The U.S.-Mexico border is frequently presented by contemporary media as a violent and dangerous place. But that is not a new perception. For decades the border has been constructed as a topographic metaphor for all forms of illegality, in which an ineffable link between space and violence is somehow assumed. The sociological and cultural implications of violence have recently emerged at the forefront of academic discussions about the border. And yet few studies have been devoted to one of its most disturbing manifestations: gender violence. This book analyzes this pervasive phenomenon, including the femicides in Ciudad Juarez that have come to exemplify, at least for the media, its most extreme manifestation.
Contributors to this volume propose that the study of gender-motivated violence requires interpretive and analytical strategies that draw on methods reaching across the divide between the social sciences and the humanities. Through such an interdisciplinary conversation, the book examines how such violence is (re)presented in oral narratives, newspaper reports, films and documentaries, novels, TV series, and legal discourse. It also examines the role that the media have played in this process, as well as the legal initiatives that might address this pressing social problem.
Together these essays offer a new perspective on the implications of, and connections between, gendered forms of violence and topics such as mechanisms of social violence, the micro-social effects of economic models, the asymmetries of power in local, national, and transnational configurations, and the particular rhetoric, aesthetics, and ethics of discourses that represent violence.

Song & Social Change in Latin America offers seven essays from a diverse group of scholars on the topic of music as a reflection of the many social-political upheavals throughout Latin America from the 20th century to the present. Topics covered include: the Tropicalia movement in Brazil, the Nueva Cancion in Central America, Rock in Mexico, Argentina, Chile and Peru, the Vallenato in Colombia, Trova in Cuba, and urban music of Puerto Rico in the mid-20th century. The collection also includes five interviews from prominent and up-and-coming musicians -Ruben Blades, Roy Brown, Habana Abierta, Ana Tijoux, and Mare- representing a variety of musical genres and political issues in Central America, the Caribbean, South America, and Mexico.

Song & Social Change in Latin America offers seven essays from a diverse group of scholars on the topic of music as a reflection of the many social-political upheavals throughout Latin America from the 20th century to the present. Topics covered include: the Tropicalia movement in Brazil, the Nueva Cancion in Central America, Rock in Mexico, Argentina, Chile and Peru, the Vallenato in Colombia, Trova in Cuba, and urban music of Puerto Rico in the mid-20th century. The collection also includes five interviews from prominent and up-and-coming musicians -Ruben Blades, Roy Brown, Habana Abierta, Ana Tijoux, and Mare- representing a variety of musical genres and political issues in Central America, the Caribbean, South America, and Mexico.

The U.S.-Mexico border is frequently presented by contemporary media as a violent and dangerous place. But that is not a new perception. For decades the border has been constructed as a topographic metaphor for all forms of illegality, in which an ineffable link between space and violence is somehow assumed. The sociological and cultural implications of violence have recently emerged at the forefront of academic discussions about the border. And yet few studies have been devoted to one of its most disturbing manifestations: gender violence. This book analyzes this pervasive phenomenon, including the femicides in Ciudad Juarez that have come to exemplify, at least for the media, its most extreme manifestation.
Contributors to this volume propose that the study of gender-motivated violence requires interpretive and analytical strategies that draw on methods reaching across the divide between the social sciences and the humanities. Through such an interdisciplinary conversation, the book examines how such violence is (re)presented in oral narratives, newspaper reports, films and documentaries, novels, TV series, and legal discourse. It also examines the role that the media have played in this process, as well as the legal initiatives that might address this pressing social problem.
Together these essays offer a new perspective on the implications of, and connections between, gendered forms of violence and topics such as mechanisms of social violence, the micro-social effects of economic models, the asymmetries of power in local, national, and transnational configurations, and the particular rhetoric, aesthetics, and ethics of discourses that represent violence.

Postnational Musical Identities gathers interdisciplinary essays that explore how music audiences and markets are imagined in a globalized scenario, how music reflects and reflects upon new understandings of citizenship beyond the nation-state, and how music works as a site of resistance against globalization. 'Hybridity, ' 'postnationalism, ' 'transnationalism, ' 'globalization, ' 'diaspora, ' and similar buzzwords have not only informed scholarly discourse and analysis of music but also shaped the way musical productions have been marketed worldwide in recent times. While the construction of identities occupies a central position in this context, there are discrepancies between the conceptualization of music as an extremely fluid phenomenon and the traditionally monovalent notion of identity to which it has historically been incorporated. As such, music has always been linked to the construction of regional and national identities. The essays in this collection seek to explore the role of music, networks of music distribution, music markets, music consumption, music production, and music scholarship in the articulation of postnational sites of identifica

Postnational Musical Identities gathers interdisciplinary essays that explore how music audiences and markets are imagined in a globalized scenario, how music reflects and reflects upon new understandings of citizenship beyond the nation-state, and how music works as a site of resistance against globalization. "Hybridity," "postnationalism," "transnationalism," "globalization," "diaspora," and similar buzzwords have not only informed scholarly discourse and analysis of music but also shaped the way musical productions have been marketed worldwide in recent times. While the construction of identities occupies a central position in this context, there are discrepancies between the conceptualization of music as an extremely fluid phenomenon and the traditionally monovalent notion of identity to which it has historically been incorporated. As such, music has always been linked to the construction of regional and national identities. The essays in this collection seek to explore the role of music, networks of music distribution, music markets, music consumption, music production, and music scholarship in the articulation of postnational sites of identification.