1,356,322 research outputs found
The psycho-social malaise of migrant private carers in Italy: A rampant, but hidden health demand
No full textDespite having become an essential part of the national welfare system, the Italian private care market has developed in a situation of institutional disengagement. As a consequence, this sector, which has a high presence of female migrant workers, is currently characterised by serious flaws. What are the consequences for the psycho-social well-being of migrant private carers (MPCs)? This article highlights and analyses the high correlation between migrant women’s involvement in the Italian private care market and their manifestations of psycho-social malaise, the latter being one of the main factors motivating the access to health services for MPCs employed in Italy. Based on qualitative data collected in Italy in 2009-2010: 32 in-depth interviews to MPCs, a focus group discussion involving seven MPCs, and 23 semi-structured interviews to providers working in close contact with MPCs, mostly in health services, it describes how the malaise of MPCs is generated, and how it is interpreted and expressed (or not expressed) by them. In particular, it investigates the social dynamics determining the latent nature of this phenomenon, and its tendency to work silently on MPCs’ subjectivities without coming to the attention of health services, which are therefore not able to prevent or limit its negative consequences. Nevertheless, this article also shows that this malaise sometimes surfaces in the health service (albeit too rarely, or too late) and how it is generally managed by health providers. In particular, a timely encounter with the health system involving the simple externalisation and acknowledgement of this psycho-social malaise can have a crucial therapeutic value, meaningfully helping to prevent it from becoming a serious condition. On this basis, the importance is highlighted of creating channels for facilitating the meeting between this pressing but unexpressed health need and the institutions in charge of the health of society
Isabel Sarli monster, Isabel Sarli 'mostra': Sex-dissident genealogies from Fuego or how Coca Sarli becomes an archive of queer feelings
No full textEste trabajo realiza una lectura desde las disidencias sexo-genéricas en torno a la idea de Isabel Sarli como un "monstruo" cultural que forma parte de un archivo de sentimientos (Cvetkovich, 2018) de las disidencias sexuales. A partir de resistencias y resignificaciones "monstruosas", aparecen conexiones culturales que han impreso sentimientos en los cuerpos de las disidencias sexuales. Voy a trabajar con la película Fuego (1969) y algunas derivas posibles en torno a la idea de ?monstruo/mostra?, pretendo pensar cierta figuración de Isabel Sarli como un dispositivo cultural 'monstruoso' (en un sentido resignificado cuir) que llamaré la Coca Cuira, en una (re)formulación terrorista de terminologías queer. Para esto se realizará un análisis del filme focalizado en la relación entre los personajes de Laura (Sarli) y Andrea (Alba Mujica). Luego se abordarán derivas y conexiones queer vinculadas a la figura de Isabel Sarli en apariciones culturales en diferentes momentos históricos y espacios geográficos.This paper makes a reading from the sexual dissidences about the idea of Isabel Sarli as a cultural "monster" that is part of an archive of feelings (Cvetkovich, 2018) of sexual dissidences. From "monstrous" resistances and resignifications, appear cultural connections that leave a mark on affective archive of sexual dissidences. I am going to work with the film Fuego (1969) and some possible drifts around the idea of 'monster/mostra', I intend to think of a certain figuration of Isabel Sarli as a 'monstrous' cultural device (in a queer resignified sense) that I will call the Coca Cuira, in a terrorist (re)formulation of queer terminologies. This paper makes an analysis of the film focused on the relationship between the characters of Laura (Sarli) and Andrea (Alba Mujica). Then, queer drifts and connections linked to the figure of Isabel Sarli in cultural appearances at different historical moments and geographical spaces will be addressed.Fil: Saxe, Facundo. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina
Isabel Sarli monster, Isabel Sarli 'mostra': Sex-dissident genealogies from Fuego or how Coca Sarli becomes an archive of queer feelings
No full textEste trabajo realiza una lectura desde las disidencias sexo-genéricas en torno a la idea de Isabel Sarli como un "monstruo" cultural que forma parte de un archivo de sentimientos (Cvetkovich, 2018) de las disidencias sexuales. A partir de resistencias y resignificaciones "monstruosas", aparecen conexiones culturales que han impreso sentimientos en los cuerpos de las disidencias sexuales. Voy a trabajar con la película Fuego (1969) y algunas derivas posibles en torno a la idea de ?monstruo/mostra?, pretendo pensar cierta figuración de Isabel Sarli como un dispositivo cultural 'monstruoso' (en un sentido resignificado cuir) que llamaré la Coca Cuira, en una (re)formulación terrorista de terminologías queer. Para esto se realizará un análisis del filme focalizado en la relación entre los personajes de Laura (Sarli) y Andrea (Alba Mujica). Luego se abordarán derivas y conexiones queer vinculadas a la figura de Isabel Sarli en apariciones culturales en diferentes momentos históricos y espacios geográficos.This paper makes a reading from the sexual dissidences about the idea of Isabel Sarli as a cultural "monster" that is part of an archive of feelings (Cvetkovich, 2018) of sexual dissidences. From "monstrous" resistances and resignifications, appear cultural connections that leave a mark on affective archive of sexual dissidences. I am going to work with the film Fuego (1969) and some possible drifts around the idea of 'monster/mostra', I intend to think of a certain figuration of Isabel Sarli as a 'monstrous' cultural device (in a queer resignified sense) that I will call the Coca Cuira, in a terrorist (re)formulation of queer terminologies. This paper makes an analysis of the film focused on the relationship between the characters of Laura (Sarli) and Andrea (Alba Mujica). Then, queer drifts and connections linked to the figure of Isabel Sarli in cultural appearances at different historical moments and geographical spaces will be addressed.Fil: Saxe, Facundo. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina
Isabel Sarli monster, Isabel Sarli 'mostra': Sex-dissident genealogies from Fuego or how Coca Sarli becomes an archive of queer feelings
No full textEste trabajo realiza una lectura desde las disidencias sexo-genéricas en torno a la idea de Isabel Sarli como un "monstruo" cultural que forma parte de un archivo de sentimientos (Cvetkovich, 2018) de las disidencias sexuales. A partir de resistencias y resignificaciones "monstruosas", aparecen conexiones culturales que han impreso sentimientos en los cuerpos de las disidencias sexuales. Voy a trabajar con la película Fuego (1969) y algunas derivas posibles en torno a la idea de ?monstruo/mostra?, pretendo pensar cierta figuración de Isabel Sarli como un dispositivo cultural 'monstruoso' (en un sentido resignificado cuir) que llamaré la Coca Cuira, en una (re)formulación terrorista de terminologías queer. Para esto se realizará un análisis del filme focalizado en la relación entre los personajes de Laura (Sarli) y Andrea (Alba Mujica). Luego se abordarán derivas y conexiones queer vinculadas a la figura de Isabel Sarli en apariciones culturales en diferentes momentos históricos y espacios geográficos.This paper makes a reading from the sexual dissidences about the idea of Isabel Sarli as a cultural "monster" that is part of an archive of feelings (Cvetkovich, 2018) of sexual dissidences. From "monstrous" resistances and resignifications, appear cultural connections that leave a mark on affective archive of sexual dissidences. I am going to work with the film Fuego (1969) and some possible drifts around the idea of 'monster/mostra', I intend to think of a certain figuration of Isabel Sarli as a 'monstrous' cultural device (in a queer resignified sense) that I will call the Coca Cuira, in a terrorist (re)formulation of queer terminologies. This paper makes an analysis of the film focused on the relationship between the characters of Laura (Sarli) and Andrea (Alba Mujica). Then, queer drifts and connections linked to the figure of Isabel Sarli in cultural appearances at different historical moments and geographical spaces will be addressed.Fil: Saxe, Facundo. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina
Isabel Sarli monstruo, Isabel Sarli ‘mostra’: genealogías sexo-disidentes a partir de Fuego o cómo la Coca Sarli deviene en un archivo de sentimientos cuir
No full textEste trabajo realiza una lectura desde las disidencias sexo-genéricas en torno a la idea de Isabel Sarli como un “monstruo” cultural que forma parte de un archivo de sentimientos (Cvetkovich, 2018) de las disidencias sexuales. A partir de resistencias y resignificaciones “monstruosas”, aparecen conexiones culturales que han impreso sentimientos en los cuerpos de las disidencias sexuales. Voy a trabajar con la película Fuego (1969) y algunas derivas posibles en torno a la idea de ‘monstruo/mostra’, pretendo pensar cierta figuración de Isabel Sarli como un dispositivo cultural ‘monstruoso’ (en un sentido resignificado cuir) que llamaré la Coca Cuira, en una (re)formulación terrorista de terminologías queer. Para esto se realizará un análisis del filme focalizado en la relación entre los personajes de Laura (Sarli) y Andrea (Alba Mujica). Luego se abordarán derivas y conexiones queer vinculadas a la figura de Isabel Sarli en apariciones culturales en diferentes momentos históricos y espacios geográficos
Isabel Sarli monster, Isabel Sarli ‘mostra’: sex-dissident genealogies from Fuego or how Coca Sarli becomes an archive of queer feelings
No full textEste trabajo realiza una lectura desde las disidencias sexo-genéricas en torno a la idea de Isabel Sarli como un “monstruo” cultural que forma parte de un archivo de sentimientos (Cvetkovich, 2018) de las disidencias sexuales. A partir de resistencias y resignificaciones “monstruosas”, aparecen conexiones culturales que han impreso sentimientos en los cuerpos de las disidencias sexuales. Voy a trabajar con la película Fuego (1969) y algunas derivas posibles en torno a la idea de ‘monstruo/mostra’, pretendo pensar cierta figuración de Isabel Sarli como un dispositivo cultural ‘monstruoso’ (en un sentido resignificado cuir) que llamaré la Coca Cuira, en una (re)formulación terrorista de terminologías queer. Para esto se realizará un análisis del filme focalizado en la relación entre los personajes de Laura (Sarli) y Andrea (Alba Mujica). Luego se abordarán derivas y conexiones queer vinculadas a la figura de Isabel Sarli en apariciones culturales en diferentes momentos históricos y espacios geográficos.This paper makes a reading from the sexual dissidences about the idea of Isabel Sarli as a cultural “monster” that is part of an archive of feelings (Cvetkovich, 2018) of sexual dissidences. From “monstrous” resistances and resignifications, appear cultural connections that leave a mark on affective archive of sexual dissidences. I am going to work with the film Fuego (1969) and some possible drifts around the idea of ‘monster/mostra’, I intend to think of a certain figuration of Isabel Sarli as a ‘monstrous’ cultural device (in a queer resignified sense) that I will call the Coca Cuira, in a terrorist (re)formulation of queer terminologies. This paper makes an analysis of the film focused on the relationship between the characters of Laura (Sarli) and Andrea (Alba Mujica). Then, queer drifts and connections linked to the figure of Isabel Sarli in cultural appearances at different historical moments and geographical spaces will be addressed.Fil: Saxe, Facundo Nazareno. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - La Plata. Instituto de Investigaciones en Humanidades y Ciencias Sociales. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales; Argentin
Isabel Sarli monster, Isabel Sarli ‘mostra’: sex-dissident genealogies from Fuego or how Coca Sarli becomes an archive of queer feelings
No full textEste trabajo realiza una lectura desde las disidencias sexo-genéricas en torno a la idea de Isabel Sarli como un “monstruo” cultural que forma parte de un archivo de sentimientos (Cvetkovich, 2018) de las disidencias sexuales. A partir de resistencias y resignificaciones “monstruosas”, aparecen conexiones culturales que han impreso sentimientos en los cuerpos de las disidencias sexuales. Voy a trabajar con la película Fuego (1969) y algunas derivas posibles en torno a la idea de ‘monstruo/mostra’, pretendo pensar cierta figuración de Isabel Sarli como un dispositivo cultural ‘monstruoso’ (en un sentido resignificado cuir) que llamaré la Coca Cuira, en una (re)formulación terrorista de terminologías queer. Para esto se realizará un análisis del filme focalizado en la relación entre los personajes de Laura (Sarli) y Andrea (Alba Mujica). Luego se abordarán derivas y conexiones queer vinculadas a la figura de Isabel Sarli en apariciones culturales en diferentes momentos históricos y espacios geográficos.This paper makes a reading from the sexual dissidences about the idea of Isabel Sarli as a cultural “monster” that is part of an archive of feelings (Cvetkovich, 2018) of sexual dissidences. From “monstrous” resistances and resignifications, appear cultural connections that leave a mark on affective archive of sexual dissidences. I am going to work with the film Fuego (1969) and some possible drifts around the idea of ‘monster/mostra’, I intend to think of a certain figuration of Isabel Sarli as a ‘monstrous’ cultural device (in a queer resignified sense) that I will call the Coca Cuira, in a terrorist (re)formulation of queer terminologies. This paper makes an analysis of the film focused on the relationship between the characters of Laura (Sarli) and Andrea (Alba Mujica). Then, queer drifts and connections linked to the figure of Isabel Sarli in cultural appearances at different historical moments and geographical spaces will be addressed.Fil: Saxe, Facundo Nazareno. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - La Plata. Instituto de Investigaciones en Humanidades y Ciencias Sociales. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales; Argentin
The intercultural competence of second-generation individuals: knowledge gaps and steps forward
No full textSecond generation individuals (SGIs) represent an increasingly important share of the growing European population. Most literature focuses on the difficulties experienced by SGIs, risking reinforcing popular constructions of SGIs as a problematic group. Examining the potentials of SGIs may help to create a more balanced representation of their social reality and highlight opportunities inherent in multi-ethnic societies. In this paper we suggest that SGIs upbringing amongst multiple cultures may, under certain conditions, favour their developing strong intercultural competence (IC), a vital resource in contemporary, highly diverse societies. Following a literature review, we highlight that the IC of SGIs remains largely unexplored and there is a need for further research to investigate its features and the factors fostering and hindering its development. We begin by defining IC and the approach we adopt to view the construct, and by characterizing SGIs and the main critical implications and potentials of their growing up within multiple cultural environments. Subsequently we unite the contributions of migration studies and the body of work on IC in order to explain the processes by which SGIs likely develop IC. We propose the need for investigation of the IC of SGIs, making the case that research on IC should acknowledge the distinctiveness of SGIs experience and therefore utilize specific conceptual and methodological tools to explore the features and development processes of their IC. The paper ends with a discussion of the remaining knowledge gaps and by setting out an agenda for future research on the IC of SGIs
Migrants’ competence recognition systems: Controversial links between social inclusion aims and unexpected discrimination effects
No full textAn adequate incorporation of migrants in the labour market, able to fully unleash their potential, is a major challenge for EU development. In this direction, the recognition of migrants skills, knowledge and competence acquired in formal and non/informal contexts represents a crucial issue. Based on a comparative research work conducted at European level, this paper highlights the ambivalence of competence recognition systems which, whilst representing potential means of social inclusion, in certain condition risk becoming invisible instruments of discrimination. Moreover it provides some recommendations for improving the substantial universalism of EU competence recognition systems and their impact on migrants integration
- …
