the refugee camp itself, which allows refugees and the deported to create once again a sense of community and of shared humanity.
Hough recasts Colombia's endemic rural violence in a world-historical perspective that connects local labour and development dynamics to the arc of US global hegemony. This book will appeal to scholars of labour studies, agrarian studies, development, globalisation, Latin America, political science, political economy and economic sociology.
'Arts in the Margins of World Encounters' presents original contributions that deal with artworks of differently marginalized people—such as ethnic minorities, refugees, immigrants, disabled people, and descendants of slaves—, a wide variety of art forms—like clay figures, textile, paintings, poems, museum exhibits and theatre performances—, and original data based on committed, long-term fieldwork and/or archival research in Brazil, Martinique, Rwanda, India, Indonesia, Japan, Australia, and New Zealand. The volume develops theoretical approaches inspired by innovative theorists and is based on currently debated analytical categories including the ethnographic turn in contemporary art, polycentric aesthetics, and aesthetic cannibalization, among others. This collection also incorporates fascinating and intriguing contemporary cases, but with solid theoretical arguments and grounds. 'Arts in the Margins of World Encounters' will appeal to students at all levels, scholars, and practitioners in arts, aesthetics, anthropology, social inequality, and discrimination, as well as researchers in other fields, including post-colonialism and cultural organizations.
Mobile money, e-commerce, cash cards, retail credit cards, and more—as new monetary technologies become increasingly available, the global South has cautiously embraced these mediums as a potential solution to the issue of financial inclusion. How, if at all, do new forms of dematerialized money impact people’s everyday financial lives? In what way do technologies interact with financial repertoires and other socio-cultural institutions? How do these technologies of financial inclusion shape the global politics and geographies of difference and inequality? These questions are at the heart of Money at the Margins, a groundbreaking exploration of the uses and socio-cultural impact of new forms of money and financial services.
This book explores how Indigenous Peoples are impacted by globalization and the cult of the individual that often accompanies the phenomenon.
The ancient book of Ruth speaks into today's world with astonishing relevance. In four short episodes, readers encounter refugees, undocumented immigrants, poverty, hunger, women's rights, male power and privilege, discrimination, and injustice. In Finding God in the Margins, Carolyn Custis James reveals how the book of Ruth is about God, the questions that surface when life falls apart, and how God reaches into the margins and chooses two totally marginalized women who, in the eyes of the patriarchal culture, are zeros. Against the backdrop of disturbing issues in today's world, this bracing narrative puts on display a radical gospel way of living together as human beings that shouts the Kingdom of God, foreshadows Jesus' gospel, and raises the bar for men and women, then and now.
In The Cold War from the Margins, Theodora K. Dragostinova reappraises the global 1970s from the perspective of a small socialist state—Bulgaria—and its cultural engagements with the Balkans, the West, and the Third World. During this anxious decade, Bulgaria's communist leadership invested heavily in cultural diplomacy to bolster its legitimacy at home and promote its agendas abroad. Bulgarians traveled the world to open museum exhibitions, show films, perform music, and showcase the cultural heritage and future aspirations of their "ancient yet modern" country. As Dragostinova shows, these encounters transcended the Cold War's bloc mentality: Bulgaria's relations with Greece and Austria warmed, émigrés once considered enemies were embraced, and new cultural ties were forged with India, Mexico, and Nigeria. Pursuing contact with the West and solidarity with the Global South boosted Bulgaria's authoritarian regime by securing new allies and unifying its population. Complicating familiar narratives of both the 1970s and late socialism, The Cold War from the Margins places the history of socialism in an international context and recovers alternative models of global interconnectivity along East-South lines. Thanks to generous funding from The Ohio State University Libraries and its participation in TOME (Toward an Open Monograph Ecosystem), the ebook editions of this book are available as Open Access volumes from Cornell Open (cornellpress.cornell.edu/cornell-open) and other repositories.
Maria Sibylla Merian, a German painter and naturalist, produced an innovative work on tropical insects based on lore she gathered from the Carib, Arawak, and African women of Suriname.
How the interactions of non-elites influenced Athenian material culture and society The seventh century BC in ancient Greece is referred to as the Orientalizing period because of the strong presence of Near Eastern elements in art and culture. Conventional narratives argue that goods and knowledge flowed from East to West through cosmopolitan elites. Rejecting this explanation, Athens at the Margins proposes a new narrative of the origins behind the style and its significance, investigating how material culture shaped the ways people and communities thought of themselves. Athens and the region of Attica belonged to an interconnected Mediterranean, in which people, goods, and ideas moved in unexpected directions. Network thinking provides a way to conceive of this mobility, which generated a style of pottery that was heterogeneous and dynamic. Although the elite had power, they were unable to agree on the norms of conspicuous consumption and status display. A range of social actors used objects, contributing to cultural change and to the socially mediated production of meaning. Historiography and the analysis of evidence from a wide range of contexts—cemeteries, sanctuaries, workshops, and symposia—offers the possibility to step outside the aesthetic frameworks imposed by classical Greek masterpieces and to expand the canon of Greek art. Highlighting the results of new excavations and looking at the interactions of people with material culture, Athens at the Margins provocatively shifts perspectives on Greek art and its relationship to the eastern Mediterranean.
A young apprentice learns to tap his own wellspring of creativity with the help of the magical margins of an illuminated manuscript in this story about patience, talent, and imagination. Full color.