"This local study of the impact of political violence on a Maya Indian village is based on intensive fieldwork in the department of El Quiche, Guatemala, during 1988-1990. It examines the processes of"
"This local study of the impact of political violence on a Maya Indian village is based on intensive fieldwork in the department of El Quiche, Guatemala, during 1988-1990. It examines the processes of"
Judith N. Zur is an independent scholar living in London.
Inhaltsangabe
Acknowledgements Map Introduction The Search for 'Emol' The Widows The Anthropology of War Organizational Structure of the Book Notes The Setting Education and Language Ethnic Diversity and Class The Development of Religious Difference Conclusion Notes Gender Relations Before 'La Violencia' Religion and Politics Marriage and Remarriage The Sexual Division of Labour Conclusion Notes 'La Violencia' The Course of 'La Violencia' Characteristics of 'La Violencia' The Guerrilla Conclusion Notes Village Patrols and Their Violence The Army and the Patrols Instituting the Patrols Joining the Patrols Kotoh's Public Massacre Undermining the Social Fabric Conclusion Notes Women's Lives as Widows (Malca'nib) Residence Following Widowhood Female Headed Households Attitudes to Remarriage Relations with Others Perceptions of Widows Conclusion Notes Popular Memories of 'La Violencia' The War on Memory Creating a Space for Memories The Reworking of Narratives The Reconstruction of the Self Conclusion Notes The Dead the Disappeared and Clandestine Graves The Costumbrista Death Death During 'La Violencia' The Disappeared The Missing Funeral Grief Reclaiming the Dead Conclusion Notes K'iche' Theories of Causation and the Reconstruction of Meaning of 'La Violencia' Framing 'La Violencia' Interpreting 'La Violencia' The Reconstruction of Meaning Notes Cultural Construction and Reconstruction of Danger Preparing for the Recognition of Danger The Things Most Feared Manipulating Concepts of Danger Reconceptualizing Danger The Repercussions of the Proliferation of Danger Conclusion Notes The Exhumation and Beyond Returning to Emol The Exhumation in Emol After the Exhumation Children as Symbols of the Future Conclusion Notes Epilogue List of Acronyms Bibliography Index Figure 1: "Soldier Saints" Figure 2: "Guerrilla Devils"
Acknowledgements Map Introduction The Search for 'Emol' The Widows The Anthropology of War Organizational Structure of the Book Notes The Setting Education and Language Ethnic Diversity and Class The Development of Religious Difference Conclusion Notes Gender Relations Before 'La Violencia' Religion and Politics Marriage and Remarriage The Sexual Division of Labour Conclusion Notes 'La Violencia' The Course of 'La Violencia' Characteristics of 'La Violencia' The Guerrilla Conclusion Notes Village Patrols and Their Violence The Army and the Patrols Instituting the Patrols Joining the Patrols Kotoh's Public Massacre Undermining the Social Fabric Conclusion Notes Women's Lives as Widows (Malca'nib) Residence Following Widowhood Female Headed Households Attitudes to Remarriage Relations with Others Perceptions of Widows Conclusion Notes Popular Memories of 'La Violencia' The War on Memory Creating a Space for Memories The Reworking of Narratives The Reconstruction of the Self Conclusion Notes The Dead the Disappeared and Clandestine Graves The Costumbrista Death Death During 'La Violencia' The Disappeared The Missing Funeral Grief Reclaiming the Dead Conclusion Notes K'iche' Theories of Causation and the Reconstruction of Meaning of 'La Violencia' Framing 'La Violencia' Interpreting 'La Violencia' The Reconstruction of Meaning Notes Cultural Construction and Reconstruction of Danger Preparing for the Recognition of Danger The Things Most Feared Manipulating Concepts of Danger Reconceptualizing Danger The Repercussions of the Proliferation of Danger Conclusion Notes The Exhumation and Beyond Returning to Emol The Exhumation in Emol After the Exhumation Children as Symbols of the Future Conclusion Notes Epilogue List of Acronyms Bibliography Index Figure 1: "Soldier Saints" Figure 2: "Guerrilla Devils"
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