Don Faustino Lopez de Mendoza, scion of an illustrious but impoverished family of the highest nobility, believes himself destined for great accomplishments in the literary world, sees himself as a poet of the first rank, and immerses himself in grand, if not grandiose, illusions. While living in a provincial Andalusian town and dreaming of triumphing in Madrid's artistic circles, Faustino embarks on a discovery of love with three women. How he extricates himself from each relationship and meets his sad end constitutes the denouement of this searching novel that depicts the deleterious effects of the Romantic malaise that swept through western Europe in the early part of the nineteenth century."--BOOK JACKET.
With contributions from seven of Mexico's finest journalists, this is reportage at its bravest and most necessary - it has the power to change the world's view of their country, and by the force of its truth, to start to heal the country's many sorrows. Supported the Arts Council Grant's for the Arts Programme and by PEN Promotes Veering between carnival and apocalypse, Mexico has in the last ten years become the epicentre of the international drug trade. The so-called "war on drugs" has been a brutal and chaotic failure (more than 160,000 lives have been lost). The drug cartels and the forces of law and order are often in collusion, corruption is everywhere. Life is cheap and inconvenient people - the poor, the unlucky, the honest or the inquisitive - can be "disappeared" leaving not a trace behind (in September 2015, more than 26,798 were officially registered as "not located"). Yet people in all walks of life have refused to give up. Diego Enrique Osorno and Juan Villoro tell stories of teenage prostitution and Mexico's street children. Anabel Hernández and Emiliano Ruiz Parra give chilling accounts of the "disappearance" of forty-three students and the murder of a self-educated land lawyer. Sergio González Rodríguez and Marcela Turati dissect the impact of the violence on the victims and those left behind, while Lydia Cacho contributes a journal of what it is like to live every day of your life under threat of death. Reading these accounts we begin to understand the true nature of the meltdown of democracy, obscured by lurid headlines, and the sheer physical and intellectual courage needed to oppose it.
Bandits seem ubiquitous in Latin American culture. Even contemporary actors of violence are framed by narratives that harken back to old images of the rural bandit, either to legitimize or delegitimize violence, or to intervene in larger conflicts within or between nation-states. However, the bandit seems to escape a straightforward definition, since the same label can apply to the leader of thousands of soldiers (as in the case of Villa) or to the humble highwayman eking out a meager living by waylaying travelers at machete point. Dabove presents the reader not with a definition of the bandit, but with a series of case studies showing how the bandit trope was used in fictional and non-fictional narratives by writers and political leaders, from the Mexican Revolution to the present. By examining cases from Argentina, Brazil, Mexico, Peru, and Venezuela, from Pancho Villa's autobiography to Hugo Chavez's appropriation of his "outlaw" grandfather, Dabove reveals how bandits function as a symbol to expose the dilemmas or aspirations of cultural and political practices, including literature as a social practice and as an ethical experience.
Struggles for Recognition traces the emergence of melodrama in Latin American silent film and silent film culture. Juan Sebastián Ospina León draws on extensive archival research to reveal how melodrama visualized and shaped the social arena of urban modernity in early twentieth-century Latin America. Analyzing sociocultural contexts through film, this book demonstrates the ways in which melodrama was mobilized for both liberal and illiberal ends, revealing or concealing social inequities from Buenos Aires to Bogotá to Los Angeles. Ospina León critically engages Euro-American and Latin American scholarship seldom put into dialogue, offering an innovative theorization of melodrama relevant to scholars working within and across different national contexts.
This book offers a radical, "Third World" approach to current debates on canon revision, multiculturalism, Eurocentrism, and reforms in education and culture.
Bread and Beauty is a study of the works and life of José Carlos Mariátegui (1894-1930), the autodidact Peruvian scholar and revolutionary activist frequently considered the most important Latin American Marxist.
Este libro cubre las elecciones de 1952 al 1964, desde el dominio maximo del PPD, en 1952, hasta el primer relevo de gobernadores, aunque del mismo partido, en 1964. Cubre el ascenso del movimiento Estadista y la caida del movimiento Independentista. This book covers the elections held in Puerto Rico between 1952 and 1964. That period saw the highest point in the dominance by the Popular Party; and it also saw the fall and rebirth of the pro-Statehood movement (from 12.87%% in '52 to 34.8%% in '64), coupled with the rise and fall of the pro-Independence movement (from 18.98%% in '52 to 2.81%% in '64).
Libro en inglés sobre el consumo del cabrito con recetas tradicionales y de autor. "La senda del cabrito se compone de textos relacionados con el cabrito en México, animal común en la Mixteca, el norte y el Bajío del país; en ellos se plasman vivencias del autor y de varios expertos (caprinocultores, historiadores, cronistas y chefs) que comparten de manera amena datos relevantes mediante relatos, entrevistas y reportajes. La sección de recetas se divide en 3 apartados: Platillos clásicos de la región noreste de México; Recetas de autor, creadas por reconocidos chefs mexicanos de talla internacional, y Preparaciones contemporáneas y novedosas creadas por Juan Ramón Cárdenas.
The story of Dan Fadrique Lopez de Mendoza, a man of seafaring adventures and a deist in the mould of the eighteenth-century philosophes, and Dona Blanca Roldan de Solis, a woman of unbounded pride and a Catholic driven by religious fanaticism, neither of which traits prevented her from having had an adulterous affair as a young woman in Lima, Peru, with Don Fadrique."--Back cover.
Content with her tertuha, or gathering of close friends, her devotions, her books, and her daily routine, Dona Luz is unmoved by the prospect of marriage, because of her illegitimacy and her extremely modest financial status." "But then two men enter her life: Father Enrique, the ailing missionary nephew of Don Acisclo who returns from the Philippines to rest, and Don Jaime Pimentel, the dashing young military man whom Don Acisclo has chosen to back as the district representative in an uncoming election. How Dona Luz responds to both men determines the direction her life will take and the manner in which her illegitimacy will be explained."--Jacket.
Bringing Latin American popular art out of the margins and into the center of serious scholarship, this book rethinks the cultural canon and recovers previously undervalued cultural forms as art. Juan Ramos uses "decolonial aesthetics," a theory that frees the idea of art from Eurocentric forms of expression and philosophies of the beautiful, to examine the long decade of the 1960s in Latin America--a time of cultural production that has not been studied extensively from a decolonial perspective. Ramos looks at examples of "antipoetry," unconventional verse that challenges canonical poets and often addresses urgent social concerns. He analyzes the militant popular songs of nueva canción by musicians such as Mercedes Sosa and Violeta Parra. He discusses films that use visually shocking images and melodramatic effects to tell the stories of Latin American nations. He asserts that these different art forms should not be studied in isolation but rather brought together as a network of contributions to decolonial art. These art forms, he argues, appeal to an aesthetic that involves all the senses. Instead of being outdated byproducts of their historical moments, they continue to influence Latin American cultural production today.
Abolishing Poverty argues for a project of relationality that refuses the whiteness of liberal poverty studies and instead centers critiques of the poverty relation and political futures disavowed under liberal governance. In disrupting poverty thinking, the author collective opens space for diverse frameworks for understanding impoverishment and articulating antiracist knowledges and political visions. The book explores new infrastructures of possibilities and political solidarities rooted in accountable relations to each other and from flights to the future that animate diverse communities. This book is boundary and genre crossing, with broad appeal to scholars of such disciplines as human geography, ethnic studies, decolonial theory, and feminist studies. As a volume, the work is unique in its primary field of human geography in the form of its making, its collective authorship, and its investigation of politics that abolish poverty thinking and engage in activism against the poverty relation produced through settler colonialism, heteropatriarchy, white supremacy, and capitalist exploitation.
Caught betwixt the Asian continent and the hegemonic power of the United States, the Philippines occupies a contested space or borderland between past and present, East and West. Balancing the memory of colonial experience with an emergent nation-making dream, this innovative book asks if a meaningful future can be envisioned.
International law has played a crucial role in the construction of imperial projects. Yet within the growing field of studies about the history of international law and empire, scholars have seldom considered this complicit relationship in the Americas. The Hidden History of International Law in the Americas offers the first exploration of the deployment of international law for the legitimization of U.S. ascendancy as an informal empire in Latin America. This book explores the intellectual history of a distinctive idea of American international law in the Americas, focusing principally on the evolution of the American Institute of International Law (AIIL). This organization was created by U.S. and Chilean jurists James Brown Scott and Alejandro Alvarez in Washington D.C. for the construction, development, and codification of international law across the Americas. Juan Pablo Scarfi examines the debates sparked by the AIIL over American international law, intervention and non-intervention, Pan-Americanism, the codification of public and private international law and the nature and scope of the Monroe Doctrine, as well as the international legal thought of Scott, Alvarez, and a number of jurists, diplomats, politicians, and intellectuals from the Americas. Professor Scarfi argues that American international law, as advanced primarily by the AIIL, was driven by a U.S.-led imperial aspiration of civilizing Latin America through the promotion of the international rule of law. By providing a convincing critical account of the legal and historical foundations of the Inter-American System, this book will stimulate debate among international lawyers, IR scholars, political scientists, and intellectual historians.
This collection of articles, thoroughly documented, analyses particular aspects of the Spanish 16th and 17th centuries. It discusses a range of topics, including the Catholic reason of state, anti-Machiavellianism, and royal power and its limits, from the point of view of Golden Age authors. This is a work where literature, law theory and political philosophy combine their efforts to offer an unusual portrait of power in Spanish society during a time of deep change.
Sacred Eroticism addresses a neglected chapter in Latin American literature, namely, the influence of Georges Bataille and Pierre Klossowski's atheist mysticism in the Latin American erotic novel of the twentieth century. Combining a Lacanian analytical framework with an (Inter)textualist approach. Juan Carlos Ubilluz reveals how Julio Cortazar, Salvador Elizondo, Mario Vargas Llosa, and Juan Garcia Ponce adopted Sataille and Klossowski's aesthetic and philosophical models as a point of departure to rearticulate the modern subject's buried dimension of the sacred through various Innovations on the erotic novel's form. Ubilluz examines the dialectical irruption of these literary experiments into their particular aesthetic, theoretical, and political contexts; showing, for instance, that Cortazar's
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