{"id":35483,"date":"2022-03-21T20:32:34","date_gmt":"2022-03-21T20:32:34","guid":{"rendered":"https:\/\/encartes.mx\/?page_id=35483"},"modified":"2023-11-22T17:28:45","modified_gmt":"2023-11-22T23:28:45","slug":"vol-5-num-9-2022","status":"publish","type":"page","link":"https:\/\/encartes.mx\/en\/vol-5-num-9-2022\/","title":{"rendered":"Vol. 5, No. 9 (2022)"},"content":{"rendered":"<div class=\"cat-title\"><h1>Vol 5, No. 9 (2022)<\/h1><\/div>\n\n\n\n<div class=\"portada-pdf\">\n    <a class=\"complete-pdf\" href=\"https:\/\/revista.encartes.mx\/index.php\/encartes\/issue\/view\/14\/9\">\n        <div>\n            <img decoding=\"async\" class=\"lazy loaded\" style=\"max-width:280px\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/portadavol5num9.webp\" data-src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/portadavol5num9.webp\" data-was-processed=\"true\">\n            <p>See full issue in PDF<\/p>\n        <\/div>\n    <\/a>\n<\/div>\n\n\n\n<div class=\"wp-block-group ms-item editorial gutenslider\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<h1>in this issue<\/h1>\n\n\n<div class=\"n2-section-smartslider fitvidsignore  n2_clear\" data-ssid=\"3\"><div id=\"n2-ss-3-align\" class=\"n2-ss-align\"><div class=\"n2-padding\"><div id=\"n2-ss-3\" data-creator=\"Smart Slider 3\" data-responsive=\"auto\" class=\"n2-ss-slider n2-ow n2-has-hover n2notransition\">\n\n\n\n<div class=\"n2-ss-slider-wrapper-inside\">\n        <div class=\"n2-ss-slider-1 n2_ss__touch_element n2-ow\">\n            <div class=\"n2-ss-slider-2 n2-ow\">\n                                                <div class=\"n2-ss-slider-3 n2-ow\">\n\n                    <div class=\"n2-ss-slide-backgrounds n2-ow-all\"><div class=\"n2-ss-slide-background\" data-public-id=\"1\" data-mode=\"fill\"><div class=\"n2-ss-slide-background-image\" data-blur=\"0\" data-opacity=\"100\" data-x=\"50\" data-y=\"50\" data-alt=\"\" data-title=\"\"><picture class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\"><img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/postal-num-9-1.webp\" alt=\"\" title=\"\" loading=\"lazy\" class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\"><\/picture><\/div><div data-color=\"RGBA(255,255,255,0)\" style=\"background-color: RGBA(255,255,255,0);\" class=\"n2-ss-slide-background-color\"><\/div><\/div><div class=\"n2-ss-slide-background\" data-public-id=\"2\" data-mode=\"fill\"><div class=\"n2-ss-slide-background-image\" data-blur=\"0\" data-opacity=\"100\" data-x=\"50\" data-y=\"50\" data-alt=\"\" data-title=\"\"><picture class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\"><img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/postal-num-9-2.webp\" alt=\"\" title=\"\" loading=\"lazy\" class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\"><\/picture><\/div><div data-color=\"RGBA(255,255,255,0)\" style=\"background-color: RGBA(255,255,255,0);\" class=\"n2-ss-slide-background-color\"><\/div><\/div><div class=\"n2-ss-slide-background\" data-public-id=\"3\" data-mode=\"fill\"><div class=\"n2-ss-slide-background-image\" data-blur=\"0\" data-opacity=\"100\" data-x=\"50\" data-y=\"50\" data-alt=\"\" data-title=\"\"><picture class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\"><img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/postal-num-9-3.webp\" alt=\"\" title=\"\" loading=\"lazy\" class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\"><\/picture><\/div><div data-color=\"RGBA(255,255,255,0)\" style=\"background-color: RGBA(255,255,255,0);\" class=\"n2-ss-slide-background-color\"><\/div><\/div><div class=\"n2-ss-slide-background\" data-public-id=\"4\" data-mode=\"fill\"><div class=\"n2-ss-slide-background-image\" data-blur=\"0\" data-opacity=\"100\" data-x=\"50\" data-y=\"62\" data-alt=\"\" data-title=\"\" style=\"--ss-o-pos-y:62%\"><picture class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\"><img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/postal-num-9-4.webp\" alt=\"\" title=\"\" loading=\"lazy\" class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\"><\/picture><\/div><div data-color=\"RGBA(255,255,255,0)\" style=\"background-color: RGBA(255,255,255,0);\" class=\"n2-ss-slide-background-color\"><\/div><\/div><div class=\"n2-ss-slide-background\" data-public-id=\"5\" data-mode=\"fill\"><div class=\"n2-ss-slide-background-image\" data-blur=\"0\" data-opacity=\"100\" data-x=\"50\" data-y=\"50\" data-alt=\"\" data-title=\"\"><picture class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\"><img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/postal-num-9-5.webp\" alt=\"\" title=\"\" loading=\"lazy\" class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\"><\/picture><\/div><div data-color=\"RGBA(255,255,255,0)\" style=\"background-color: RGBA(255,255,255,0);\" class=\"n2-ss-slide-background-color\"><\/div><\/div><div class=\"n2-ss-slide-background\" data-public-id=\"6\" data-mode=\"fill\"><div class=\"n2-ss-slide-background-image\" data-blur=\"0\" data-opacity=\"100\" data-x=\"50\" data-y=\"50\" data-alt=\"\" data-title=\"\"><picture class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\"><img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/postal-num-9-6.webp\" alt=\"\" title=\"\" loading=\"lazy\" class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\"><\/picture><\/div><div data-color=\"RGBA(255,255,255,0)\" style=\"background-color: RGBA(255,255,255,0);\" class=\"n2-ss-slide-background-color\"><\/div><\/div><\/div>                    <div class=\"n2-ss-slider-4 n2-ow\">\n                        <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewbox=\"0 0 600 600\" data-related-device=\"desktopPortrait\" class=\"n2-ow n2-ss-preserve-size n2-ss-preserve-size--slider n2-ss-slide-limiter\"><\/svg><div data-first=\"1\" data-slide-duration=\"0\" data-id=\"9\" data-slide-public-id=\"1\" data-title=\"postal-num-9-1\" data-haslink=\"1\" data-href=\"https:\/\/encartes.mx\/rozental-imagenes-traslado-tlaloc-coatlinchan\" tabindex=\"0\" role=\"button\" data-n2click=\"url\" data-force-pointer=\"\" class=\"n2-ss-slide n2-ow  n2-ss-slide-9\"><div role=\"note\" class=\"n2-ss-slide--focus\">postal-num-9-1<\/div><div class=\"n2-ss-layers-container n2-ss-slide-limiter n2-ow\"><div class=\"n2-ss-layer n2-ow n-uc-0yTD8MGyw40Z\" data-sstype=\"slide\" data-pm=\"default\"><\/div><\/div><\/div><div data-slide-duration=\"0\" data-id=\"10\" data-slide-public-id=\"2\" data-title=\"postal-num-9-2\" data-haslink=\"1\" data-href=\"https:\/\/encartes.mx\/enriquez-cuevas-castillo-conyugalidad-genero-covid-guadalajara-colima\" tabindex=\"0\" role=\"button\" data-n2click=\"url\" data-force-pointer=\"\" class=\"n2-ss-slide n2-ow  n2-ss-slide-10\"><div role=\"note\" class=\"n2-ss-slide--focus\">postal-num-9-2<\/div><div class=\"n2-ss-layers-container n2-ss-slide-limiter n2-ow\"><div class=\"n2-ss-layer n2-ow n-uc-2AYkIkUJ75j6\" data-sstype=\"slide\" data-pm=\"default\"><\/div><\/div><\/div><div data-slide-duration=\"0\" data-id=\"11\" data-slide-public-id=\"3\" data-title=\"postal-num-9-3\" data-haslink=\"1\" data-href=\"https:\/\/encartes.mx\/ensayos-fotograficos\/sandoval-economia-bazar-puente-papa-monterrey\" tabindex=\"0\" role=\"button\" data-n2click=\"url\" data-force-pointer=\"\" class=\"n2-ss-slide n2-ow  n2-ss-slide-11\"><div role=\"note\" class=\"n2-ss-slide--focus\">postal-num-9-3<\/div><div class=\"n2-ss-layers-container n2-ss-slide-limiter n2-ow\"><div class=\"n2-ss-layer n2-ow n-uc-KImxmRVNSQCJ\" data-sstype=\"slide\" data-pm=\"default\"><\/div><\/div><\/div><div data-slide-duration=\"0\" data-id=\"12\" data-slide-public-id=\"4\" data-title=\"postal-num-9-4\" data-haslink=\"1\" data-href=\"https:\/\/encartes.mx\/abreu-entrevista-mark-potok-derecha-radical-medios-eeuu\" tabindex=\"0\" role=\"button\" data-n2click=\"url\" data-force-pointer=\"\" class=\"n2-ss-slide n2-ow  n2-ss-slide-12\"><div role=\"note\" class=\"n2-ss-slide--focus\">postal-num-9-4<\/div><div class=\"n2-ss-layers-container n2-ss-slide-limiter n2-ow\"><div class=\"n2-ss-layer n2-ow n-uc-tNzKaXh6DLtg\" data-sstype=\"slide\" data-pm=\"default\"><\/div><\/div><\/div><div data-slide-duration=\"0\" data-id=\"13\" data-slide-public-id=\"5\" data-title=\"postal-num-9-5\" data-haslink=\"1\" data-href=\"https:\/\/encartes.mx\/gonzalez-imagenes-sentido-museo-lugar-memoria-lima-peru\" tabindex=\"0\" role=\"button\" data-n2click=\"url\" data-force-pointer=\"\" class=\"n2-ss-slide n2-ow  n2-ss-slide-13\"><div role=\"note\" class=\"n2-ss-slide--focus\">postal-num-9-5<\/div><div class=\"n2-ss-layers-container n2-ss-slide-limiter n2-ow\"><div class=\"n2-ss-layer n2-ow n-uc-guZUia221YZt\" data-sstype=\"slide\" data-pm=\"default\"><\/div><\/div><\/div><div data-slide-duration=\"0\" data-id=\"14\" data-slide-public-id=\"6\" data-title=\"postal-num-9-6\" data-haslink=\"1\" data-href=\"https:\/\/encartes.mx\/hernandez-trabajo-sexual-tijuana-zona-norte-coahuila\" tabindex=\"0\" role=\"button\" data-n2click=\"url\" data-force-pointer=\"\" class=\"n2-ss-slide n2-ow  n2-ss-slide-14\"><div role=\"note\" class=\"n2-ss-slide--focus\">postal-num-9-6<\/div><div class=\"n2-ss-layers-container n2-ss-slide-limiter n2-ow\"><div class=\"n2-ss-layer n2-ow n-uc-JxXp0jTgVXQF\" data-sstype=\"slide\" data-pm=\"default\"><\/div><\/div><\/div>                    <\/div>\n\n                                    <\/div>\n            <\/div>\n        <\/div>\n        <div class=\"n2-ss-slider-controls n2-ss-slider-controls-absolute-right-top\"><div style=\"--widget-offset:15px;\" class=\"n2-ss-widget n2-style-f17ddbf2d8ed14421f9093b94b93b8a9-heading nextend-autoplay n2-ow-all nextend-autoplay-image\" role=\"button\" aria-label=\"Play autoplay\" data-pause-label=\"Pause autoplay\" data-play-label=\"Play autoplay\" tabindex=\"0\"><img decoding=\"async\" class=\"nextend-autoplay-play skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMTYiIGhlaWdodD0iMTYiIHZpZXdCb3g9IjAgMCAxNiAxNiIgeG1sbnM9Imh0dHA6Ly93d3cudzMub3JnLzIwMDAvc3ZnIj4KICAgIDxwYXRoIGQ9Ik0xMS41OCA3LjAzTDUuMzAyIDIuMTY1QzUuMTY1IDIuMDU3IDUuMDE2IDIgNC44NTcgMiA0LjM4NCAyIDQgMi41MDQgNCAzLjEyNXY5Ljc1YzAgLjYyLjM4NCAxLjEyNS44NTcgMS4xMjUuMTYgMCAuMzA4LS4wNTcuNDM2LS4xNTZMMTEuNTggOC45N2MuMjUtLjE5OC40Mi0uNTU4LjQyLS45NyAwLS40MTItLjE3LS43NzMtLjQyLS45N3oiCiAgICAgICAgICBmaWxsPSIjZmZmZmZmIiBvcGFjaXR5PSIwLjgiIGZpbGwtcnVsZT0iZXZlbm9kZCIvPgo8L3N2Zz4=\" alt=\"Play\"><img decoding=\"async\" class=\"nextend-autoplay-pause skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMTYiIGhlaWdodD0iMTYiIHZpZXdCb3g9IjAgMCAxNiAxNiIgeG1sbnM9Imh0dHA6Ly93d3cudzMub3JnLzIwMDAvc3ZnIj4KICAgIDxwYXRoIGQ9Ik00IDJ2MTJoM1YySDR6bTUgMHYxMmgzVjJIOXoiIGZpbGw9IiNmZmZmZmYiIG9wYWNpdHk9IjAuOCIgZmlsbC1ydWxlPSJldmVub2RkIi8+Cjwvc3ZnPg==\" alt=\"Pause\"><\/div><\/div><div class=\"n2-ss-slider-controls n2-ss-slider-controls-absolute-left-center\"><div style=\"--widget-offset:15px;\" class=\"n2-ss-widget nextend-arrow n2-ow-all nextend-arrow-previous  nextend-arrow-animated-fade\" data-hide-mobileportrait=\"1\" id=\"n2-ss-3-arrow-previous\" role=\"button\" aria-label=\"previous arrow\" tabindex=\"0\"><img loading=\"lazy\" decoding=\"async\" width=\"32\" height=\"32\" class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMzIiIGhlaWdodD0iMzIiIHZpZXdCb3g9IjAgMCAzMiAzMiIgeG1sbnM9Imh0dHA6Ly93d3cudzMub3JnLzIwMDAvc3ZnIj4KICAgIDxwYXRoIGQ9Ik0xMS40MzMgMTUuOTkyTDIyLjY5IDUuNzEyYy4zOTMtLjM5LjM5My0xLjAzIDAtMS40Mi0uMzkzLS4zOS0xLjAzLS4zOS0xLjQyMyAwbC0xMS45OCAxMC45NGMtLjIxLjIxLS4zLjQ5LS4yODUuNzYtLjAxNS4yOC4wNzUuNTYuMjg0Ljc3bDExLjk4IDEwLjk0Yy4zOTMuMzkgMS4wMy4zOSAxLjQyNCAwIC4zOTMtLjQuMzkzLTEuMDMgMC0xLjQybC0xMS4yNTctMTAuMjkiCiAgICAgICAgICBmaWxsPSIjZmZmZmZmIiBvcGFjaXR5PSIwLjgiIGZpbGwtcnVsZT0iZXZlbm9kZCIvPgo8L3N2Zz4=\" alt=\"previous arrow\"><\/div><\/div><div class=\"n2-ss-slider-controls n2-ss-slider-controls-absolute-right-center\"><div style=\"--widget-offset:15px;\" class=\"n2-ss-widget nextend-arrow n2-ow-all nextend-arrow-next  nextend-arrow-animated-fade\" data-hide-mobileportrait=\"1\" id=\"n2-ss-3-arrow-next\" role=\"button\" aria-label=\"next arrow\" tabindex=\"0\"><img loading=\"lazy\" decoding=\"async\" width=\"32\" height=\"32\" class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\" src=\"data:image\/svg+xml;base64,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\" alt=\"next arrow\"><\/div><\/div><\/div><\/div><ss3-loader><\/ss3-loader><\/div><\/div><div class=\"n2_clear\"><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"cat-title\"><h1>Tem\u00e1ticas<\/h1><\/div>\n\n\n\n<div class=\"tematica\">\n<h1 class=\"tematica-title\">Sense Rendered Obtuse: Visuality and Ethnographic Practice<\/h1>\n    <div class=\"tematica-content\">\n    <div class=\"coloquio-principal ms-item\">\n        <a class=\"post\" href=\"https:\/\/encartes.mx\/kernaghan-zamorano-obtuso-sentido-etnografia\/\">\n            <img decoding=\"async\" class=\"lazy loaded\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/thumb-intro-num-9.webp\" data-src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/thumb-intro-num-9.webp\" data-was-processed=\"true\">            <h1>Presentation<\/h1>\n            <div class=\"text\">\n                <h3><ul class=\"list\"><li class=\"list-item\">Richard Kernaghan and Gabriela Zamorano Villarreal<\/li><\/ul><\/h3>\n                <p class=\"has-drop-cap\">For Barthes, the obtuse sense exposes the limits of the world of representations. It occurs when certain elements underlying the image emerge surprisingly to mark accents or changes of intonation in the visual message. This collection takes up the notion of the obtuse to reassess the weight and potency of the image for ethnography. Each contribution to this volume analyzes the notion of the obtuse to probe the ethnographic possibilities of the image considered from its most common, diverse and unexpected expressions. The contributions attend to the \"third\" or \"non-obvious\" meanings that emerge through empirical encounters.<\/p>            <\/div>\n            <p class=\"mas\">See full presentation<\/p>\n        <\/a>\n    <\/div>\n<\/div>\n<div class=\"comentarios ms-item\">\n    <div class=\"comentarios-title\">\n        <h1>Dossier<\/h1>\n    <\/div>\n            <div class=\"comentario ms-item\">    \n            <a class=\"post\" href=\"https:\/\/encartes.mx\/gonzalez-imagenes-sentido-museo-lugar-memoria-lima-peru\/\">\n                <h2 class=\"title\">\u201cApparently Meaningless\u201d Images in the Place of Memory, Tolerance and Social Inclusion<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">Olga Gonz\u00e1lez Casta\u00f1eda<\/li><\/ul><\/h3>\n                                <p class=\"mas\">Click here<\/p>\n            <\/a>\n        <\/div>\n                <div class=\"comentario ms-item\">    \n            <a class=\"post\" href=\"https:\/\/encartes.mx\/kernaghan-imagenes-huallaga-peru\/\">\n                <h2 class=\"title\">The Distant Thunder-Images that Persist in the Huallaga River<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">Richard Kernaghan<\/li><\/ul><\/h3>\n                                <p class=\"mas\">Click here<\/p>\n            <\/a>\n        <\/div>\n                <div class=\"comentario ms-item\">    \n            <a class=\"post\" href=\"https:\/\/encartes.mx\/rozental-imagenes-traslado-tlaloc-coatlinchan\/\">\n                <h2 class=\"title\">Fragments of a Relocation: The Insistence of Images<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">Sandra Rozental<\/li><\/ul><\/h3>\n                                <p class=\"mas\">Click here<\/p>\n            <\/a>\n        <\/div>\n                <div class=\"comentario ms-item\">    \n            <a class=\"post\" href=\"https:\/\/encartes.mx\/zamorano-subjetividad-fotografia-familia-michoacan\/\">\n                <h2 class=\"title\">Mending the Image: Subjectivities and Desires in the Photographic Archives of Michoac\u00e1n, M\u00e9xico<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">Gabriela Zamorano Villarreal<!--<\/li--><\/li><\/ul><\/h3>\n                                <p class=\"mas\">Click here<\/p>\n            <\/a>\n        <\/div>\n            <\/div>\n<\/div>\n\n\n\n<h2 class=\"titulo-seccion wp-block-heading\">Realidades socioculturales<\/h2>\n\n\n\n<div class=\"resena-wrap\">\n    <div class=\"ms-item resena\">\n        <a class=\"post\" href=\"https:\/\/encartes.mx\/en\/enriquez-cuevas-castillo-conyugalidad-genero-covid-guadalajara-colima\/\">\n                        <div class=\"ficha-material\">\n                <h2 class=\"post-title\">Married Life, Gender and Care in the Couple in Times of COVID-19 in the Metropolitan Areas of Colima and Guadalajara, Mexico<\/h2>\n                <h3>\n                    <ul class=\"list\">\n<li class=\"list-item\">Roc\u00edo Enr\u00edquez Rosas, Ana Josefina Cuevas Hern\u00e1ndez and Ana Gabriel Castillo S\u00e1nchez<\/li>\n                    <\/ul>\n                <\/h3>\n                <h4><span class=\"before\">Keywords: <\/span>covid-19 pandemic, intimacy, conjugality, gender role, mutual care, heterosexual couples<\/h4>\n                            <\/div>\n                        <div class=\"resena-content\">\n                <p class=\"has-drop-cap\">In this article we set out to answer the following question: how has the covid-19 pandemic disrupted the intimacy of three generations of heterosexual couples residing in the metropolitan areas of Guadalajara and Colima in the dimensions of conjugality, gender roles, and mutual care? The objective of this article is to describe and analyze the main findings of a survey conducted online in the first week of May 2020 in the metropolitan areas of Guadalajara and Colima to learn how these dimensions of intimacy of couples in the study region have been disrupted. The application of the survey on the aforementioned date favored a timely inquiry to account for the experience of confinement.<\/p>                <p class=\"mas\">Click here<\/p>\n            <\/div>\n        <\/a>\n    <\/div>\n<\/div>\n\n\n\n<div class=\"resena-wrap\">\n    <div class=\"ms-item resena\">\n        <a class=\"post\" href=\"https:\/\/encartes.mx\/en\/gomes-ibarra-cristianismo-postdenominacional-covid-mexico-eeuu\/\">\n                        <div class=\"ficha-material\">\n                <h2 class=\"post-title\">Postdenominational Christianity and the Coronavirus: Religious Field and Innovation in Mexico and the United States<\/h2>\n                <h3>\n                    <ul class=\"list\">\n<li class=\"list-item\">Carlos S. Ibarra and Edson F. Gomes<\/li>\n                    <\/ul>\n                <\/h3>\n                <h4><span class=\"before\">Key words<\/span> emerging christianity, coronavirus, postdenominational churches, religious innovation, Mexico, United States<\/h4>\n                            <\/div>\n                        <div class=\"resena-content\">\n                <p class=\"has-drop-cap translation-block\">Postdenominational Christianity has considerable changes in the styles of worship and in the organizational congregational structure, transforming the way in which their devotees relate to their beliefs, with the world around them and the way in which they experience Christianity. This article presents examples of Postdenominational Churches in Mexico and the United States in the context of social distancing as a preventive measure against the COVID-19 pandemic. Using these examples, we observe the innovation in the religious field that Postdenominational Churches represent and how they not only have online resources, but in certain cases, they are what we call semi-virtual Churches.<\/p>                <p class=\"mas\">Click here<\/p>\n            <\/div>\n        <\/a>\n    <\/div>\n<\/div>\n\n\n\n<div class=\"resena-wrap\">\n    <div class=\"ms-item resena\">\n        <a class=\"post\" href=\"https:\/\/encartes.mx\/en\/hernandez-trabajo-sexual-tijuana-zona-norte-coahuila\/\">\n                        <div class=\"ficha-material\">\n                <figure class=\"article-preview-image\">\n                    <img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/herandez-trabajo_sexual_tijuana-imagen-2.jpg\" data-src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/herandez-trabajo_sexual_tijuana-imagen-2.jpg\" class=\"attachment-large size-large wp-post-image lazy loaded\" alt=\"\" data-was-processed=\"true\">                <\/figure>\n                            <\/div>\n                        <div class=\"resena-content\">\n<h2 class=\"post-title\">Sex Work Dynamics in Tijuana: Ethnographic Narrations of the Zona Norte and Coahuila Street<\/h2>\n<h3><ul class=\"list\"><li class=\"list-item\">Alberto Hernandez Hernandez<\/li><\/ul><\/h3>\n                <p class=\"has-drop-cap\">This article presents accounts and social dynamics of the red light district or tolerance zone in Tijuana, Baja California, based on findings obtained after almost five decades of visiting this peculiar space on the border, and specifically from a period of three years (2015 to 2018) in which ethnographic tours were conducted collecting accounts of sex workers, employees of establishments, users of these services and visitors, in which they share experiences around sex work in the area.<\/p>                <p class=\"mas\">Click here<\/p>\n            <\/div>\n        <\/a>\n    <\/div>\n<\/div>\n\n\n\n<h2 class=\"titulo-seccion wp-block-heading\">Encartes multimedia<\/h2>\n\n\n\n<div class=\"resena-wrap ensayo-fotografico\">\n    <div class=\"ms-item media-xl text col-lg-6 col-md-6 col-sm-6 col-xs-12\">    \n        <a class=\"post\" href=\"https:\/\/encartes.mx\/en\/sandoval-economia-bazar-puente-papa-monterrey\/\">\n                        <h2 class=\"post-title\">Bazaar Economy on the Puente del Papa (Pope\u2019s Bridge). Monterrey<\/h2>\n            <h3><ul class=\"list\"><li class=\"list-item\">Efr\u00e9n Sandoval Hern\u00e1ndez<\/li><\/ul><\/h3>\n            <p class=\"has-drop-cap\">The objective of this essay is to show the co-participation of merchants and merchandise in the reproduction of particular ways of doing and being in the broader context of urban reality. The essay consists of a reflection and photographs taken at the points of sale of these merchants. By characterizing this trade as a bazaar economy, the gaze is directed towards the goods, their types, characteristics and dispositions, including those of the merchants. The geographical centrality of the location of this activity is contrasted with its marginality in relation to the economy and hegemonic discourses in the city. Just as the goods here find a second or third life, the merchants seem to do the same by managing to remain despite having already been discarded by the labor market and other life circumstances.<\/p>            <p class=\"mas\">Click here to read the context<\/p>\n                    <\/a>\n    <\/div>\n<div class=\"multimedia-wrap media-xl\">\n       <div class=\"ficha material\"><a href=\"https:\/\/encartes.mx\/en\/ensayos-fotograficos\/sandoval-economia-bazar-puente-papa-monterrey\/\"><h3>Photographic Essay<\/h3><img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/sandoval-economia-bazar-puente-papa-monterrey-image1.jpeg\" data-src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/sandoval-economia-bazar-puente-papa-monterrey-image1.jpeg\" alt=\"\" class=\"wp-image-32026 lazy loaded\" data-was-processed=\"true\"><p class=\"mas\">Click here to see the essay<\/p><\/a><\/div>\n    <\/div>\n<\/div>\n\n\n\n<h2 class=\"titulo-seccion wp-block-heading\">Entrevistas<\/h2>\n\n\n\n<div class=\"resena-wrap entrevista\">\n    <div class=\"ms-item media-xl text col-lg-6 col-md-6 col-sm-6 col-xs-12\">    \n        <a class=\"post\" href=\"https:\/\/encartes.mx\/en\/camus-entrevista-jorge-durand-migrante-desarraigado-mexico-eeuu\/\">\n            <h2 class=\"post-title\">The Rootless Migrant: A Historical Depredation<\/h2>\n        <h5><ul class=\"list\"><li class=\"list-item\">Jorge Durand<\/li><\/ul><\/h5>\n            <h3><ul class=\"list\"><li class=\"list-item\">Manuela Camus<\/li><\/ul><\/h3>\n            <p class=\"has-drop-cap\">Jorge Durand is the guest in this interview section of the magazine. <em>Encartes<\/em>. Anthropologist and researcher at the University of Guadalajara, where he holds the Chair of Migration, Jorge Durand is a specialist in U.S.-Mexico migration dynamics. On this occasion, he describes his incursion into the northern countries of Central America and the new protagonist figure in the region: the uprooted.<\/p>            <p class=\"mas\">Click here<\/p>\n                    <\/a>\n    <\/div>\n    <div class=\"multimedia-wrap media-xl col-lg-6 col-md-6 col-sm-6 col-xs-12\">\n       <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"&quot;The uprooted migrant: a historical depredation&quot; Interview with Jorge Durand.\" width=\"580\" height=\"326\" src=\"https:\/\/www.youtube.com\/embed\/BRyI5170hRY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n    <\/div>\n<\/div>\n\n\n\n<div class=\"resena-wrap entrevista\">\n    <div class=\"ms-item resena\">\n        <a class=\"post\" href=\"https:\/\/encartes.mx\/en\/abreu-entrevista-mark-potok-derecha-radical-medios-eeuu\/\">\n                        <div class=\"ficha-material\">\n                <figure class=\"article-preview-image\">\n                    <img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/abreu-derecha_radical-imagen_2.jpg\" data-src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/abreu-derecha_radical-imagen_2.jpg\" class=\"attachment-large size-large wp-post-image lazy loaded\" alt=\"\" data-was-processed=\"true\">                <\/figure>\n                            <\/div>\n                        <div class=\"resena-content\">\n<h2 class=\"post-title\">The Radical Right and Trans-Media Digital Narratives in the United States of America. Interview with Mark Potok<\/h2>\n<h5><ul class=\"list\"><li class=\"list-item\">Mark Potok<\/li><\/ul><\/h5>\n            <h3><ul class=\"list\"><li class=\"list-item\">Jos\u00e9 Antonio Abreu Colombri<\/li><\/ul><\/h3>\n                <p class=\"has-drop-cap\">Political current affairs around the world, especially in Europe and the United States, are conditioned by a multitude of disruptive discourses that provoke great social upheaval and permanent controversy in the media. The main motivation of the interview lies in knowing the interpretations of Mark Potok, one of the leading experts on current political thought and radical and violent right-wing movements in Europe and North America, on this phenomenon.<\/p>                <p class=\"mas\">Click here<\/p>\n            <\/div>\n        <\/a>\n    <\/div>\n<\/div>\n\n\n\n<h2 class=\"titulo-seccion wp-block-heading\">Discrepancias<\/h2>\n\n\n\n<div class=\"ms-item resena discrepancias\">\n                     <div class=\"ficha-material\">\n                <a class=\"post\" href=\"https:\/\/encartes.mx\/en\/barber-cumes-machuca-kofes-zolueta-patrimonio-cultural-comercializacion\/\">\n                <figure class=\"article-preview-image\">\n                    <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/discrepancia-imagen_1.jpg\" data-src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/discrepancia-imagen_1.jpg\" class=\"attachment-large size-large wp-post-image lazy loaded\" alt=\"migrantes\" data-was-processed=\"true\" width=\"580\" height=\"213\"><\/figure>\n                <\/a>    \n            <\/div>\n                    <a class=\"post\" href=\"https:\/\/encartes.mx\/en\/barber-cumes-machuca-kofes-zolueta-patrimonio-cultural-comercializacion\/\">\n            <div class=\"resena-content\">\n<h2 class=\"post-title\">Debates on Cultural Heritage and the Commercialization of Collective Expressions<\/h2>\n                <h5><ul class=\"list\"><li class=\"list-item\">Aura Cumes, Jes\u00fas Antonio Machuca, Suely Kofes and X\u00f3chitl Zolueta<\/li><\/ul><\/h5><h3><ul class=\"list\"><li class=\"list-item\"><span>moderator<\/span> Rachel Barber<\/li><\/ul><\/h3>\n                <p class=\"has-drop-cap\">In the last decade, there has been a wave of accusations against brands and companies for using cultural elements of indigenous groups. While it seems unfair for private companies to appropriate and profit from the iconography and designs produced by indigenous communities, what is less obvious is how rights over collective cultural expressions should be thought of.<\/p>                <p class=\"mas\">Click here<\/p>\n            <\/div>\n        <\/a>\n    <\/div>\n\n\n\n<h2 class=\"titulo-seccion wp-block-heading\">Rese\u00f1as cr\u00edticas<\/h2>\n\n\n\n<div class=\"resena-wrap\">\n    <div class=\"ms-item resena col-lg-6 col-md-6 col-sm-6 col-xs-12\">\n        <a class=\"post\" href=\"https:\/\/encartes.mx\/en\/de-la-peza-resena-rompan-todo-rock-latinoamericano\/\">\n                        <div class=\"ficha-material\">\n                <img decoding=\"async\" class=\"lazy loaded\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/resena-rompan_todo.jpg\" data-src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/resena-rompan_todo.jpg\" data-was-processed=\"true\">\n                <div class=\"datos\">\n                    <p class=\"titulo-material\">Break everything. The history of rock in Latin America. Television series<\/p>\n                    <p class=\"ref-material\"><span class=\"autor\">Picky Talarico, Nicol\u00e1s Entel and Nicol\u00e1s Gueilburt<\/span>, 2020, New York, Red Creek Productions.<\/p>\n                <\/div>\n            <\/div>\n            <div class=\"resena-content\">\n                <h2 class=\"post-title\">Rompan Todo: One of Many Possible Latin American Rock\u00b4N\u00b4Roll Stories<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">Ma. del Carmen de la Peza Casares<\/li><\/ul><\/h3>\n                <p class=\"has-drop-cap\">Despite the pretension of universality announced in the subtitle of the series, the particular point of view of its producer, main speaker of the documentary and one of the participants in the dialogue, prevails. The documentary is an ode to Gustavo Santaolalla, who made a career in the music industry and promoted multiple rock groups in which he discovered aesthetic values, original proposals and an economic potential as a product of popular consumption.<\/p>                <p class=\"mas\">Click here<\/p>\n                        \n            <\/div>\n                    <\/a>\n    <\/div>\n<\/div>\n\n\n\n<div class=\"resena-wrap\">\n    <div class=\"ms-item resena col-lg-6 col-md-6 col-sm-6 col-xs-12\">\n        <a class=\"post\" href=\"https:\/\/encartes.mx\/en\/sierra-resena-morales-genero-etnicidad-raramuri-chihuahua\/\">\n                        <div class=\"ficha-material\">\n                <img decoding=\"async\" class=\"lazy loaded\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/resena-Sierra_camacho-genero_etnicidad.jpg\" data-src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/resena-Sierra_camacho-genero_etnicidad.jpg\" data-was-processed=\"true\">\n                <div class=\"datos\">\n                    <p class=\"titulo-material\">Gender and Rar\u00e1muri ethnicity in the city of Chihuahua. Organization and participation of women in congregate settlements.<\/p>\n                    <p class=\"ref-material\"><span class=\"autor\">Marco Vinicio Morales Mu\u00f1oz<\/span>, 2020, Secretar\u00eda de Cultura - inah - Escuela de Antropolog\u00eda e Historia del Norte de M\u00e9xico (<span class=\"small-caps\">eahnm<\/span>), Mexico, 256 pp.<\/p>\n                <\/div>\n            <\/div>\n            <div class=\"resena-content\">\n                <h2 class=\"post-title\">Urban Rar\u00e1muri Women. Gender Reconfigurations From Ethnicity<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">Mar\u00eda Teresa Sierra Camacho<\/li><\/ul><\/h3>\n                <p class=\"has-drop-cap\">From an ethnographic and culturally situated perspective, the author offers a comprehensive look at gender relations that are redefined in the urban context as part of processes strongly linked to ethnicity, inequality and subalternity. It is a hopeful book that puts at the center the creative responses of Rar\u00e1muri women and men to reconfigure their lives in spaces very different from those they have traditionally occupied in the Sierra Tarahumara.<\/p>                <p class=\"mas\">Click here<\/p>\n                        \n            <\/div>\n                    <\/a>\n    <\/div>\n<\/div>\n\n\n\n<div class=\"resena-wrap\">\n    <div class=\"ms-item resena col-lg-6 col-md-6 col-sm-6 col-xs-12\">\n        <a class=\"post\" href=\"https:\/\/encartes.mx\/en\/aimaretti-resena-roca-metodos-accion-documental-investigacion-social\/\">\n                        <div class=\"ficha-material\">\n                <img decoding=\"async\" class=\"lazy loaded\" src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/resena-aimaretti-caja_herramientas_documental.jpg\" data-src=\"https:\/\/archive.org\/download\/vol5num9-multimedia\/resena-aimaretti-caja_herramientas_documental.jpg\" data-was-processed=\"true\">\n                <div class=\"datos\">\n                    <p class=\"titulo-material\">Methods in Action. Studies on documentary and social research<\/p>\n                    <p class=\"ref-material\"><span class=\"autor\">Lourdes Roca<\/span> (coordinator), 2020, Instituto de Investigaciones Dr. Jos\u00e9 Mar\u00eda Luis Mora, Mexico, 299 pp.<\/p>\n                <\/div>\n            <\/div>\n            <div class=\"resena-content\">\n                <h2 class=\"post-title\">A Toolbox to Think of Documentaries and an Invitation to Create Images for Social Research<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">Maria Aimaretti <\/li><\/ul><\/h3>\n                <p class=\"has-drop-cap\">The book offers a plurality of research and epistemological approaches -situated analytical practices- that illuminate different aspects of a conflictive copula: documentary film\/audiovisuals and social, historical and anthropological research. In the essays, the question hovers over the question: how to approach the dialogues, borrowings and tensions between art and science in the documentary phenomenon; between sensitive stimulation and forms of knowledge about the world, culture and history?<\/p>                <p class=\"mas\">Click here<\/p>\n                        \n            <\/div>\n                    <\/a>\n    <\/div>\n<\/div>\n\n\n\n<div class=\"credits col-lg-6 col-md-6 col-sm-6 col-xs-12\">\n    <div class=\"wrapper\">\n<img decoding=\"async\" class=\"simple-logo lazy loaded\" src=\"https:\/\/encartesantropologicos.mx\/wordpress\/wp-content\/uploads\/2018\/03\/simple-logo.png\" data-src=\"https:\/\/encartesantropologicos.mx\/wordpress\/wp-content\/uploads\/2018\/03\/simple-logo.png\" data-was-processed=\"true\"><p class=\"title translation-block\">Director<\/p><p class=\"name\"><a href=\"https:\/\/encartes.mx\/en\/personas\/torre-castellanos-renee-de-la\/\">Ren\u00e9e de la Torre Castellanos<\/a><\/p><p class=\"title\">Edition<\/p><p class=\"name\">Arthur Temporal Ventura<\/p><p class=\"title\">Correction<\/p><p class=\"name\">Maria Palomar<\/p><p class=\"name\">Cecilia Palomar<\/p><p class=\"title\">Design and layout<\/p><p class=\"name\">Veronica Segovia<\/p>        <p class=\"title\">\n            <a class=\"directorio\" href=\"https:\/\/archive.org\/download\/encartes-vol-4-num-7\/1-encartes-vol-4-num-direc.pdf\">See full directory<\/a>\n        <\/p>\n    <\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Vol 5, N\u00fam. 9 (2022) Ver n\u00famero completo en PDF en este n\u00famero Tem\u00e1ticas \u201cObtuso es el sentido\u201d: visualidad y pr\u00e1ctica etnogr\u00e1fica Presentaci\u00f3n Richard Kernaghan y Gabriela Zamorano Villarreal Para Barthes el sentido obtuso expone los l\u00edmites del mundo de las representaciones. Acontece cuando ciertos elementos que subyacen en la imagen emergen sorpresivamente para marcar [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":35894,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"numerostemplate.php","meta":{"_acf_changed":false,"footnotes":""},"coauthors":[551],"class_list":["post-35483","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Vol. 5, N\u00fam. 9 (2022) &#8211; Encartes<\/title>\n<meta name=\"description\" content=\"Esta colecci\u00f3n retoma la noci\u00f3n de lo obtuso para reevaluar el peso y la potencia que tiene la imagen para la etnograf\u00eda.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/encartes.mx\/en\/vol-5-num-9-2022\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vol. 5, N\u00fam. 9 (2022) &#8211; Encartes\" \/>\n<meta property=\"og:description\" content=\"Esta colecci\u00f3n retoma la noci\u00f3n de lo obtuso para reevaluar el peso y la potencia que tiene la imagen para la etnograf\u00eda.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/encartes.mx\/en\/vol-5-num-9-2022\/\" \/>\n<meta property=\"og:site_name\" content=\"Encartes\" \/>\n<meta property=\"article:modified_time\" content=\"2023-11-22T23:28:45+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/encartes.mx\/wp-content\/uploads\/2022\/03\/9-portadavol5num9-31.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1181\" \/>\n\t<meta property=\"og:image:height\" content=\"1772\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"9 minutes\" \/>\n\t<meta name=\"twitter:label2\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data2\" content=\"Arthur Ventura\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/encartes.mx\/vol-5-num-9-2022\/\",\"url\":\"https:\/\/encartes.mx\/vol-5-num-9-2022\/\",\"name\":\"Vol. 5, N\u00fam. 9 (2022) &#8211; 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