The kings of Castile maintained a personal cavalry guard through much of the fifteenth century, consisting of practicing Muslims and converts to Christianity. This privileged Muslim elite provides an interesting case-study to propose new theories about voluntary conversion from Christianity to Islam in the Iberian Peninsula, as well as the ways of assimilation of such a group into the local and courtly environments where they lived thereafter. Other subjects involved are the transformation of royal armies from feudal companies to regimented, professional forces including a well-trained cavalry, which in Castile was formed partly by these knights. Their descendants had to endure the changing policies conveyed by Isabel and Fernando, which increased discriminatory habits towards converts in Castilian society.
This study provides new fascinating testimonies about the development of a new image of Islam in Southern Europe in the fifteenth century and an approach to ways of acculturation in a mixed society.
Composer, pianist, editor, writer, and pedagogue Mario Lavista (1943-2021) was a central figure of the cultural and artistic scene in Mexico and one of the leading Ibero-American composers of his generation. His music is often described as evocative and poetic, noted for his meticulous attention to timbre and motivic permutation, and his creative trajectory was characterized by its intersections with the other arts, particularly poetry and painting. Understanding analysis as an affective practice, this study explores the intertextual connections between the multiple texts-musical or otherwise-that are present in Lavista's music. It argues that, through adopting an interdisciplinary and transhistorical approach to music composition, Lavista forged a cosmopolitan imaginary to challenge imposed stereotypes of what Mexican music should sound like. This imaginary becomes a strategy of resistance against imperialist agendas placed upon postcolonial peripheries. Departing from traditional biographical and chronological frameworks that exalt masters and masterworks, this book offers a nuanced, personal narrative informed by conversations with composers, performers, artists, choreographers, poets, writers, and filmmakers. Implementing an innovative mosaic of methodologies, from archival work, to musical and intertextual analysis, oral history, and (auto)ethnography, this book is the first to offer a contextual framing of Lavista's career within a panoramic view of contemporary music practices in Mexico during the past fifty years"--
Composer, pianist, editor, writer, and pedagogue Mario Lavista (1943-2021) was a central figure of the cultural and artistic scene in Mexico and one of the leading Ibero-American composers of his generation. His music is often described as evocative and poetic, noted for his meticulous attention to timbre and motivic permutation, and his creative trajectory was characterized by its intersections with the other arts, particularly poetry and painting. Lavista was a relational composer; he did not write music as a private enterprise but for and alongside people with whom he established close relations. Understanding analysis as an affective practice, author Ana R. Alonso-Minutti explores the intertextual connections between the multiple texts--musical or otherwise--that are present in Lavista's music. Alonso-Minutti argues that, through adopting an interdisciplinary and transhistorical approach to music composition, Lavista forged a cosmopolitan imaginary that challenged stereotypes of what Mexican music should sound like. This imaginary becomes a strategy of resistance against imperialist agendas placed upon postcolonial peripheries. Departing from traditional biographical and chronological frameworks that exalt masters and masterworks, the author offers a nuanced, personal narrative informed by conversations with composers, performers, artists, choreographers, poets, writers, and filmmakers. Through an innovative mosaic of methodologies, from archival work, to musical and intertextual analysis, oral history, and (auto)ethnography, this book is the first in-depth study of Lavista's compositional career and offers a contextual panorama of the contemporary music scene in Mexico
In one of the first English-language studies of Grupo Prisa, this book delivers a comprehensive and concise approach to the political, economic and social-cultural profile of one of the leading cross-media conglomerates in Europe, tracing its development from a single newspaper publisher in 1972. Prisa is now the world’s leading Spanish and Portuguese-language media group in the creation and distribution of content in the fields of culture, education, and information, producing content for more than twenty countries with global brands like El País (newspaper), Los 40 (radio), or Santillana (education). Using a critical political economy approach, the authors track Prisa’s journey to becoming a cross-media conglomerate, and examine how it mirrors the recent history of the economic and political developments in Spain. This concise and highly contemporary volume is ideal for students, scholars and researchers looking to further their understanding of a growing Spanish-language media power, or more generally interested in international communication and media industries.
Picture your beginning ELLs reading their way to success! For beginning ELLs, a picture really is worth a thousand words! Picture books are useful tools for building important language and social foundations that students may miss through traditional instruction. Ana Lado provides all the tools you’ll need to engage ELLs of any age with picture books, including how to: Design lessons around picture books Select appropriate titles using specific criteria Incorporate fun and engaging strategies like singing and reenacting Access the book’s searchable online database to find the right book Integrate picture-book learning to facilitate development of English Language Proficiency
Uncertain Mirrors realigns magical realism within a changing critical landscape, from Aristotelian mimesis to Adorno's concept of negative dialectics. In between, the volume traverses a vast theoretical arena, from postmodernism and postcolonialism to Lévinasian philosophy and eco-criticism. The volume opens and closes with dialectical instability, as it recasts the mutability of the term "mimesis" as both a "world-reflecting" and a "world-creating" mechanism. Magical realism, the authors contend, offers another stance of the possible; it also situates the reader at a hybrid aesthetic matrix inextricably linked to postcolonial theory, postmodernism, Bakhtinian theory, and quantum physics. As Uncertain Mirrors explores, magical realist texts partake of modernist exhaustion as much as of postmodernist replenishment, yet they stem from a different "location of culture" and "direction of culture;" they offer complex aesthetic artifacts that, in their recreation of alternative geographic and semiotic spaces, dislocate hegemonic texts and ideologies. Their unrealistic excess effects a breach in the totalized unity represented by 19th century realism, and plays the dissonant chord of the particular and the non-identical.
Joaquín Balaguer, Memory, and Diaspora draws on the growing interest in the legacies of authoritarianism and state violence and its interplay with migration and memory. Ana S. Q. Liberato discusses the relationship between memory and government pedagogy—or the meanings constructed and disseminated by Joaquín Balaguer in political ads and public speeches and through public policy and autobiographical work. Liberato argues that there is a revival of memory in the Dominican Republic today, including pro-Balaguer memorialization efforts, and that Balaguer’s political pedagogy had an effect on public memory. The influence of his political pedagogy on memory transpires in memorializations which reproduce notions of Balaguer's political and moral exceptionalism. This book shows that Balaguer’s authoritarian pedagogy has been consumed, anchored, and shared among different Dominican publics, in the island and overseas, through the prism he created. Liberato also reveals Balaguer as a contested political character who provokes particular emotions and well-defined experiences and notions of the past. She demonstrates how his legacy was legitimized and contested by comparing him to caudillos José Francisco Peña Gómez and Juan Bosch, as well as through instances when he is praised or questioned for being an American protégée. This book exhibits how diasporic Dominicans maintain and transplant their political knowledge after migration. In particular, notions of democracy, political trust, political accountability, human rights, and sovereignty associated with authoritarian pedagogy accumulate in their narratives of the past and in their accounts of politics and history. Key roles are played by shared historical, cultural, and linguistic symbols associated with the legacy of authoritarianism. Liberato demonstrates how Balaguer influenced the Dominican nation through implementing effective political pedagogies, which in turn helped reinforce and reinscribe some aspects of the pedagogies implemented by Dictator Trujillo and previous authoritarian leaders. Joaquín Balaguer, Memory, and Diaspora will be of particular interest to Caribbean and Latin American Studies students and scholars, as well as anyone working in the areas of migration studies, sociology, Latin American politics, U.S. foreign policy, Latina/o studies, Caribbean studies, and the sociology of knowledge.
This study provides new fascinating testimonies about the development of a new image of Islam in Southern Europe in the fifteenth century and an approach to ways of acculturation in a mixed society.
The kings of Castile maintained a personal cavalry guard through much of the fifteenth century, consisting of practicing Muslims and converts to Christianity. This privileged Muslim elite provides an interesting case-study to propose new theories about voluntary conversion from Christianity to Islam in the Iberian Peninsula, as well as the ways of assimilation of such a group into the local and courtly environments where they lived thereafter. Other subjects involved are the transformation of royal armies from feudal companies to regimented, professional forces including a well-trained cavalry, which in Castile was formed partly by these knights. Their descendants had to endure the changing policies conveyed by Isabel and Fernando, which increased discriminatory habits towards converts in Castilian society.
Composer, pianist, editor, writer, and pedagogue Mario Lavista (1943-2021) was a central figure of the cultural and artistic scene in Mexico and one of the leading Ibero-American composers of his generation. His music is often described as evocative and poetic, noted for his meticulous attention to timbre and motivic permutation, and his creative trajectory was characterized by its intersections with the other arts, particularly poetry and painting. Understanding analysis as an affective practice, this study explores the intertextual connections between the multiple texts-musical or otherwise-that are present in Lavista's music. It argues that, through adopting an interdisciplinary and transhistorical approach to music composition, Lavista forged a cosmopolitan imaginary to challenge imposed stereotypes of what Mexican music should sound like. This imaginary becomes a strategy of resistance against imperialist agendas placed upon postcolonial peripheries. Departing from traditional biographical and chronological frameworks that exalt masters and masterworks, this book offers a nuanced, personal narrative informed by conversations with composers, performers, artists, choreographers, poets, writers, and filmmakers. Implementing an innovative mosaic of methodologies, from archival work, to musical and intertextual analysis, oral history, and (auto)ethnography, this book is the first to offer a contextual framing of Lavista's career within a panoramic view of contemporary music practices in Mexico during the past fifty years"--
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