Culture, family, female empowerment, love and loss are all themes explored in this unflinchingly honest collection of poetry and essays. Chicana writer and performance poet Elizabeth Vega inspires with eloquent observations gleaned from her own life.
A New York Times Bestseller What if there were a fraud worse than Enron and no one did anything about it? In United States v. George W. Bush et. al., former federal prosecutor Elizabeth de la Vega brings her twenty years of experience and her passion for justice to the most important case of her career. The defendants are George W Bush, Richard Cheney, Donald Rumsfeld, Condoleezza Rice, and Colin Powell. The crime is tricking the nation into war, or, in legal terms, conspiracy to defraud the United States. Ms. de la Vega has reviewed the evidence, researched the law, drafted an indictment, and in this lively, accessible book, presented it to a grand jury. If the indictment and grand jury are both hypothetical, the facts are tragically real: Over half of all Americans believe the president misled the country into a war that has left 2,500 hundred American soldiers and countless Iraqis dead. The cost is $350 billion -- and counting. The legal question is: Did the president and his team use the same techniques as those used by Enron’s Ken Lay, Jeffrey Skilling, and fraudsters everywhere -- false pretenses, half-truths, deliberate omissions -- in order to deceive Congress and the American public? Take advantage of this rare opportunity to "sit" with the grand jurors as de la Vega presents a case of prewar fraud that should persuade any fair-minded person who loves this country as much as she so obviously does. Faced with an ongoing crime of such magnitude, she argues, we can not simply shrug our shoulders and walk away.
Former federal prosecutor Elizabeth de la Vega brings her 20 years of experience and her passion for justice to the most important case of her career. The defendants are George W Bush, Richard Cheney, Donald Rumsfeld, Condoleezza Rice and Colin Powell. The crime is tricking the nation into war, or, in legal terms, conspiracy to defraud the United States. Published in association with Tomdispatch.com, a regular antidote to the mainstream media and a project of the Nation Institute.
Two African tribes in conflict are brought together by a melodious, laughing river. Incorporates accurate musical notes which create a song by story's end.
Recent studies have shed new light on how Philip III and his favorite, the duke of Lerma, fused art and politics as they ruled, making this an opportune time to ask these questions.".
The People Are King traces the transformation of Andean communities under Inca and Spanish rule. The sixteenth century Spanish resettlement policy, known as Reducción was pivotal to this transformation. Modeled on the Spanish ideal of República (self-government within planned towns) and shared sovereignty with their monarch, Spaniards in the Viceroyalty of Peru forced Andeans into resettlement towns. Andeans turned the tables on forced resettlement by making the towns their own, and the center of their social, political, and religious lives. Andeans made a coherent life for themselves in a complex process of ethnogenesis that blended preconquest ways of life (the ayllu) with the imposed institutions of town life and Christian religious practices. Within these towns, Andeans claimed the right to self-government, and increasingly regarded their native lords, the caciques, as tyrants. A series of microhistorical accounts in these repúblicas reveals that Andeans believed that commoner people, collectively called the común, could rule themselves. With both Andean and Spanish antecedents, this political philosophy of radical democracy was key to the Great Rebellion of the late eighteenth-century. Rather than focusing on well-known leaders such as Tupac Amaru, the book demonstrates through commoner rebels' holographic letters that it was commoner Andean people who made the late eighteenth-century a revolutionary moment by asserting their rights to self-government. In the final chapter the book follows the commoner-lead towns of the Andes from the era of independence into the present day of the Plurinational State of Bolivia. Ayllu, Reducción, ethnogenesis, Peru, Bolivia, cacique, Tupac Amaru, comunero, revolution, microhistory"--
The green alga Chlamydomonas is widely used as an experimental model system for studies in cellular and molecular biology, and in particular plant molecular biology. This book is the only single modern compendium of information on its biology and in particular its molecular biology and genetics. Included in addition to much information on the basic biology is material of a very practical nature, namely, methods for culture, preservation of cultures, preparation of media, lists of inhibitors and other additives to culture media, help with common laboratory problems such as contamination, student demonstrations, and properties of particular strains and mutants. Casual users as well as specialists will find the book to be useful in many ways. Key Features * Provides access to previously unpublished data from genetic analysis * Provides descriptions of mutant strains * Depicts summary tables comparing properties of different species and their mutant strains * Explains detailed methods for laboratory procedures of general utility * Furnishes comparisons of culture media * Presents lists of inhibitors, mutagens, and other additives to culture media * Assists with common laboratory problems such as contamination and storage of strains * Demonstrates protocols for laboratory demonstrations available for undergraduate teaching.
Its abundant history is uniquely told with a leisurely stroll through the city's historic cemeteries. Oaklawn Cemetery, Tampa's first public burial ground, was created in 1850 when Tampa had only 500 residents. By the late 1800s, some of Tampa's most prominent citizens were buried in newly formed cultural and social club burial grounds.
Apart from collective memories of lived experiences, much of the modern world’s historical sense comes from written sources stored in the archives of the world, and some scholars in the not-so-distant past have described unlettered civilizations as “peoples without history.” In Praise of the Ancestors is a revisionist interpretation of early colonial accounts that reveal incongruities in accepted knowledge about three Native groups. Susan Elizabeth Ramírez reevaluates three case studies of oral traditions using positional inheritance—a system in which names and titles are inherited from one generation by another and thereby contribute to the formation of collective memories and a group identity. Ramírez begins by examining positional inheritance and perpetual kinship among the Kazembes in central Africa from the eighteenth to the mid-twentieth centuries. Next, her analysis moves to the Native groups of the Iroquois Confederation and their practice of using names to memorialize remarkable leaders in the seventeenth and eighteenth centuries. Finally, Ramírez surveys naming practices of the Andeans, based on sixteenth-century manuscript sources and later testimonies found in Spanish and Andean archives, questioning colonial narratives by documenting the use of this alternative system of memory perpetuation, which was initially unrecognized by the Spaniards. In the process of reexamining the histories of Native peoples on three continents, Ramírez broaches a wider issue: namely, understanding of the nature of knowledge as fundamental to understanding and evaluating the knowledge itself.
One of the leading poets of the nineteenth century, Elizabeth Barrett Browning had a profound influence on her contemporaries and on writers that followed her. This edition provides a rich and varied selection of Barrett Browning’s poetry, including relatively neglected material from her early career and works never before included in editions of her poetry. The edition is comprehensively annotated and includes a critical introduction; detailed headnotes for each poem also provide the reader with a deep understanding of the historical, biographical, and literary contexts in which the poems were written. The extensive appendices include reviews and criticism and material on factory reform and slavery, as well as religion and the Italian Question.
Considering the presence and influence of educated women of letters in Spain and New Spain, this study looks at the life and work of early modern women who advocated by word or example for the education of women. The subjects of the book include not only such familiar figures as Sor Juana and Santa Teresa de Jesús, but also of less well known women of their time. The author uses primary documents, published works, artwork, and critical sources drawn from history, literature, theatre, philosophy, women's studies, education and science. Her analysis juxtaposes theories espoused by men and women of the period concerning the aptitude and appropriateness of educating women with the actual practices to be found in convents, schools, court, theaters and homes. What emerges is a fuller picture of women's learning in the early modern period.
Drawing from early modern plays and treatises on the precepts and practices of the acting process, this study shows how the early modern Spanish actress subscribed to various somatic practices in an effort to prepare for a role. It provides today's reader not only another perspective to the performance aspect of early modern plays, but also a better understanding of how the woman of the theater succeeded in a highly scrutinized profession. Elizabeth Marie Cruz Petersen examines examples of comedias from playwrights such as Lope de Vega, Luis Vélez de Guevara, Tirso de Molina, and Ana Caro, historical documents, and treatises to demonstrate that the women of the stage transformed their bodies and their social and cultural environment in order to succeed in early modern Spanish theater. Women's Somatic Training in Early Modern Spanish Theater is the first full-length, in-depth study of women actors in seventeenth-century Spain. Unique in the field of comedia studies, it approaches the topic from a performance perspective, using somaesthetics as a tool to explain how an artist's lived experiences and emotions unite in the interpretation of art, reconfiguring her "self" via the transformation of habit.
In 1343 a seventeen-year-old girl named Johanna (1326–1382) ascended the Neapolitan throne, becoming the ruling monarch of one of medieval Europe’s most important polities. For nearly forty years, she held her throne and the avid attention of her contemporaries. Their varied responses to her reign created a reputation that made Johanna the most notorious woman in Europe during her lifetime. In From She-Wolf to Martyr, Elizabeth Casteen examines Johanna’s evolving, problematic reputation and uses it as a lens through which to analyze often-contradictory late-medieval conceptions of rulership, authority, and femininity. When Johanna inherited the Neapolitan throne from her grandfather, many questioned both her right to and her suitability for her throne. After the murder of her first husband, Johanna quickly became infamous as a she-wolf—a violent, predatory, sexually licentious woman. Yet, she also eventually gained fame as a wise, pious, and able queen. Contemporaries—including Francesco Petrarch, Giovanni Boccaccio, Birgitta of Sweden, and Catherine of Siena—were fascinated by Johanna. Drawing on a wide range of textual and visual sources, Casteen reconstructs the fourteenth-century conversation about Johanna and tracks the role she played in her time’s cultural imaginary. She argues that despite Johanna’s modern reputation for indolence and incompetence, she crafted a new model of female sovereignty that many of her contemporaries accepted and even lauded.
Three months after the birth of their daughter Camille, Paul and Anna Richards are touched by tragedy. Alone in the hospital she is approached by Jack Roberts, a man who claims to be the son of Damian Howard. Jack and his men want Paul and Annas help breaking away from his brothers RJ Soros and Gerald Walker. With Damians death his house has been thrown in to disarray but by offering to help Jack, Annas house is divided as well. Separated from her husband and daughter and hunted by Soros and Walker, Anna must make a difficult decision to protect her daughters life, a decision that may ultimately destroy everything else she has sworn to protect.
Interpreting textual mediations of history in early modernity, this volume adds nuance to our understanding of the contributions fiction and fictionalizing make to the shape and texture of versions of and debates about history during that period. Geographically, the scope of the essays extends beyond Europe and England to include Asia and Africa. Contributors take a number of different approaches to understand the relationship between history, fiction, and broader themes in early modern culture. They analyze the ways fiction writers use historical sources, fictional texts translate ideas about the past into a vernacular accessible to broad audiences, fictional depictions and interpretations shape historical action, and the ways in which nonfictional texts and accounts were given fictional histories of their own, intentionally or not, through transmission and interpretation. By combining the already contested idea of fiction with performance, action, and ideas/ideology, this collection provides a more thorough consideration of fictional histories in the early modern period. It also covers more than two centuries of primary material, providing a longer perspective on the changing and complex role of history in forming early modern national, gendered, and cultural identities.
Marcia Iverson is newly wed but newly widowed by a terrorist act. Grieving but still aglow with the memories of a deliriously happy honeymoon, she decides to continue the plan she and Michael shared to return to his boyhood home in a semi-rural Louisiana backwater. Having cut her ties to her apartment and brokerage job in New York City for marriage, she has nowhere else to go, nowhere to practice her profession, and no one but herself to depend on. When she finds that Michaels death has made her heir to Magnolia Manor, a rundown, nearly bankrupt motel, she applies her abilities to restoring the motel to a paying proposition, building a new family, and making new friends. Just as her plans for the Manor begin to succeed, murders on the premises complicate them. Adding the clues that she gathers to those that an attractive local lieutenant of police shares with her, she runs the risk of herself becoming a victim.
Elizabeth DeLoughrey invokes the cyclical model of the continual movement and rhythm of the ocean (‘tidalectics’) to destabilize the national, ethnic, and even regional frameworks that have been the mainstays of literary study. The result is a privileging of alter/native epistemologies whereby island cultures are positioned where they should have been all along—at the forefront of the world historical process of transoceanic migration and landfall. The research, determination, and intellectual dexterity that infuse this nuanced and meticulous reading of Pacific and Caribbean literature invigorate and deepen our interest in and appreciation of island literature. —Vilsoni Hereniko, University of Hawai‘i "Elizabeth DeLoughrey brings contemporary hybridity, diaspora, and globalization theory to bear on ideas of indigeneity to show the complexities of ‘native’ identities and rights and their grounded opposition as ‘indigenous regionalism’ to free-floating globalized cosmopolitanism. Her models are instructive for all postcolonial readers in an age of transnational migrations." —Paul Sharrad, University of Wollongong, Australia Routes and Roots is the first comparative study of Caribbean and Pacific Island literatures and the first work to bring indigenous and diaspora literary studies together in a sustained dialogue. Taking the "tidalectic" between land and sea as a dynamic starting point, Elizabeth DeLoughrey foregrounds geography and history in her exploration of how island writers inscribe the complex relation between routes and roots. The first section looks at the sea as history in literatures of the Atlantic middle passage and Pacific Island voyaging, theorizing the transoceanic imaginary. The second section turns to the land to examine indigenous epistemologies in nation-building literatures. Both sections are particularly attentive to the ways in which the metaphors of routes and roots are gendered, exploring how masculine travelers are naturalized through their voyages across feminized lands and seas. This methodology of charting transoceanic migration and landfall helps elucidate how theories and people travel, positioning island cultures in the world historical process. In fact, DeLoughrey demonstrates how these tropical island cultures helped constitute the very metropoles that deemed them peripheral to modernity. Fresh in its ideas, original in its approach, Routes and Roots engages broadly with history, anthropology, and feminist, postcolonial, Caribbean, and Pacific literary and cultural studies. It productively traverses diaspora and indigenous studies in a way that will facilitate broader discussion between these often segregated disciplines.
The first in-depth analysis of some of the most important epic poems of the Spanish Golden Age, Myth and Identity in the Epic of Imperial Spain breathes new life into five of these long- neglected texts. Elizabeth Davis demonstrates that the epic must not be overlooked, for doing so creates a significant gap in one's ability to appraise not only the cultural practice of the imperial age, but also the purest expression of its ideology. Davis's study focuses on heroic poetry written from 1569 to 1611, including Alonso de Ercilla's La Araucana, undeniably the most significant epic poem of its time. Also included are Diego de Hojeda's La Christiada, Juan Rufo's La Austriada, . Lope de Vega's Jerusalén Conquistada, and Cristóbal de Virués's Historia del Monserrate. Examining these epics as the major site for the construction of cultural identities and Renaissance nationalist myths, Davis analyzes the means by which the epic constructs a Spanish sense of self. Because this sense of identity is not easily susceptible to direct representation, it is often derived in opposition to an "other," which serves to reaffirm Spanish cultural superiority. The Spanish Christian caballeros are almost always pitted against Amerindians, Muslims, Jews, or other adversaries portrayed as backward or heathen for their cultural and ethnic differences. The pro-Castilian elite of sixteenth-century Spain faced the daunting task of constructing unity at home in the process of expansion and conquest abroad, yet ethnic and regional differences in the Iberian Peninsula made the creation of an imperial identity particularly difficult. The epic, as Davis shows, strains to convey the overriding image of a Spain that appears more unified than the Spanish empire ever truly was. An important reexamination of the Golden Age canon, Myth and Identity in the Epic of Imperial Spain brings a new twist to the study of canon formation. While Davis does not ignore more traditional approaches to the literary text, she does apply recent theories, such as deconstruction and feminist criticism, to these poems, resulting in an innovative examination of the material. Confronting such issues as canonicity, gender, the relationship between literature and Golden Age culture, and that between art and power, this publication offers scholars a new perspective for assessing Golden Age and Transatlantic studies
“The Spanish Element in Our Nationality” delves beneath the traditional “English-only” narrative of U.S. history, using Spain’s participation in a series of international exhibitions to illuminate more fully the close and contested relationship between these two countries. Written histories invariably record the Spanish financing of Columbus’s historic voyage of 1492, but few consider Spain’s continuing influence on the development of U.S. national identity. In this book, M. Elizabeth Boone investigates the reasons for this problematic memory gap by chronicling a series of Spanish displays at international fairs. Studying the exhibition of paintings, the construction of ephemeral architectural space, and other manifestations of visual culture, Boone examines how Spain sought to position itself as a contributor to U.S. national identity, and how the United States—in comparison to other nations in North and South America—subverted and ignored Spain’s messages, making it possible to marginalize and ultimately obscure Spain’s relevance to the history of the United States. Bringing attention to the rich and understudied history of Spanish artistic production in the United States, “The Spanish Element in Our Nationality” recovers the “Spanishness” of U.S. national identity and explores the means by which Americans from Santiago to San Diego used exhibitions of Spanish art and history to mold their own modern self-image.
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From Agatha Christie’s favorite American author—a bookish sleuth attempts to solve the murder of a spiritual eccentric at a wealthy estate. Just about any of the guests at Johnny Redfield’s party seems to have a good reason to have killed the guest of honor, Johnny’s Californian aunt who, with her astral name and vague pretensions of mysticism, does not exactly blend in the elegant New York atmosphere that surrounds her. And what’s more, no one has a solid alibi. It will take all of Henry Gamadge’s ingenuity to figure out this closed-room mystery.
In The Epic of Juan Latino, Elizabeth R. Wright tells the story of Renaissance Europe’s first black poet and his epic poem on the naval battle of Lepanto, Austrias Carmen (The Song of John of Austria). Piecing together the surviving evidence, Wright traces Latino’s life in Granada, Iberia’s last Muslim metropolis, from his early clandestine education as a slave in a noble household to his distinguished career as a schoolmaster at the University of Granada. When intensifying racial discrimination and the chaos of the Morisco Revolt threatened Latino’s hard-won status, he set out to secure his position by publishing an epic poem in Latin verse, the Austrias Carmen, that would demonstrate his mastery of Europe’s international literary language and celebrate his own African heritage. Through Latino’s remarkable, hitherto untold story, Wright illuminates the racial and religious tensions of sixteenth-century Spain and the position of black Africans within Spain’s nascent empire and within the emerging African diaspora.
For Cuba's supporters, health is the most commonly cited evidence of the socialist system's success. Even critics often concede that this is the country's saving grace. Cuba's health statistics are indeed extraordinary. This small island outperforms virtually all of its neighboring countries and all countries of the same level of economic development. Some of its health statistics rival wealthy industrialized countries. Moreover, these health outcomes have resulted against all odds. Setting out to unravel this puzzle, the author finds that Cuba possesses an unusually high level of popular participation and cooperation in the implementation of health policy. This has been achieved with the help of a longstanding government that prioritizes public health, and has enough political influence to compel the rest of the community to do the same. On the other hand, popular participation in decision-making regarding health policy is minimal, which contrasts with the image of popular participation often promoted. Political elites design and impose health policy, allowing little room for other health sector groups to meaningfully contribute to or protest official decisions. This is a problem because aspects of health care that are important to those who use the system or work within it can be neglected if they do not fit within official priorities. The author remains, overall, supportive of health achievement in Cuba. The country's preventive arrangements, its collective prioritization of key health areas, the improvements in public access to health services through the expansion of health facilities and the provision of free universal care are among the accomplishments that set it apart. The sustainability and progress of these achievements, however, must involve open recognition and public discussion of weaker aspects of the health system.
In a provocative new approach toward understanding transnational literary cultures, this study examines the specter of the plantation, that physical place most vividly associated with slavery in the Americas. For Elizabeth Russ, the plantation is not merely a literal location, but also a vexing rhetorical, ideological, and psychological trope through which intersecting histories of the New World are told. Through a series of precise, in-depth readings, Russ analyzes the discourse of the plantation through a number of suggestive pairings: male and female perspectives; U.S. and Spanish American traditions; and continental alongside island societies. To chart comparative elements in the development of the postslavery imagination in the Northern and Southern hemispheres, Russ distinguishes between a modern and a postmodern imaginary. The former privileges a familiar plot of modernity: the traumatic transition from a local, largely agrarian order to an increasingly anonymous industrialized society. The latter, abandoning nostalgia toward the past, suggests a new history using the strategies of performance, such as witnessing, reticency, and traversal. Authors examined include The Twelve Southerners, Fernando Ortiz, Teresa de la Parra, Eudora Welty, Antonio Benítez Rojo, Gayl Jones, Toni Morrison, and Mayra Santos-Febres, among others. Applying sharp analyses across a broad range of texts, Russ reveals how the language used to imagine communities influenced by the plantation has been gendered, racialized, and eroticized in ways that oppose the domination of an ever-shifting "North" while often reproducing the fundamental power divide. Her work moves beyond the North-South dichotomy that has often stymied scholarly work in Latin American studies and, importantly, provides a model for future hemispheric approaches.
Georges Bizet's Carmen and its staging of an exoticized Spain was progressively reimagined between its 1875 Paris premiere and 1915. This book explores Carmen's dynamic interaction with Spanishness in this cosmopolitan age of spectacle, across operatic productions, parodies, and theatrical adaptations from Spain to Paris, London, and New York.
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