Decolonizing theological education and restoring agency to the people Latinx Protestantism is a rapidly growing element of American Christianity. How should institutions of theological education in the United States welcome and incorporate the gifts of these populations into their work? This is an especially difficult question considering the painful history of colonization in Latin America and the Caribbean, an agenda in which theological education was long complicit. In this book, Elizabeth Conde-Frazier takes stock of the cabos sueltos—loose ends—left over from the history of Latinx Christianity, including the ways the rise of Pentecostalism disrupted existing power structures and opened up new ways for Latinx people to assert agency. Then, atando cabos—tying these loose ends together—she reflects on how a new paradigm, centered on the work of the Holy Spirit, can serve to decolonize theological education going forward, bringing about an in-breaking of the kingdom of God. Conde-Frazier illustrates how this in-breaking would bring changes in epistemology, curriculum, pedagogy, and models for financial sustainability. Atando Cabos explores each of these topics and proposes a collaborative ecology that stresses the connections between theological education and wider communities of faith and practice. Far from taking a position of insularity, Atando Cabos works from the particularities of the Latinx Protestant context outward to other communities that are wrestling with similar issues so that, by the end, it is a call for transformation—a new reformation—for the entire Christian church.

Preston explores the political and personal mysteries of the former Spanish monarch's life in a story of unprecedented sweep and exquisite detail which is at once a history of modern Spain and an indispensable exegesis of how democracies come to be.

Ideal for near beginners, A bordo takes learners up to the equivalent of GCSE level Spanish. The course is accompanied by three audio-cassettes which include drama and dialogue. Features include: * focus on both Spanish and Latin-American culture * emphasis on communicating in everyday situations * varied exercises, with answer key and progress resumé at the end of each unit. A bordo is the preparatory course for En rumbo, also devised by the Open University Spanish team (see below).

¿En qué se parecen caminar, tejer, observar, narrar, cantar, dibujar y escribir? La repuesta es que, de uno u otro modo, todo lo anterior se lleva a cabo a través de líneas. Visto así, la Historia entera es una línea, compuesta por pequeñas líneas. En este libro Tim Ingold imagina un mundo en el que todos y todo se compone de líneas entrelazadas o in-terconectadas y sienta las bases de una nueva disciplina: la ar-queología antropológica de la línea. El argumento de Ingold nos lleva a través de la música de la antigua Grecia y del Japón contemporáneo, por laberintos de Siberia y vías ro-manas, por la caligrafía china y el alfabeto impreso, tejiendo un camino entre la antigüedad y el presente. Ingold revela cómo nuestra percepción de las líneas ha cambiado en el tiempo, con la modernidad antes de convertirse en recta, la línea es un conjunto de puntos, pero el mundo posmoderno la rompe y fragmenta para estudiarla mejor. Tim Ingold utiliza para su estudio muchas disciplinas, como la Arqueolo-gía, Estudios Clásicos, Historia del Arte, la Lingüística, la Psicología, la Musicología, la Filosofía y muchos otros. Este libro nos lleva por un viaje intelectual estimulante que va a cambiar la manera en que vemos el mundo y la forma en que vamos por el mismo.

ArteletrA analyzes the Sixties in Latin America in order to revisit the core claim of literary and cultural studies to political relevancy in the contemporary world: the task of making visible the invisible. Though visibility can secure rights for the disenfranchised, it also risks subjecting them to the biopolitical and capitalist arrangements of space. What is at stake in this book is a series of aesthetic and ethical tools for engaging in politics—defined here as the potential to disagree—without first passing through visibility. These tools cohere around a practice Bartles calls “the politics of going unnoticed,” which he derives from an archive of three noteworthy, though under-appreciated, authors who wrote during the Sixties: Calvert Casey (1924–69), Juan Filloy (1894–2000), and Armonía Somers (1914–94). For the first time ever, Casey, Filloy, and Somers are put in dialogue with one another to further demonstrate the unique contributions of Latin American writers to contemporary debates about the crossroads of literatures and politics. What unites them is their shared investment in stories about those who go unnoticed. As a practice, going unnoticed creates space and opportunities for queer, rural, and female subjects, among others, to step back from unjust institutions. As a political discourse, going unnoticed deactivates the binary structures of biopolitics (e.g., visible/invisible, pure/filthy, friend/enemy) that divide humans from one another in the service of power and economic inequality. Though the politics of going unnoticed was ignored during the Sixties for its apparent individualism, these three writers work through alternatives to the politics of visibility that has animated political discourse on the left for the last half-century. More than a self-interested critique, going unnoticed opens new possibilities for engaging in the messy business of politics while imagining and creating better communities.