In recent decades, various perspectives have emerged that draw attention to the construction of gender and gender inequalities. This discussion examines feminist perspectives in relation to development and development's effects on women in pastoral societies. The article compares the Women in Development (WID), eco-feminist and postmodernist approaches to development and seeks to understand what kind of criticism these theoretical orientations can offer on pastoral development projects. I focus especially on the effects of development on women's bargaining power within the household, using data from my own fieldwork in Niger and records from other pastoral societies. My discussion shows that while WID criticizes the pastoral development as being gender-biased and reducing women's bargaining power within the household, the ecofeminist and postmodernist perspectives would question the development practice itself and attempt to deconstruct the dimensions of power within the field of development.

Discourse between development agents and nomads implies that development for nomadiccommunities is a contradiction in terms. A "market-oriented" subtext underscores the investors'power of international agencies, the brokers' competition of intermediate organizations, and thenomadic clients' opportunism. Interviews and participant-observation focused on relationsbetween Wo??aa??e communities, bilateral and local organizations, and government extensionservices. I compare the data obtained with historical events to illuminate current phenomena.Approaches of structuration, political ecology, and disequilibrium theory aid an examination ofcommunication and discourses, and gaps in understanding between the parties. I find thatessential pastoral livelihood strategies of mobility and customary institutions are threatened bythe development system. How will social change affect cultural mechanisms that facilitateresource access and allocation? Rather than promoting sustainable development, projects thattarget nomadic communities may only result in increased stratification, wealth disparity andmarginalization for the majority of nomadic households. Will "development" become too costlyfor households, local ecology, and even national economy? I conclude with recommendationsfor participative development through collaborative research.

Made available in DSpace on 2016-04-25T20:21:26Z (GMT). No. of bitstreams: 1 Rita de Cassia da Silva Leao.pdf: 5297903 bytes, checksum: 365d1ce161ffb73142a6ebc13ab0e302 (MD5) Previous issue date: 2015-05-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / All movie-making has an anthropological character, as it is as open-ended as humankind itself. The works of Werner Herzog run parallel with fundamental anthropology, which seeks to understand the process of penetration of man into the world and the inseparable process of penetration of the world into man. The first movie that is analyzed, Wodaabe: Herdsman of the Sun, deals with love of beauty among beings who feel despised by neighboring peoples. The second, Grizzly Man, is about a man who wanted to be a bear, as he could not stand living among humans. The third, The Cave of Forgotten Dreams, tells us how humankind dreamed 32 thousand years ago; how it projected its double on cave walls and small statues. Paintings and statues feature at the same time a penchant for both the fantastic and the reality of shapes and forms. It is not Herzog´s movie settings or themes which are anthropological; it is his view of the world and his way of making movies, which transmutes real into imaginary, and imaginary into real / Todo cinema contém um caráter antropológico, por ser aberto como a própria humanidade. A obra de Werner Herzog é contigua à antropologia fundamental, que busca compreender o processo de penetração do homem no mundo e o processo inseparável de penetração do mundo no homem. O primeiro filme analisado, Wodaabe: Os pastores do sol, trata do amor à beleza entre seres que se sentem desprezados pelos povos vizinhos. O segundo, O homem urso, de um humano que queria ser urso e não suportava o mundo dos humanos. O terceiro, A caverna dos sonhos esquecidos, conta como sonhava a humanidade há 32 mil anos, como projetava seu duplo nas paredes das cavernas e nas pequenas estátuas. Nas pinturas e estátuas estão presentes, ao mesmo tempo, uma tendência para o fantástico e para a realidade das formas. Não são os locais de filmagem e tampouco os temas de Herzog que são antropológicos, mas sim a sua visão de mundo e o modo de fazer cinema, que transmuta o real em imaginário e o imaginário em real

Made available in DSpace on 2016-04-26T14:55:24Z (GMT). No. of bitstreams: 1 Rita de Cassia da Silva Leao.pdf: 5297903 bytes, checksum: 365d1ce161ffb73142a6ebc13ab0e302 (MD5) Previous issue date: 2015-05-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / All movie-making has an anthropological character, as it is as open-ended as humankind itself. The works of Werner Herzog run parallel with fundamental anthropology, which seeks to understand the process of penetration of man into the world and the inseparable process of penetration of the world into man. The first movie that is analyzed, Wodaabe: Herdsman of the Sun, deals with love of beauty among beings who feel despised by neighboring peoples. The second, Grizzly Man, is about a man who wanted to be a bear, as he could not stand living among humans. The third, The Cave of Forgotten Dreams, tells us how humankind dreamed 32 thousand years ago; how it projected its double on cave walls and small statues. Paintings and statues feature at the same time a penchant for both the fantastic and the reality of shapes and forms. It is not Herzog´s movie settings or themes which are anthropological; it is his view of the world and his way of making movies, which transmutes real into imaginary, and imaginary into real / Todo cinema contém um caráter antropológico, por ser aberto como a própria humanidade. A obra de Werner Herzog é contigua à antropologia fundamental, que busca compreender o processo de penetração do homem no mundo e o processo inseparável de penetração do mundo no homem. O primeiro filme analisado, Wodaabe: Os pastores do sol, trata do amor à beleza entre seres que se sentem desprezados pelos povos vizinhos. O segundo, O homem urso, de um humano que queria ser urso e não suportava o mundo dos humanos. O terceiro, A caverna dos sonhos esquecidos, conta como sonhava a humanidade há 32 mil anos, como projetava seu duplo nas paredes das cavernas e nas pequenas estátuas. Nas pinturas e estátuas estão presentes, ao mesmo tempo, uma tendência para o fantástico e para a realidade das formas. Não são os locais de filmagem e tampouco os temas de Herzog que são antropológicos, mas sim a sua visão de mundo e o modo de fazer cinema, que transmuta o real em imaginário e o imaginário em real