Meeting ID: 686 8333 7496
Passcode: 546142
Based on ori ginal ethnographic research and presented in graphic form\, Gringo Love explores the intimate negotiations between local women and foreign to urists\, or gringos\, in the city of Natal in northeastern Brazil alongside deep social inequality and increasing state surveillance leading up to the 2014 World Cup. It touches on important contemporary issues\, including se xual economics\, transnational mobility\, gendered and racialized imaginari es\, race\, class and inequality\, and visual methods. It is part of the Et hnoGraphic Series from UT Press\, which seeks to engage with ethnographic a nd anthropological research in graphic form\, and which aims to present sch olarly-informed work to broader audience in an accessible and visually rich format.
Author's bio
Marie-Eve Carrier-Moisan (PhD UBC\, 2012) is an Associate Professor in the Department of Sociology and Anthropology at Carleton University in Ottawa\, Canada. She is a socioc ultural anthropologist working primarily in Brazil and recently also in Que bec\, Canada. She is interested in the political economy and governance of care\, sexuality\, and intimacy\, as well as in various scales and spaces o f political engagements around gender and sexuality. She has conducted ethn ographic research on the sexualized economy of tourism in Natal\, in the no rtheast of Brazil\, including research on questions around the racialized\, gendered political economy of love\, practices of transnational mobility\, and intimate negotiations between Brazilian women and European men against a backdrop of social inequalities. Dr. Carrier-Moisan also has a longstand ing interest in visual anthropology\, and in particular\, in the possibilit ies of ethnography in graphic form. In collaboration with Dr. William Flynn\, who has adapted her research into a visual story\, and Débora Santos\, a Brazilian illustrator\, she has tur ned her ethnography of sex tourism into a graphic form\, with Gringo Lov e: Stories of Sex Tourism in Brazil (2020).
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