For over a hundred years, writers, artists, anthropologists and tourists have travelled to Bahia, Brazil, in search of the spirit possession cult called Candomblé. Thus, successive generations of cultists have seen a long, steady stream of curious outsiders coming to their temples with notebooks and cameras, questions and inquisitive gazes, or ogling eyes and the hope of inclusion. This study asks what seduced these outsiders to seek access to the Afro-Brazilian religious universe and, conversely, how did cultists respond to the overwhelming interest in their creed and to becoming an object of the outsiders’ imaginations.
China’s economic and political presence in Africa has expanded drastically over the past decade, especially in the sub-Saharan region. Convinced that Western attempts at providing aid to Africa have failed, Chinese officials have sought new forms of aid and invested billions to push further development in Africa. But some in the United States and around the word fear that China’s interest in sub-Saharan Africa could threaten previous efforts to protect human rights and to promote democracy in the region. The New Presence of China in Africa takes on this controversial issue, offering an overview of the Chinese model and evaluating whether it might serve as an example for future Western endeavors.
On some levels, the accepted role of development aid has been supplanted by the increase of individual remittances and foreign direct investment, as well as by policies that focus on issues such as climate, migration, financial stability, knowledge, trade, and security in order to increase opportunities in struggling countries. This study considers such changes and examines the effectiveness of aid and its role in international power relations. The editors and contributors close the book by proposing new strategies for development aid in the era of globalization.
While numerous studies over the years have focused on the ways in which art functions in our society, How to Study Art Worlds is the first to examine it in light of the organizational aspects of the art world. Van Maanen delves into the works of such sociologists as Howard S. Becker, Pierre Bourdieu, George Dickie, and Niklas Luhmann, among others, to examine the philosophical debates surrounding aesthetic experience—and then traces the consequences that each of these approaches has had and continues to have on organizations in the art world.
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