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Copyright of Investigaciones Historicas is the property of Universidad de Valladolid, Facultad de Filosofia y Letras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Investigaciones Historicas is the property of Universidad de Valladolid, Facultad de Filosofia y Letras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of GeSec: Revista de Gestao e Secretariado is the property of Sindicato das Secretarias e Secretarios do Estado de Sao Paulo (SINSESP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article proposes that masculinity in Colombia can be better understood by examining the extent to which masculine norms, positions, and identities are relative and shaped by the interactions between class, color, race, and region. To do this, I outline theoretical positions that have informed my research on the gender experiences of men in Colombia. Ideas put forward by Black Feminism, and concepts such as Nuestra América (Our America), Amefricanidade, and intersectionality have allowed me to understand the different "colors" of Colombian masculinities, in a context where the overlap of racial ideologies with gender domination plays a central role. [ABSTRACT FROM AUTHOR]

Copyright of Revista Punto Género is the property of Revista Punto Genero and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitacora: Revista de Arquitectura is the property of Universidad Nacional Autonoma de Mexico, Facultad de Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Chipko es un movimiento conformado principalmente por mujeres del ámbito rural que se originó en India, en el Estado de Uttar Pradesh, en la década de 1970. Se ha caracterizado por perseguir fines sociales y medioambientales a partir de la resistencia no-violenta. Sin embargo, es objeto de debate es si Chipko, como movimiento, puede caracterizarse como feminista y ecologista. Se argumenta que sus principales influencias son realmente el hinduismo y la propia cultura de India y que, en su origen, su pretensión solo era la supervivencia de las comunidades rurales. No obstante, Chipko se ha consolidado como movimiento en el tiempo y sus fundamentos y experiencias han tenido gran influencia en otros movimientos sociales dentro y fuera de India. Por ello, en este artículo defendemos que para comprender verdaderamente Chipko, este debe analizarse desde otra perspectiva: el ecofeminismo. Este artículo tiene como objetivo demostrar que Chipko debe ser considerado un movimiento ecofeminista y que sus métodos no-violentos han sido fuente de inspiración para otras causas sociales y movimientos ciudadanos. Se concluye con una reflexión más amplia sobre la necesidad de desoccidentalizar conceptos como feminismo y ecologismo para comprender su actual vigencia e influencia.

En este texto, Schlüpmann revisa el concepto de la feminidad como fuerza productiva en la obra de Kluge y los límites de su concepción a la hora de plantear la posobilidad de una esfera pública de la mujer. La autora parte de que la apropiación que hace Kluge de la obra de Horkheimer es unilateral y, como consecuencia de ello, solo es capaz de captar la fuerza emancipadora de la esfera pública de la mujer idealizando trabajo reproductivo y del cuidado, sin aclarar realmente los problemas que esto acarrea. Este texto es la traducción al español del texto en inglés de Heide Schlüpmann.

Reseña del libro de Silvia Federci, Brujas, caza de brujas y mujeres. Buenos Aires, Tinta Limón. 2021. 143 pp.

La Nueva Ola Feminista ha generado dos reacciones que no son nuevas, pero se ven actualizadas por el carácter masivo y global del movimiento: una instrumentalización del feminismo, configurando lo que Laura Martínez-Jiménez denomina “posfeminismo neoliberal”; y una avanzada de un populismo conservador, que redobla su militancia anti-derechos como parte de su programa ante la crisis neoliberal (como puede observarse en el fallo Dobbs vs. Jackson en Estados Unidos). Objetivos. En este artículo analizaremos ambas reacciones (que en algunas ocasiones son leídas como opuestas) como dos caras distintas pero complementarias de la configuración de lo que denomino el corrimiento del histórico género vs. clase a un actualizado género vs. pueblo. Metodología. Dividiremos el artículo en tres apartados: (a) inscribiremos la Nueva Ola Feminista dentro de los movimientos sociales de reacción a la crisis del capitalismo neoliberal; (b) señalaremos los principales clivajes de la construcción de la oposición género vs. pueblo; (c) criticaremos la interpretación individualista de los derechos de las mujeres desde una apropiación de la Teoría de la Reproducción Social. Resultados y conclusiones. La construcción de la oposición género vs. pueblo se basa en una des-inscripción del feminismo del conjunto de movimientos surgidos al calor de la crisis neoliberal, y en construcción de los derechos de las mujeres como derechos (neo)liberal-individuales. Ante esta operación, es necesario profundizar las perspectivas teóricas (y políticas) que conciben a las demandas de género como parte fundamental de los derechos de la-clase-que-vive-del-trabajo para establecer las condiciones de su reproducción social.

En el campo de los estudios sociales del arte, numerosas investigaciones indagan la sexualidad y el erotismo de distintas danzas en Argentina (por ejemplo, tango, música electrónica, cuarteto, etc.). Sin embargo, identificamos un área de vacancia respecto de la danza contemporánea. De este modo, en el siguiente trabajo reponemos los sentidos nativos de los erotismos en el mundo de la danza contemporánea independiente en el Valle de Paravachasca (Córdoba, Argentina), a partir de una investigación etnográfica colaborativa. Realizamos un trabajo de participación observante entre 2018 y 2022 desde un enfoque corpóreo. Asimismo, para el presente estudio entrevistamos a ocho bailarinas que performan diferentes identidades de género (cis, bisexual y trans). Empleamos un proceso de construcción de datos reflexivo y colaborativo de co-interpretación y co-teorización, con el aporte de la teoría fundamentada. Identificamos un erotismo ampliado que se caracteriza por la pluralidad, el placer y la no reducción a lo sexual. Distinguimos analiticamente tres tipos de erotismos (sexuales, sensuales y estéticos) que toman cuerpo de forma singular y dinámica en cada bailarina. Los erotismos se organizan bajo un régimen de ocultamiento y de discreción, en función del ethos y la micropolítica de este mundo del arte, que configura una cultura afectiva, donde una de las líneas de composición es una ética del cuidado relacionada a una ética feminista. Este análisis aporta al estudio del erotismo en la danza contemporánea, específicamente desde el interior provinciano.

El siguiente trabajo busca entrecruzar algunos hallazgos de tres investigaciones antropológicas en Uruguay de las que he formado parte: una abordó las negociaciones sexuales y las estrategias que las mujeres ponen en práctica para gestionar las diferencias que se dan en los encuentros heterosexuales; otra, las significaciones y vivencias de lo erótico en practicantes de amor libre y de BDSM; la tercera los modelos de sexualidad y amor que se vienen construyendo y reafirmando desde iglesias neopentecostales en base a discursos antigénero. El propósito será construir un diálogo entre estas investigaciones para visualizar las distintas formas que adopta el erotismo en estos contextos, considerando las prácticas y discursos de diverses actores sociales. En particular, el interés estará puesto en identificar de qué forma el erotismo puede ser útil para cuestionar o reafirmar los modelos sexo-afectivos dominantes, caracterizados por el patriarcado, la heterosexualidad y la monogamia como sistemas, y el binarismo y la complementariedad sexo-genérica. Las voces de les distintes actores darán cuenta de cómo se encarnan, resisten, modifican, desmontan, reconstruyen o reafirman estos modelos sexo-afectivos a través de sus prácticas y discursos.

¿Cómo han evolucionado las ficciones sobre el narco desde el boom inicial del sub-género? Este artículo interroga el paso, en los productos audiovisuales, de una perspectiva masculina del conflicto, caracterizada por la popularidad de los héroes/villanos, hacia una perspectiva que llamamos femenina y que subraya la importancia de los cuidados ante la violencia del conflicto. Nuestro trabajo se concentra en cuatro largometrajes de ficción que tienen como trasfondo la guerra de las drogas: Vuelven (Issa López 2017), Sin señas particulares (Fernanda Valadez 2020), Noche de fuego (Tatiana Huezo 2021) y La civil (Teodora Mihai 2021). En estas cuatro historias de mujeres, las directoras presentan las desapariciones forzadas como la cristalización de la violencia y la corrupción que se viven en México desde hace varias décadas y la busqueda que realizan los personajes principales se convierte en un periplo iniciático que transforma a las heroínas, extrayéndolas de su situación de subordinación.