Social thinkers have criticized Latin American development as incomplete, backward, and anti-modern. This volume demonstrates that, while often deeply compromised and fragmented, Latin American civil spheres have remained resilient, institutionally and culturally, generating new oppositional movements, independent journalism, rebellious intellectuals, electoral power, and critical political parties. In widely different arenas, dissidents have employed the coruscating language of the civil sphere to pollute their oppressors in the name of justice. In the 1970s and 1980s, political thinkers heralded the resurrection of Latin American civil society, envisioning a new world of freedom and stability. Corruption, inequality, racism, and exclusion become pressing and urgent 'social problems', not despite the promises of democracy, but because of them. The premise of this volume is that Latin American civil spheres are powerful, even as they are compromised, creating challenges to anti-civil culture and institutions that trigger social reform. It is the first of three volumes that place civil sphere theory in a global context.

Acculturating the Shopping Centre examines whether the shopping centre should be qualified as a global architectural type that effortlessly moves across national and cultural borders in the slipstream of neo-liberal globalization, or should instead be understood as a geographically and temporally bound expression of negotiations between mall developers (representatives of a global logic of capitalist accumulation) on the one hand, and local actors (architects/governments/citizens) on the other. It explores how the shopping centre adapts to new cultural contexts, and questions whether this commercial type has the capacity to disrupt or even amend the conditions that it encounters. Including more than 50 illustrations, this book considers the evolving architecture of shopping centres. It would be beneficial to academics and students across a number of areas such as architecture, urban design, cultural geography and sociology.

In cultural history, the 1950s in Venezuela are commonly celebrated as a golden age of modernity, realized by a booming oil economy, dazzling modernist architecture, and nationwide modernization projects. But this is only half the story. In this path-breaking study, Lisa Blackmore reframes the concept of modernity as a complex cultural formation in which modern aesthetics became deeply entangled with authoritarian politics. Drawing on extensive archival research and presenting a wealth of previously unpublished visual materials, Blackmore revisits the decade-long dictatorship to unearth the spectacles of progress that offset repression and censorship. Analyses of a wide range of case studies—from housing projects to agricultural colonies, urban monuments to official exhibitions, and carnival processions to consumerculture—reveal the manifold apparatuses that mythologized visionary leadership, advocated technocratic development, and presented military rule as the only route to progress. Offering a sharp corrective to depoliticized accounts of the period, Spectacular Modernity instead exposes how Venezuelans were promised a radically transformed landscape in exchange for their democratic freedoms.

Since 2006, Venezuela has had the highest homicide rate in South America and one of the highest levels of gun violence in the world. Former president Hugo Chávez, who died in 2013, downplayed the extent of violent crime and instead emphasized rehabilitation. His successor, President Nicolás Maduro, took the opposite approach, declaring an all-out war on crime (mano dura). What accounts for this drastic shift toward more punitive measures? In Deadline, anthropologist Robert Samet answers this question by focusing on the relationship between populism, the press, and what he calls “the will to security.” Drawing on nearly a decade of ethnographic research alongside journalists on the Caracas crime beat, he shows how the media shaped the politics of security from the ground up. Paradoxically, Venezuela’s punitive turn was not the product of dictatorship, but rather an outgrowth of practices and institutions normally associated with democracy. Samet reckons with this apparent contradiction by exploring the circulation of extralegal denuncias (accusations) by crime journalists, editors, sources, and audiences. Denuncias are a form of public shaming or exposé that channels popular anger against the powers that be. By showing how denuncias mobilize dissent, Deadline weaves a much larger tale about the relationship between the press, popular outrage, and the politics of security in the twenty-first century.

Myocardial Torsion is a book different from others, simply because this book is unique, unusual, and I dare say with admiration, it is a curious book, partly magical, full of personality, for initiatory readers, revealing, provocative, challenging. The book has the infrequent peculiarity of being based, to a great extent, on original personal and multidisciplinary investigations, granting it an important extra value. The authors define their purpose since the firsts pages of the book: to provide solidity, validity and even more to Torrent Guasp's concepts. This is certainly a different book in its structure, content and elaboration. It is a text that the reader may admire or criticize, that may create skepticism or surprise at the new data it propose, but wich undoudtedly will leavenobody indifferent, and that is something few books can achieve.

33 conference papers from the colloquium that analyzes the artistic exchanges and appropriations that have taken place between the two hemispheres, as well as the varying connotations of exoticism and the different ways of conceiving contact, appropriation and cultural exchange.