The concept of inclusive innovation has become widely embraced in the agricultural domain and promises to overcome traditional innovation paradigms by emphasizing more balanced, sustainable, and just human-environmental relations. Indigenous and local knowledge play an increasingly important role in debates about inclusive innovation, highlighting the diversity of relevant actors and marginalized perspectives. At the same time, the positioning of Indigenous and local knowledge in innovation processes remains ambiguous and contested. This article addresses this positioning in the context of inclusive agricultural (...) innovations by reviewing 65 publications through iterative inductive coding. The qualitative review generates a conceptual framework that distinguishes five different modes relating innovation processes to Indigenous and local knowledge. These modes differ in locating innovations in endogenous, exogenous, or hybrid knowledge production. Furthermore, they also differ in their conceptualizations of Indigenous and local knowledge as dynamic or static. The resulting matrix provides resources for navigating the complex epistemic and political relations between knowledge systems in the agricultural domain. (shrink)

We are accustomed to think and to speak of the physical universe as having objective existence, externally to ourselves; and as being in objective existence quite apart from any question of our perception of it. Even the idealistic philosopher regards the universe so, except when he is reflecting mentally upon other possibilities. The realistic view is the primary view. Idealism is an afterthought. And the idealist, if he is an investigator in physical science, cannot avoid acting upon the postulate of (...) realism. Nothing else gives him a foothold for work. He has to regard the universe “as if” it were real. All our philosophies are necessarily based upon postulate; all our science is founded upon faith. (shrink)

Rio de Janeiro, the opening of the carnival. On the Friday evening preceding Mardi Gras, the mayor of Rio hands over the keys to the city to King Momo, sovereign of the carnival. Immediately the samba breaks out in the brightly lit streets of the city. Newspapers, magazines and television feature big headlines describing the event and glorifying the holiday kingdom. They all report that the city is being shaken by winds of madness, that licence and inversions of every variety (...) are rampant, that the leveling of individuals and the abolition of social distances illustrate the resolutions of conflicts in a collective dream of joy and happiness…. (shrink)

Carnival was brought to the New World by Spanish and Portuguese colonizers, and it has been preserved there up to our day, although in the meantime it has almost disappeared from the countries where it originated. One asks oneself if Carnival has kept its original characteristics over the years, or if it instead has been transformed, and if so, how. The ethnological and cultural variety present in Latin America leads us to think that there must have been an evolution over (...) the years, and that Carnival should show some signs of acculturation. It is the examination of these two points that will be the subject of our study. (shrink)

Rio de Janeiro, the opening of the carnival. On the Friday evening preceding Mardi Gras, the mayor of Rio hands over the keys to the city to King Momo, sovereign of the carnival. Immediately the samba breaks out in the brightly lit streets of the city. Newspapers, magazines and television feature big headlines describing the event and glorifying the holiday kingdom. They all report that the city is being shaken by winds of madness, that licence and inversions of every variety (...) are rampant, that the leveling of individuals and the abolition of social distances illustrate the resolutions of conflicts in a collective dream of joy and happiness…. (shrink)

José Ortega y Gasset deu em Lisboa, em 1944, um curso universitário intitulado La razón histórica. Não obstante ter ficado incompleto, após interrupção por doença do autor, ele é talvez um dos mais importantes vestígios da sua estada em Portugal, durante a última etapa do seu longo exílio. Em edição da Imprensa da Universidade de Coimbra, Margarida I. Almeida Amoedo disponibiliza agora a tradução desse curso, enquadrando-o no contexto próximo da obra orteguiana.

Since the end of the 19th century, Brazilian researchers have speculated about the phenomenon of ethnic coexistence they have witnessed in their country. How may the mixed culture that is its obvious result be explained? Should it be attributed to some sociocultural syncretism, to an interpenetration of civilizations or, quite simply, to a synthesis? Whatever the case, it is certain that cultural elements of very different origins became united in Brazil and that they have remained closely associated there in spite (...) of their disparity. The best example of this “cultural conglomerate,” if we may call it that, is without a doubt that of the Afro-Brazilian religious cults and, although numerous studies have already been devoted to them, they have a richness of content and meaning, plus a capacity for renewal, that is far from being exhaustively investigated. (shrink)

The chapter deals with the contrast between defining aspects of religious rigidity, a socio-historically derived counter-narrative, and anti-consumerism in Rastafarian philosophy and culture on one hand and the universal message and commercial success of the music on the other. After discussing the status of the genre as part of Jamaican national culture, the inherent socio-political claim of Reggae and Rastafarian culture are put in context with the conflicting claims of superiority and non-partiality that can frequently be found in the music. (...) Along the lines of religious doctrines in Rastafarian culture and the attempted spiritual transcendence of racism the chapter closes with an exploration of the genre's signature tropes of social justice and anti-materialism, also considering the less strictly defined identity-constructions of recent artists linked to the Reggae Revival movement. "Martin A. M. Gansinger's study of Reggae and class employs Rastafarianism as a key ingredient of both concepts. Gansinger contends that Rastafarianism offers a "spirituality-based consciousness" that lends itself to an egalitarian-driven social consciousness. Reggae's strong social, political and culture capital as a philosophy of liberation owes much to Rastafarianism, which, for all its contradictions, embodied in categories such as the "righteous" and the "wicked", as well as its segregationalist and patriarchal past, offers a means through which the music advances a socially transformative spirituality that may play a part in the rediscovery of a truly social consciousness." (Ian Peddie, Introduction to The Bloomsbury Handbook of Popular Music and Social Class). (shrink)