Titlebook: Kinship, Love, and Life Cycle in Contemporary Havana, Cuba; To Not Die Alone Heidi Härkönen Book 2016 The Editor(s) (if applicable) and The

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别炫耀

transient-pain

Fertility and Reproduction: Having a Child Is Worth the Trouble,et Havana. This chapter explores pregnancy and an infant’s early days, when the mother and the baby receive care from the father and from both the father’s and the mother’s kin. While affine relations are usually seen as fragile in the Caribbean, through diverse caring and ritual practices, the birt

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Becoming a Woman: Quince as a Moment of Female Sexuality, in female sexuality and the girl’s becoming a woman. .’s symbolism draws on colonial imagery and highlights glamour and the girl’s beauty, articulating uneasily with Cuba’s revolutionary history. .’s contemporary effervescence is a consequence of the relaxation of state politics in post-Soviet Cuba

拉开这车床

Love, Sexuality, and Adult Gender Relations: Nobody Likes Sleeping Alone,ctices of care are central in creating, reproducing, and negotiating relationships between men and women. However, even though “nobody likes sleeping alone,” often expectations are not met and care becomes distorted through neglect, causing couples to breakup. Conflicts arise also over desire, jealo

冰雹

nurture

The State as Family,s, and discourses that frame the lives of Cubans and mediate between the state and the individual. Contemporary Cuban state discourse draws on an image of the state as a family. The role of the state as a caretaker, the ideological use of family metaphors, and the concept of time embraced by the sta

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骂人有污点

States (Frauenfelder, 2001; “Video games,” 2004), causing concerns that games may be taking over the television audience. Reporting on a recent study, CNN (“Is TV losing out,” 2004) speculated that “increased video game play could be among the many factors leading to the decline in TV viewership by

壮观的游行

Heidi Härkönenodalities (e.g., oral or written language, images, equations, symbols, sounds, gestures, graphs, artifacts, etc.) to communicate distinctive types of meaning” (p. 18). By thinking about video games as a semiotic domain, Gee (2003) focuses our attention on a practice that is of increasing importance