Les outils, les objets de parure et les armes osseux de Sovjan (Albanie sud-orientale) sont un des rares exemples d'industries osseuses de l'Age du Bronze et de l'Age du Fer faisant l'objet d'une étude technologique dans le Sud des Balkans. Pour l'instant, les meilleurs parallèles se trouvent dans le Nord-Ouest égéen. Les analyses, commencées en 2004, se poursuivent mais les résultats obtenus permettent déjà de poser les jalons d'une étude sur la variabilité des industries osseuses protohistoriques de la région. Dans (...) ce cadre, Sovjan présente un intérêt particulier qui tient, d'une part, à la variété et au bon état de conservation des artefacts osseux, d'autre part, au fait que c'est le seul site qui permet de suivre l'évolution des industries locales du Bronze Moyen jusqu'au Fer Ancien. (shrink)

We analyze the paper “The wave mechanics of \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\alpha $$\end{document}-ray tracks” Mott (Proc R Soc Lond A 126:79–84, 1929), published in 1929 by N. F. Mott. In particular, we discuss the theoretical context in which the paper appeared and give a detailed account of the approach used by the author and the main result attained. Moreover, we comment on the relevance of the work not only as far as foundations of Quantum (...) Mechanics are concerned but also as the earliest pioneering contribution in decoherence theory. (shrink)

McDonaldization is usually seen as a ‘tragedy’ as humans become more rationalised in their everyday life, but from the view of Marx’s theory of historical change, I suggest that it might be seen as a ‘comedy’. As the world’s labour force becomes culturally the same it may finally gain an ironic awareness that is required for radical social change, thus, global rationalisation may create the conditions for a ‘global Proletariat’. The comedy of McDonaldization is that its repulsiveness as a way (...) of life may actually lead to the possibility of achieving liberation from the domination of global capitalism. (shrink)

La centralidad que tiene la dimensión erótica en nuestras sociedades occidentales se refleja, entre otros múltiples fenómenos, en amplios y diversos nichos de mercado tendientes a generar ganancias por medio de la oferta de cuerpos, bienes y servicios que promueven la maximización de las experiencias sensorio-sexuales y la optimización del cuerpo en términos estéticos y eróticos. La producción de subjetividades se juega en el marco de un mercado que ofrece experiencias que combinan diversión, esfuerzo y autopromoción bajo las lógicas de (...) los insoslayables marcadores sociales de la diferencia.Al calor de estos fenómenos contemporáneos, tejidos por las tramas del erotismo, el género y el mercado, el presente artículo se propone realizar un análisis performático y performativo de una experiencia de participación observante en un taller de seducción femenina realizado en la ciudad de Córdoba. Se abordarán las técnicas corporales que fueron enseñadas, aprendidas y ensayadas en el taller y, en un segundo momento, el tipo específico de ideal regulatorio de la feminidad que estaba siendo propuesto tanto por medio de las particulares citaciones erótico-corporales que fuimos instadas a reiterar como por el discurso experto del profesor del taller. Con ello, se busca construir una descripción densa de esta instancia apostando a que amplíe los modos de abordar y conocer cómo estos paradójicos espacios reúnen experiencias y discursos de normalización y reactivación de viejos mandatos femeninos, a la par que transforman convenciones ligadas al género y la sexualidad. (shrink)

Latin American women’s filmmaking has an unprecedented international profile thanks to the films of the Peruvian director Claudia Llosa, and the Argentine directors Lucía Puenzo and Lucrecia Martel. What is frequently unacknowledged when discussing the work of these award-winning filmmakers is the fact that all of their films are co-productions with Europe, and that programmes such as Cinéfondation, a programme aligned with the Cannes film festival, the Hubert Bals Fund, the World Cinema Fund and Ibermedia have been instrumental in their (...) production. This article will tell this story through a discussion of the work of Claudia Llosa with an introduction to the issues raised by her award winning festival film Madeinusa, and a focus on La teta asustada/The Milk of Sorrow. It will consider the arguments of theorists who critique what they see as neo-colonial European interventions in ‘world cinema’, and those who celebrate the enabling work of the funding bodies. The chapter asks where can we pl... (shrink)

This article discusses breastfeeding from a multidisciplinary approach, and vindicates its multidimensionality, diverging from the conceptual and experimental framework of the health sciences. Breastfeeding is claimed as a privileged field for female empowerment and social transformation, deepening in its specificity from the reflection on gender and economic dimension of ecological sustainability. Will be crucial here the reflection from ethics of care and inter-dependence, as well as criticism of the capitalist distinction public-private spaces, which carries a monetized conception of labour (generating (...) huge traditional epistemological exclusions). It will be also defended breastfeeding on its dimension of social activism (lactivism) and politics of transformative intervention, and breastfeeding corporeality will be approached as a cultural dissidence within Western cultures. This research has been conducted mainly by ethnographical methodology, although the very object of the study has required an inescapably interdisciplinary approach. (shrink)

Elaborating decolonial and intersectional methods, aesthetics has developed rich tools for tackling power differences. A philosophical question arises about the nature of gendered embodied experience and materiality: How to comprehend the cultural field if it is at once a site of heinous expropriation and violence and one of vital social and political possibility? This essay explores this question through a reading of Claudia Llosa's film The Milk of Sorrow ( La teta asustada ) (2009). The film, we show, reworks (...) racial, gendered, and colonial logics and supplants a model of transculturation, magical realism, and syncretism and its attendant figuration of resistance by a cultural vision of a web of multivalent, pluri-directional aesthetic promises and threats. Thus it presents a young Indigenous woman as a contemporary decolonial actor who, in encounter with popular culture and the global marketplace, renders memory livable and opens up unforeseen futures for her young town and country. We signal the implications for the positioning of the decolonial feminist spectator or culture maker and for a decolonial aesthetics. Aesthetic existence at the intersection of oppression and liberation, although impure and troubled, functions as a bountiful font of feminist energy and sustenance and a site of communal caring and imagination. (shrink)