{"id":36202,"date":"2022-09-21T20:16:35","date_gmt":"2022-09-21T20:16:35","guid":{"rendered":"https:\/\/encartes.mx\/?page_id=36202"},"modified":"2023-11-22T17:27:18","modified_gmt":"2023-11-22T23:27:18","slug":"vol-5-num-10-2022","status":"publish","type":"page","link":"https:\/\/encartes.mx\/fr\/vol-5-num-10-2022\/","title":{"rendered":"Vol. 5, n\u00b0 10 (2022)"},"content":{"rendered":"<div class=\"cat-title\"><h1>Vol. 5, n\u00b0 10 (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\/15\/10\">\n        <div>\n            <img decoding=\"async\" class=\"lazy loaded\" style=\"max-width:280px\" src=\"https:\/\/archive.org\/download\/vol5num10-multimedia\/10-portadavol5num10.jpg\" data-src=\"https:\/\/archive.org\/download\/vol5num10-multimedia\/10-portadavol5num10.jpg\" data-was-processed=\"true\">\n            <p>Voir le num\u00e9ro complet en 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>dans ce num\u00e9ro<\/h1>\n\n\n<div class=\"n2-section-smartslider fitvidsignore  n2_clear\" data-ssid=\"6\"><div id=\"n2-ss-6-align\" class=\"n2-ss-align\"><div class=\"n2-padding\"><div id=\"n2-ss-6\" 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-background-animation n2-ow\"><\/div>\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=\"51\" data-y=\"77\" data-alt=\"\" data-title=\"\" style=\"--ss-o-pos-x:51%;--ss-o-pos-y:77%\"><picture class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\"><img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol5num10-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=\"51\" data-y=\"79\" data-alt=\"\" data-title=\"\" style=\"--ss-o-pos-x:51%;--ss-o-pos-y:79%\"><picture class=\"skip-lazy jetpack-lazy-image\" data-skip-lazy=\"1\"><img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol5num10-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\/vol5num10-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>                    <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=\"22\" data-slide-public-id=\"1\" data-title=\"postal-num-9-1\" data-haslink=\"1\" data-href=\"https:\/\/encartes.mx\/soto-geografia-miedo-mujeres-mexico\" tabindex=\"0\" role=\"button\" data-n2click=\"url\" data-force-pointer=\"\" class=\"n2-ss-slide n2-ow  n2-ss-slide-22\"><div role=\"note\" class=\"n2-ss-slide--focus\">num\u00e9ro postal-9-1<\/div><div class=\"n2-ss-layers-container n2-ss-slide-limiter n2-ow\"><div class=\"n2-ss-layer n2-ow n-uc-UlIuh6JW38ZQ\" data-sstype=\"slide\" data-pm=\"default\"><\/div><\/div><\/div><div data-slide-duration=\"0\" data-id=\"23\" data-slide-public-id=\"2\" data-title=\"postal-num-9-2\" data-haslink=\"1\" data-href=\"https:\/\/encartes.mx\/curiel-amaranto-alimento-indigena-patrimonio-activismo\" tabindex=\"0\" role=\"button\" data-n2click=\"url\" data-force-pointer=\"\" class=\"n2-ss-slide n2-ow  n2-ss-slide-23\"><div role=\"note\" class=\"n2-ss-slide--focus\">num\u00e9ro postal-9-2<\/div><div class=\"n2-ss-layers-container n2-ss-slide-limiter n2-ow\"><div class=\"n2-ss-layer n2-ow n-uc-NPORoRLUtLzM\" data-sstype=\"slide\" data-pm=\"default\"><\/div><\/div><\/div><div data-slide-duration=\"0\" data-id=\"24\" data-slide-public-id=\"3\" data-title=\"postal-num-9-3\" data-haslink=\"1\" data-href=\"https:\/\/encartes.mx\/ensayos-fotograficos\/alonso-tijuana-muro-intervenciones-artisticas-memoria-migrantes-muertos\/\" tabindex=\"0\" role=\"button\" data-n2click=\"url\" data-force-pointer=\"\" class=\"n2-ss-slide n2-ow  n2-ss-slide-24\"><div role=\"note\" class=\"n2-ss-slide--focus\">num\u00e9ro postal-9-3<\/div><div class=\"n2-ss-layers-container n2-ss-slide-limiter n2-ow\"><div class=\"n2-ss-layer n2-ow n-uc-0HrcEhVFgksj\" 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=\"D\u00e9marcation automatique\" data-pause-label=\"Pause d\u00e9marrage automatique\" data-play-label=\"D\u00e9marrage automatique\" 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-6-arrow-previous\" role=\"button\" aria-label=\"fl\u00e8che pr\u00e9c\u00e9dente\" 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-6-arrow-next\" role=\"button\" aria-label=\"fl\u00e8che suivante\" 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\">(In)s\u00e9curit\u00e9 et genre en Am\u00e9rique latine : strat\u00e9gies, pratiques et culture<\/h1>\n    <div class=\"tematica-content\">\n    <div class=\"coloquio-principal ms-item\">\n        <a class=\"post\" href=\"https:\/\/encartes.mx\/fr\/zamorano-capron-seguridad-genero-america-latina\/\">\n            <img decoding=\"async\" class=\"lazy loaded\" src=\"https:\/\/archive.org\/download\/vol5num10-multimedia\/10-main_thumb-vol5num10.jpg\" data-src=\"https:\/\/archive.org\/download\/vol5num10-multimedia\/10-main_thumb-vol5num10.jpg\" data-was-processed=\"true\">            <h1>Pr\u00e9sentation<\/h1>\n            <div class=\"text\">\n                <h3><ul class=\"list\"><li class=\"list-item\">Claudia C. Zamorano Villarreal et Gu\u00e9nola Capron<\/li><\/ul><\/h3>\n                <p class=\"has-drop-cap\">La question directrice de ce dossier vise \u00e0 comprendre comment les femmes font face, se prot\u00e8gent et luttent contre l'ins\u00e9curit\u00e9 urbaine en Am\u00e9rique latine. C'est une question \u00e0 laquelle nous r\u00e9pondons \u00e0 travers six articles, tous \u00e9crits par des femmes qui, qu'elles viennent de la sociologie, de la g\u00e9ographie, de la communication ou de l'anthropologie, mobilisent des techniques d'observation qualitative.<\/p>            <\/div>\n            <p class=\"mas\">Voir la pr\u00e9sentation compl\u00e8te<\/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\/fr\/soto-geografia-miedo-mujeres-mexico\/\">\n                <h2 class=\"title\">Un cadre analytique pour l'\u00e9tude des g\u00e9ographies de la peur chez les femmes, bas\u00e9 sur des preuves empiriques dans deux villes mexicaines.<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">Paula Soto Villagr\u00e1n<\/li><\/ul><\/h3>\n                                <p class=\"mas\">Cliquez ici<\/p>\n            <\/a>\n        <\/div>\n                <div class=\"comentario ms-item\">    \n            <a class=\"post\" href=\"https:\/\/encartes.mx\/fr\/baustista-violencia-genero-autocuidado-mexico\/\">\n                <h2 class=\"title\">Les filles ne veulent plus s'amuser : violence sexiste et soins personnels dans les banlieues de Mexico<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">\tMiriam Bautista Arias<\/li><\/ul><\/h3>\n                                <p class=\"mas\">Cliquez ici<\/p>\n            <\/a>\n        <\/div>\n                <div class=\"comentario ms-item\">    \n            <a class=\"post\" href=\"https:\/\/encartes.mx\/fr\/umana-transitar-ciudad-mujeres-jovenes-mexico\/\">\n                <h2 class=\"title\">Habiter et se d\u00e9placer dans la ville de Mexico : repr\u00e9sentations sociales de jeunes \u00e9tudiantes universitaires<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">Lorena Uma\u00f1a Reyes<\/li><\/ul><\/h3>\n                                <p class=\"mas\">Cliquez ici<\/p>\n            <\/a>\n        <\/div>\n                <div class=\"comentario ms-item\">    \n            <a class=\"post\" href=\"https:\/\/encartes.mx\/fr\/garcia-icazuriaga-estrategias-digitales-mobilidad-mujeres-mexico\/\">\n                <h2 class=\"title\">Strat\u00e9gies num\u00e9riques pour la mobilit\u00e9 quotidienne des jeunes femmes de la ville de Mexico<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">Gabriela Garc\u00eda Gorbea et Carmen Icazuriaga Montes<!--<\/li--><\/li><\/ul><\/h3>\n                                <p class=\"mas\">Cliquez ici<\/p>\n            <\/a>\n        <\/div>\n<div class=\"comentario ms-item\">    \n            <a class=\"post\" href=\"https:\/\/encartes.mx\/fr\/bertoni-estrategias-securitarias-sectores-populares-mujeres-argentina\/\">\n                <h2 class=\"title\">Strat\u00e9gies de s\u00e9curit\u00e9 des femmes dans la p\u00e9riph\u00e9rie urbaine de la ville de La Plata<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">\tGimena Bertoni<\/li><\/ul><\/h3>\n                                <p class=\"mas\">Cliquez ici<\/p>\n            <\/a>\n        <\/div>\n<div class=\"comentario ms-item\" style=\"border-bottom:none\">    \n            <a class=\"post\" href=\"https:\/\/encartes.mx\/fr\/flores-estrategias-cuidado-violencia-espacio-publico-mexico\/\">\n                <h2 class=\"title\">Strat\u00e9gies de soins face \u00e0 la violence masculine dans les espaces publics de la ville de Mexico<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">\tPaola Flores Miranda<\/li><\/ul><\/h3>\n                                <p class=\"mas\">Cliquez ici<\/p>\n            <\/a>\n        <\/div>\n            <\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/encartes.mx\/fr\/ensayos-fotograficos\/convocatoria-usos-contradicciones-infraestructura-urbana\/\"><img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol5num10-multimedia\/05-10-concurso-fotografias-encartes.webp\" alt=\"\"\/><\/a><\/figure>\n\n\n\n<h2 class=\"titulo-seccion wp-block-heading\">R\u00e9alit\u00e9s socioculturelles<\/h2>\n\n\n\n<div class=\"resena-wrap\">\n    <div class=\"ms-item resena\">\n        <a class=\"post\" href=\"https:\/\/encartes.mx\/fr\/petit-etnografia-sonora-ciego-buenos-aires\/\">\n                        <div class=\"ficha-material\">\n                <figure class=\"article-preview-image\">\n                    <img decoding=\"async\" src=\"https:\/\/encartes.mx\/wp-content\/uploads\/2022\/09\/petit-etnografia_sonora-imagen-thumb.jpg\" data-src=\"https:\/\/encartes.mx\/wp-content\/uploads\/2022\/09\/petit-etnografia_sonora-imagen-thumb.jpg\" class=\"attachment-large size-large wp-post-image lazy loaded\" alt=\"\" data-was-processed=\"true\">                <\/figure>\n<audio controls=\"\" src=\"https:\/\/archive.org\/download\/vol5num10-multimedia\/petit-etnografia_sonora-registro_sonoro-03.mp3\"><\/audio>\n                            <\/div>\n                        <div class=\"resena-content\">\n<h2 class=\"post-title\">Vous, peut-\u00eatre, ne le r\u00e9alisez pas. Ethnographie sonore d'un aveugle marchant dans la ville de Buenos Aires<\/h2>\n<h3><ul class=\"list\"><li class=\"list-item\">Facundo Petit<\/li><\/ul><\/h3>\n                <p class=\"has-drop-cap\">Cet article explore le r\u00f4le du son et de l'\u00e9coute dans l'exp\u00e9rience quotidienne de la marche dans l'espace urbain du point de vue de la c\u00e9cit\u00e9. \u00c0 cette fin, une ethnographie sonore est pr\u00e9sent\u00e9e dans laquelle s'entrem\u00ealent des enregistrements sonores, des images et des interpr\u00e9tations anthropologiques \u00e9crites, produites \u00e0 partir d'une promenade avec une personne aveugle. Les relations entre l'exp\u00e9rience urbaine, la mat\u00e9rialit\u00e9 de la ville et les d\u00e9placements effectu\u00e9s \u00e0 partir d'une sensorialit\u00e9 aveugle sont ainsi abord\u00e9es, proposant la possibilit\u00e9 d'\u00e9tudes urbaines incorporant une sensibilit\u00e9 ethnographique alternative au visuel. L'article commence par une br\u00e8ve contextualisation de la recherche, se poursuit par une conceptualisation de la m\u00e9thodologie de l'ethnographie sonore, puis passe \u00e0 une analyse des sensorialit\u00e9s aveugles dans le transport urbain et de la relation entre l'\u00c9tat, la ville et la c\u00e9cit\u00e9 dans la production d'une ville accessible.<\/p>                <p class=\"mas\">Cliquez ici<\/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\/fr\/curiel-amaranto-alimento-indigena-patrimonio-activismo\/\">\n                        <div class=\"ficha-material\">\n                <h2 class=\"post-title\">L'amarante en tant qu'aliment indig\u00e8ne : production patrimoniale et activisme alimentaire<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">Charlynne Curiel<\/li><\/ul><\/h3>\n                <h4><span class=\"before\">Mots cl\u00e9s : <\/span>patrimoine, activisme alimentaire, amarante, alimentation indig\u00e8ne, indig\u00e9n\u00e9it\u00e9.<\/h4>\n                            <\/div>\n                        <div class=\"resena-content\">\n                <p class=\"has-drop-cap\">Ce texte analyse la patrimonialisation de la nourriture comme un processus social qui produit de l'indig\u00e9n\u00e9it\u00e9 \u00e0 travers l'activisme alimentaire. Il pr\u00e9sente le cas du Grupo Enlace para la Promoci\u00f3n del Amaranto en M\u00e9xico, un acteur du d\u00e9bat sur la souverainet\u00e9 alimentaire, qui promeut la production, la transformation et la consommation de cette c\u00e9r\u00e9ale. Il illustre ses actions, ses pratiques organisationnelles et les r\u00e9cits qui ont dot\u00e9 l'amarante d'une s\u00e9rie de valeurs associ\u00e9es \u00e0 sa place dans le r\u00e9gime alimentaire m\u00e9soam\u00e9ricain, ce qui, actualis\u00e9 en tant qu'aliment indig\u00e8ne et ancestral, a conduit \u00e0 sa d\u00e9signation comme patrimoine immat\u00e9riel de la ville de Mexico. La pertinence de ce type d'activisme pour la production de l'indig\u00e9n\u00e9it\u00e9 dans le domaine du patrimoine alimentaire est d\u00e9montr\u00e9e.<\/p>                <p class=\"mas\">Cliquez ici<\/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\/fr\/funes-nachon-maspero-politicas-culturales-diversidad-religiosa-buenos-aires\/\">\n                        <div class=\"ficha-material\">\n                <h2 class=\"post-title\">La c\u00e9l\u00e9bration des croyances. Politiques culturelles et diversit\u00e9 religieuse dans un centre culturel public de la ville de Buenos Aires (Argentine)<\/h2>\n                <h3>\n                    <ul class=\"list\">\n<li class=\"list-item\">Mar\u00eda Eugenia Funes, Mercedes Nach\u00f3n Ram\u00edrez et Mercedes M\u00e1spero<\/li>\n                    <\/ul>\n                <\/h3>\n                <h4><span class=\"before\">Mots cl\u00e9s<\/span>Spiritualit\u00e9 de la Nueva Era, espace public, politiques culturelles, diversit\u00e9 religieuse, Argentine.<\/h4>\n                            <\/div>\n                        <div class=\"resena-content\">\n                <p class=\"has-drop-cap\">L'objectif de cet article est d'analyser la mani\u00e8re dont la diversit\u00e9 des croyances a \u00e9t\u00e9 d\u00e9finie et reconstruite dans un cycle organis\u00e9 par un centre culturel public de la ville de Buenos Aires. Pour ce faire, nous \u00e9tudierons les utilisations de la cat\u00e9gorie de la croyance et les r\u00e9f\u00e9rences spirituelles faites par les agents de l'\u00c9tat, les artistes et les sp\u00e9cialistes religieux et spirituels participants. Nous nous interrogeons sur les d\u00e9finitions du religieux, du spirituel et de la diversit\u00e9 des croyances qui sont mobilis\u00e9es en dehors des institutions traditionnellement li\u00e9es \u00e0 la religion. Nous entendons \u00e9galement montrer, \u00e0 partir d'un cas concret, comment le souci de diversit\u00e9 dans la conception des politiques publiques culturelles latino-am\u00e9ricaines peut coexister avec la s\u00e9lection d'expressions culturelles sp\u00e9cifiques qui, dans ce cas, ne repr\u00e9sentent qu'une partie de la diversit\u00e9 religieuse existante. Les donn\u00e9es ont \u00e9t\u00e9 construites \u00e0 partir d'une strat\u00e9gie qualitative comprenant l'observation des participants, des entretiens approfondis et l'analyse de documents.<\/p>\n\n<p class=\"mas\">Cliquez ici<\/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\/fr\/alonso-tijuana-muro-intervenciones-artisticas-memoria-migrantes-muertos\/\">\n                        <h2 class=\"post-title\">Le mur frontalier \u00e0 Tijuana. Traces photographiques des offrandes\/interventions artistiques \u00e0 la m\u00e9moire des migrants morts 1999-2021<\/h2>\n            <h3><ul class=\"list\"><li class=\"list-item\">Guillermo Alonso Meneses<\/li><\/ul><\/h3>\n            <p class=\"has-drop-cap\">La post-ethnographie s'int\u00e9resse aux \"micro-\u00e9v\u00e9nements\" et aux d\u00e9couvertes visuelles qui se sont produits \u00e0 Tijuana au cours des 28 derni\u00e8res ann\u00e9es. Ces photographies montrent une iconographie de croix blanches, de cr\u00e2nes, de jarres d'eau vides et de fleurs de souci. La post-photographie nous permet de redimensionner ces preuves ethnographiques. Ainsi, l'essai photographique parle d'une lutte de gu\u00e9rillas socioculturelles et artistiques contre l'oubli strat\u00e9gique promu par les gouvernements des \u00c9tats-Unis et du Mexique face \u00e0 la mort des migrants, et les murs frontaliers comme n\u00e9cro-artifacts o\u00f9 convergent l'art, la solidarit\u00e9 et la m\u00e9moire.<\/p>\n                    <\/a>\n    <\/div>\n<div class=\"multimedia-wrap media-xl\">\n       <div class=\"ficha material\"><a href=\"https:\/\/encartes.mx\/fr\/ensayos-fotograficos\/alonso-tijuana-muro-intervenciones-artisticas-memoria-migrantes-muertos\/\">\n<h3>Reportage photo<\/h3><img decoding=\"async\" src=\"https:\/\/archive.org\/download\/vol5num10-multimedia\/meneses-muro_fronterizo-01.jpg\" data-src=\"https:\/\/archive.org\/download\/vol5num10-multimedia\/meneses-muro_fronterizo-01.jpg\" alt=\"\" class=\"wp-image-32026 lazy loaded\" data-was-processed=\"true\"><p class=\"mas\">Cliquez ici pour voir l'essai<\/p><\/a><\/div>\n    <\/div>\n<\/div>\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\/fr\/de-la-torre-gutierrez-altares-muerto-patrimonio-tradicion-mexico\/\">\n                        <h2 class=\"post-title\">Autels des morts : l'h\u00e9ritage changeant d'une tradition mexicaine<\/h2>\n            <h3><ul class=\"list\"><li class=\"list-item\">Ren\u00e9e de la Torre et Cristina Guti\u00e9rrez Z\u00fa\u00f1iga<\/li><\/ul><\/h3>\n            <p class=\"has-drop-cap translation-block\">La vid\u00e9o est le r\u00e9sultat d'une enqu\u00eate sur les effets, les adaptations et les d\u00e9placements subis par la tradition du jour des morts au Mexique en novembre de la premi\u00e8re ann\u00e9e de la pand\u00e9mie de <span class=\"small-caps\">covid<\/span>-19. \u00c0 cette \u00e9poque, les c\u00e9r\u00e9monies publiques de ce jour, consid\u00e9r\u00e9es comme un patrimoine national immat\u00e9riel, avaient \u00e9t\u00e9 annul\u00e9es. Nous avons r\u00e9alis\u00e9 une enqu\u00eate en ligne pour savoir quels seraient les effets de cette culture de l'isolement sur la tradition du Jour des Morts : la tradition cesserait-elle, ou \u00e9voluerait-elle vers de nouveaux usages, lieux et expressions ? Et quelles nouvelles utilisations cr\u00e9atives de la tradition \u00e9mergeraient, dans quels nouveaux m\u00e9dias serait-elle ex\u00e9cut\u00e9e ? Avec les donn\u00e9es obtenues \u00e0 partir de 720 questionnaires et 280 photographies re\u00e7ues des autels des morts, nous avons r\u00e9alis\u00e9 une vid\u00e9o pour expliquer les d\u00e9placements physiques, les changements esth\u00e9tiques et les nouvelles significations avec lesquelles la pratique de cette tradition a \u00e9t\u00e9 renouvel\u00e9e.<\/p>\n                    <\/a>\n    <\/div>\n<div class=\"multimedia-wrap media-xl\">\n       <div class=\"ficha material\"><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=\"Autels des morts : l&#039;h\u00e9ritage changeant d&#039;une tradition mexicaine\" width=\"580\" height=\"326\" src=\"https:\/\/www.youtube.com\/embed\/prN7997stxs?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><\/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\/fr\/curley-trayectoria-decolonizacion-america-latina\/\">\n            <h2 class=\"post-title\">La trajectoire intellectuelle de Rita Segato. Le cheminement de la pens\u00e9e d\u00e9coloniale en Am\u00e9rique latine<\/h2>\n        <h5><ul class=\"list\"><li class=\"list-item\">Rita Segato<\/li><\/ul><\/h5>\n            <h3><ul class=\"list\"><li class=\"list-item\">Robert Curley<\/li><\/ul><\/h3>\n            <p class=\"has-drop-cap\">Segato propose que le patriarcat moderne organise le contr\u00f4le des femmes sur la base d'un mandat de viol, une pratique qui forge l'alliance entre les hommes en tant que partenaires. Cependant, elle se demande comment le patriarcat structure les relations sociales \u00e0 diff\u00e9rentes \u00e9poques et dans diff\u00e9rents espaces, une position m\u00e9thodologique qui nous oblige \u00e0 penser historiquement.<\/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=\"La trajectoire intellectuelle de Rita Segato. Le cheminement de la pens\u00e9e d\u00e9coloniale en Am\u00e9rique latine\" width=\"580\" height=\"326\" src=\"https:\/\/www.youtube.com\/embed\/85yVtlera_E?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 media-xl text col-lg-6 col-md-6 col-sm-6 col-xs-12\">    \n        <a class=\"post\" href=\"https:\/\/encartes.mx\/fr\/calvillo-gutierrez-alvarado-movimiento-historia-colsan\/\">\n            <h2 class=\"post-title\">Le mouvement de l'histoire, le mouvement de la vie int\u00e9rieure<\/h2>\n        <h5><ul class=\"list\"><li class=\"list-item\">Tom\u00e1s Calvillo<\/li><\/ul><\/h5>\n            <h3><ul class=\"list\"><li class=\"list-item\">Arturo Guti\u00e9rrez del \u00c1ngel et Greta Alvarado Lugo<\/li><\/ul><\/h3>\n            <p class=\"has-drop-cap\">En tant qu'analyste des faits sociaux, Calvillo commente ses r\u00e9flexions sur l'hypertechnologie dans laquelle nous vivons aujourd'hui. Un commentaire tranchant s'impose : ce qui est en cause aujourd'hui dans les syst\u00e8mes de pouvoir, c'est le contr\u00f4le de l'esprit ; que s'est-il pass\u00e9 pour en arriver l\u00e0 ? Pourquoi voulons-nous aller plus vite ? Quand cela a-t-il commenc\u00e9 ?<\/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=\"Entretien avec Tom\u00e1s Calvillo. Le mouvement de l&#039;histoire, le mouvement de la vie int\u00e9rieure\" width=\"580\" height=\"326\" src=\"https:\/\/www.youtube.com\/embed\/zezZbbTQ96Q?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<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\/fr\/griera-lerma-toniol-rabbia-patino-odgers-teorias-conspiracionistas-covid-religion\/\">\n                <figure class=\"article-preview-image\">\n                    <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/archive.org\/download\/encartes-vol-5-num-10\/griera-lerma-toniol-rabbia-patino-odgers-teorias-conspiracionistas-covid-religion-image.thumb.jpg\" data-src=\"https:\/\/archive.org\/download\/encartes-vol-5-num-10\/griera-lerma-toniol-rabbia-patino-odgers-teorias-conspiracionistas-covid-religion-image.thumb.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\/fr\/griera-lerma-toniol-rabbia-patino-odgers-teorias-conspiracionistas-covid-religion\/\">\n            <div class=\"resena-content\">\n<h2 class=\"post-title\">Les matrices religieuses et\/ou spirituelles des th\u00e9ories du complot \u00e0 l'\u00e9poque de Covid-19<\/h2>\n                <h5><ul class=\"list\"><li class=\"list-item\">Mar Griera, Enriqueta Lerma, Rodrigo Toniol, Hugo H. Rabbia<\/li><\/ul><\/h5><h3><ul class=\"list\"><li class=\"list-item\"><span>mod\u00e9rateurs<\/span> Olga Odgers et Mar\u00eda Eugenia Pati\u00f1o<\/li><\/ul><\/h3>\n                <p class=\"has-drop-cap\">Dans ce document, quatre experts d'Espagne, du Mexique, du Br\u00e9sil et d'Argentine discutent de la relation entre les mouvements conspirationnistes, de leurs liens avec les syst\u00e8mes de croyances religieuses ou spirituelles, et de leurs implications pour les soci\u00e9t\u00e9s contemporaines.<\/p>                \n<p class=\"mas\">Cliquez ici<\/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\/fr\/gaona-publicacion-libros-america-latina-siglo-20-sora\/\">\n                        <div class=\"ficha-material\">\n                <img decoding=\"async\" class=\"lazy loaded\" src=\"https:\/\/archive.org\/download\/vol5num10-multimedia\/gaona-publicacion-libros-america-latina-siglo-20-sora.jpg\" data-src=\"https:\/\/archive.org\/download\/vol5num10-multimedia\/gaona-publicacion-libros-america-latina-siglo-20-sora.jpg\" data-was-processed=\"true\">\n                <div class=\"datos\">\n                    <p class=\"titulo-material\">Une histoire de l'\u00e9dition de livres dans l'Am\u00e9rique latine contemporaine<\/p>\n                    <p class=\"ref-material\"><span class=\"autor\">Gustavo Sor\u00e1<\/span>2021, New York, Routledge Taylor\/Francis Group, 245 pp.<\/p>\n                <\/div>\n            <\/div>\n            <div class=\"resena-content\">\n                <h2 class=\"post-title\">Perspectives transnationales sur l'\u00e9dition de livres en Am\u00e9rique latine, 20e si\u00e8cle<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">Juan Carlos Gaona Poveda<\/li><\/ul><\/h3>\n                <p class=\"has-drop-cap\">L'histoire du livre et de l'\u00e9dition est un courant historiographique en voie de consolidation, dans lequel le d\u00e9veloppement du capitalisme de l'imprim\u00e9 est souvent li\u00e9 \u00e0 l'\u00e9mergence de communaut\u00e9s nationales imagin\u00e9es, dans un processus qui remonte au XIXe si\u00e8cle (Anderson, 2006). Ainsi, l'\u00e9tude de la culture de l'imprim\u00e9 s'est d\u00e9velopp\u00e9e dans le cadre d'un nationalisme m\u00e9thodologique qu'il convient de d\u00e9passer (Bourdieu, 2002). En Ib\u00e9ro-Am\u00e9rique, nous disposons de travaux pour des pays comme l'Espagne (Mart\u00ednez, 2015), l'Argentine (De Diego, 2014) et le Mexique (Bello et Garone, 2020). Cependant, les ph\u00e9nom\u00e8nes de production, de circulation et de r\u00e9ception des id\u00e9es par le biais des m\u00e9dias imprim\u00e9s d\u00e9passent les cadres de l'\u00c9tat-nation, comme le soulignent Gustavo Sor\u00e1 (2003 ; 2017), Antonio Largo et Nicanor G\u00f3mez (2006) et Alejandro Dujovne (2014). C'est une approche transnationale reprise \u00e0 l'\u00e9chelle de l'Am\u00e9rique latine dans le nouveau livre de l'anthropologue argentin Gustavo Sor\u00e1, A History of Book Publishing in Contemporary Latin America, publi\u00e9 en f\u00e9vrier 2021.<\/p>                \n<p class=\"mas\">Cliquez ici<\/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\/fr\/villagomez-ciudadania-organizacioncrisis-ambiental-documental\/\">\n                        <div class=\"ficha-material\">\n                <img decoding=\"async\" class=\"lazy loaded\" src=\"https:\/\/archive.org\/download\/vol5num10-multimedia\/villagomez-ciudadania-organizacioncrisis-ambiental-documental-el_mundo_manana.jpg\" data-src=\"https:\/\/archive.org\/download\/vol5num10-multimedia\/villagomez-ciudadania-organizacioncrisis-ambiental-documental-el_mundo_manana.jpg\" data-was-processed=\"true\">\n                <div class=\"datos\">\n                    <p class=\"titulo-material\">Le monde de demain<\/p>\n                    <p class=\"ref-material\"><span class=\"autor\">Patrick Boitet, Anthony Forestier et Samah Soula<\/span>2016, Paris, TF2, 2016.<\/p>\n                <\/div>\n            <\/div>\n            <div class=\"resena-content\">\n                <h2 class=\"post-title\">Citoyennet\u00e9 et organisation sociale face \u00e0 la crise environnementale mondiale. Le monde de demain<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">Yanga Villag\u00f3mez Vel\u00e1zquez<\/li><\/ul><\/h3>\n                <p class=\"has-drop-cap\">Les probl\u00e8mes environnementaux touchent d\u00e9j\u00e0 l'ensemble de la plan\u00e8te, sans distinction de pays, de culture, de continent ou de classe sociale. Le changement climatique d\u00fb aux \u00e9missions de gaz \u00e0 effet de serre a un impact \u00e9vident sur les soci\u00e9t\u00e9s urbaines et rurales dans diff\u00e9rentes parties du monde.<\/p>                \n\n<p class=\"mas\">Cliquez ici<\/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\/fr\/zirion-ensenanza-documental-antropologico-documental-carlos-flores\/\">\n                        <div class=\"ficha-material\">\n                <img decoding=\"async\" class=\"lazy loaded\" src=\"https:\/\/archive.org\/download\/vol5num10-multimedia\/zirion-ensenanza-documental-antropologico-documental-carlos-flores.jpg\" data-src=\"https:\/\/archive.org\/download\/vol5num10-multimedia\/zirion-ensenanza-documental-antropologico-documental-carlos-flores.jpg\" data-was-processed=\"true\">\n                <div class=\"datos\">\n                    <p class=\"titulo-material\">Le documentaire anthropologique. Une introduction th\u00e9orico-pratique<\/p>\n                    <p class=\"ref-material\"><span class=\"autor\">Carlos Y. Flores<\/span> Mexique : Centro de Investigaciones Multidisciplinarias sobre Chiapas y la Frontera Sur, 2020, 242 pp.<\/p>\n                <\/div>\n            <\/div>\n            <div class=\"resena-content\">\n                <h2 class=\"post-title\">Enseigner le documentaire anthropologique : paradoxes et controverses<\/h2>\n                <h3><ul class=\"list\"><li class=\"list-item\">Antonio Ziri\u00f3n P\u00e9rez <\/li><\/ul><\/h3>\n                <p class=\"has-drop-cap\">Le nouveau livre de Carlos Y. Flores offre une excellente occasion de r\u00e9fl\u00e9chir \u00e0 certaines questions cruciales pour l'anthropologie visuelle et de discuter de certains paradoxes et controverses que l'on retrouve dans le cin\u00e9ma anthropologique. Pour commencer, on peut s'interroger sur la cat\u00e9gorie m\u00eame de \"documentaire anthropologique\", qui aurait pu \u00eatre \"cin\u00e9ma ethnographique\" - peut-\u00eatre plus consolid\u00e9 dans le milieu au niveau international - ou un autre des diff\u00e9rents termes propos\u00e9s par diff\u00e9rents auteurs (cin\u00e9tographie, ethnocin\u00e9ma, ethnofiction, etc.). Ce n'est pas qu'un nom soit plus correct qu'un autre, mais le choix de l'un d'entre eux souligne in\u00e9vitablement certaines nuances et pr\u00e9suppositions, tout en se distinguant d'autres possibles, brouillant et d\u00e9limitant ainsi les contours du type de cin\u00e9ma que nous faisons ou \u00e9tudions en tant qu'anthropologues. Il est toujours productif de discuter en profondeur de nos cat\u00e9gories et de nos fondements conceptuels, et la lecture de ce livre nous conduit implicitement \u00e0 cette t\u00e2che.<\/p>                \n\n<p class=\"mas\">Cliquez ici<\/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\">Directeur de <em>Encartes<\/em>.<\/p><p class=\"name\"><a href=\"https:\/\/encartes.mx\/fr\/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\">Dessin et formation<\/p><p class=\"name\">Veronica Segovia<\/p><p class=\"title\">Formation WordPress<\/p><p class=\"name\">Sergio Alejandro Vel\u00e1zquez Cruz<\/p>        <p class=\"title\">\n            <a class=\"directorio\" href=\"https:\/\/archive.org\/download\/encartes-vol-5-num-10\/05-10-directorio-encartes.pdf\">Voir le r\u00e9pertoire complet<\/a>\n        <\/p>\n    <\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Vol. 5, N\u00fam. 10 (2022) Ver n\u00famero completo en PDF en este n\u00famero Tem\u00e1ticas (In)seguridad y g\u00e9nero en Am\u00e9rica Latina: estrategias, pr\u00e1cticas y cultura Presentaci\u00f3n Claudia C. Zamorano Villarreal y Gu\u00e9nola Capron La pregunta gu\u00eda del presente dossier trata de entender c\u00f3mo las mujeres lidian con la inseguridad urbana, se protegen y luchan contra ella [&hellip;]<\/p>","protected":false},"author":4,"featured_media":36565,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"numerostemplate.php","meta":{"_acf_changed":false,"footnotes":""},"coauthors":[551],"class_list":["post-36202","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. 10 (2022) &#8211; Encartes<\/title>\n<meta name=\"description\" content=\"La pregunta gu\u00eda del presente dossier trata de entender c\u00f3mo las mujeres lidian con la inseguridad urbana, se protegen y luchan contra ella.\" \/>\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\/fr\/vol-5-num-10-2022\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vol. 5, N\u00fam. 10 (2022) &#8211; 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