Описание: Bolivia, like most developing countries around the world, strove for decades to imitate Western and particularly U.S. methods of development, importing the latest technologies, institutions, crops, and livestock. Finally, beginning in the 1970s, faced with many striking instances of failure in the application of the North American modernization paradigm, diverse sectors of Bolivian civil society turned inward to rediscover their country's own multicultural identities and agrarian wisdom as sources of strength upon which to build their own socioeconomic development. The shift spawned a proliferation of development projects grounded in a new "indigenization" or revitalization of cultural traditions. Llamas, Weavings, and Organic Chocolate: Multicultural Grassroots Development in the Andes and Amazon of Bolivia is the story of Bolivian rural development and cultural change. Part I provides an overview of the history of rural development in Bolivia—the long history of anti-indigenous discrimination, the introduction of aid programs in the Western development paradigm, the rise of grassroots movements challenging this paradigm, and the array of initiatives now contributing to the revitalization of indigenous cultural resources. Part II consists of in-depth narratives of nine projects, giving an inside view of the processes that interweave cultural recuperation and developmental strategies. These stories illustrate the cultural barriers that must be overcome and the setbacks often faced by grassroots federations. The projects range from successful agro-exports such as organic chocolate and quinoa to the groundbreaking work of indigenous artists and artisans. In Part III, author Kevin Healy attempts to identify the numerous factors that helped engender successful outcomes in these projects and discusses the effects of globalization on Bolivian culture and development patterns. This inspirational story of social change led by idealism will be valuable for international policymakers, analysts, and aid officials, as well as native North and South Americans, and non-Native Americans who strongly identify with their struggles.
Описание: The retreat of the Byzantine army from Syria in around 650 CE, in advance of the approaching Arab armies, is one that has resounded emphatically in the works of both Islamic and Christian writers, and created an enduring motif: that of the Islamic-Byzantine frontier. For centuries, Byzantine and Islamic scholars have evocatively sketched a contested border: the annual raids between the two, the line of fortified fortresses defending Islamic lands, the no-man's land in between and the birth of jihad. In their early representations of a Muslim-Christian encounter, accounts of the Islamic-Byzantine frontier are charged with significance for a future 'clash of civilizations' that often envisions a polarised world. A. Asa Eger examines the two aspects of this frontier: its physical and ideological ones. By highlighting the archaeological study of the real and material frontier, as well as acknowledging its ideological military and religious implications, he offers a more complex vision of this dividing line than has been traditionally disseminated. With analysis grounded in archaeological evidence as well the relevant historical texts, Eger brings together a nuanced exploration of this vital element of medieval history.
Spanning the backs of choir stalls above the heads of the canons and their officials, large-scale tapestries of saints' lives functioned as both architectural elements and pictorial narratives in the late Middle Ages. In an extensively illustrated book that features sixteen color plates, Laura Weigert examines the role of these tapestries in ritual performances. She situates individual tapestries within their architectural and ceremonial settings, arguing that the tapestries contributed to a process of storytelling in which the clerical elite of late medieval cities legitimated and defended their position in the social sphere.Weigert focuses on three of the most spectacular and little-studied tapestry series preserved from the fifteenth and early sixteenth centuries: Lives of Saints Piat and Eleutherius (Notre-Dame, Tournai), Life of Saint Steven (Saint-Steven, Auxerre [now Mus?e du Moyen Age, Paris]), and Life of Saints Gervasius and Protasius (Saint-Julien, Le Mans). Each of these tapestries, measuring over forty meters in length, included elements that have traditionally been defined as either lay or clerical. On the prescribed days when the tapestries were displayed, the liturgical performance for which they were the setting sought to merge the history and patron saint of the local community with the universal history of the Christian church. Weigert combines a detailed analysis of the narrative structure of individual images with a discussion of the particular social circumstances in which they were produced and perceived. Weaving Sacred Stories is thereby significant not only to the history of medieval art but also to art history and cultural studies in general.
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