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This article explores the importance of distinct non-core and non-Western perspectives for critical interpretations of international relations. A series of arguments are offered as to why third world scholarship is invisible within the field, and why features such as culture, everyday life and hydridity make looking at IR from third world loci of enunciation fundamentally different. In order to observe the ways in which such readings complement and refine prevailing understandings of global politics, the article reexamines several key categories, including war and conflict, the state, sovereignty and autonomy, and nationalism, making use of distinct third world perspectives.

This article analyzes the core–periphery dynamics that characterize the International Relations discipline. To this end, it explores general insights offered by both science studies and the social sciences in terms of the intellectual division of labor that characterizes knowledge-building throughout the world, and the social mechanisms that reproduce power differentials within given fields of study. These arguments are then applied to International Relations, where specific factors that explain the global South's role as a periphery to the discipline's (mainly US) core and the ways in which peripheral communities place themselves vis-à-vis International Relations' (neo)imperialist structure are both explored.

Hip-hop music has become an important tool worldwide for poor, marginalized youth to reflect on their lived experiences. This article traces the genre' s production from its spontaneous origins in the urban ghettos of New York to its commoditization for global consumption and its evolution in three different Latin American settings: Colombia, Cuba, and Mexico. The article explores how hip-hop has been appropriated in each country and has been used to express the performers' reflections on social, political, and economic problems. It also looks at the interplay between the homogenizing tendencies of global hip-hop and its local reception. Adapted from the source document.

AbstractHip-hop music has become an important tool worldwide for poor, marginalized youth to reflect on their lived experiences. This article traces the genre's production from its spontaneous origins in the urban ghettos of New York to its commoditization for global consumption and its evolution in three different Latin American settings: Colombia, Cuba, and Mexico. The article explores how hip-hop has been appropriated in each country and has been used to express the performers' reflections on social, political, and economic problems. It also looks at the interplay between the homogenizing tendencies of global hip-hop and its local reception.