Colombian interior designer Juan Montoya is known for reintroducing sophistication and charm into the demanding world of design. His work reflects a vast knowledge of world culture and is always influenced by his signature use of space. The rich photography in this monograph surveys 37 of Montoya's international projects, from private residences and large commercial corporations to beautiful country houses and haciendas.
Alurista. Gary Soto. Bernice Zamora. José Montoya. These names, luminous to some, remain unknown to those who have not yet discovered the rich variety of late twentieth century Chicano poetry. With the flowering of the Chicano Movement in the mid-1960s came not only increased political awareness for many Mexican Americans but also a body of fine creative writing. Now the major voices of Chicano literature have begun to reach the wider audience they deserve. Bruce-Novoa's Chicano Poetry: A Response to Chaos—the first booklength critical study of Chicano poetry—examines the most significant works of a body of literature that has grown dramatically in size and importance in less than two decades. Here are insightful new readings of the major writings of Abelardo Delgado, Sergio Elizondo, Rodolfo Gonzales, Miguel Méndez, J. L. Navarro, Raúl Salinas, Ricardo Sánchez, and Tino Villanueva, as well as Alurista, Soto, Zamora, and Montoya. Close textual analyses of such important works as I Am Joaquín, Restless Serpents, and Floricanto en Aztlán enrich and deepen our understanding of their imagery, themes, structure, and meaning. Bruce-Novoa argues that Chicano poetry responds to the threat of loss, whether of hero, barrio, family, or tradition. Thus José Montoya elegizes a dead Pachuco in "El Louie," and Raúl Salinas laments the disappearance of a barrio in "A Trip through the Mind Jail." But this elegy at the heart of Chicano poetry is both lament and celebration, for it expresses the group's continuing vitality and strength. Common to twentieth-century poetry is the preoccupation with time, death, and alienation, and the work of Chicano poets—sometimes seen as outside the traditions of world literature—shares these concerns. Bruce-Novoa brilliantly defines both the unique and the universal in Chicano poetry.
This book provides a long-needed overview of the Chicana and Chicano movement’s social history as it grew, flourished, and then slowly fragmented. The authors examine the movement’s origins in the 1960s and 1970s, showing how it evolved from a variety of organizations and activities united in their quest for basic equities for Mexican Americans in U.S. society. Within this matrix of agendas, objectives, strategies, approaches, ideologies, and identities, numerous electrifying moments stitched together the struggle for civil and human rights. Gómez-Quiñones and Vásquez show how these convergences underscored tensions among diverse individuals and organizations at every level. Their narrative offers an assessment of U.S. society and the Mexican American community at a critical time, offering a unique understanding of its civic progress toward a more equitable social order.
THE POPULAR SERIES NARCOS CAPTURES ONLY HALF THE TRUTH. HERE, AT LAST, IS THE FULL STORY. THE INTERNATIONAL BEST SELLER! Until now, we believed that everything had been said about the rise and fall of Pablo Escobar, the most infamous drug kingpin of all time, but these versions have always been told from the outside, never from the intimacy of his own home. More than two decades after the full-fledged manhunt finally caught up with the king of cocaine, Juan Pablo Escobar travels to the past to reveal an unabridged version of his father—a man capable of committing the most extreme acts of cruelty while simultaneously professing infinite love for his family. This is not the story of a child seeking redemption for his father, but a shocking look at the consequences of violence and the overwhelming need for peace and forgiveness.
Juan P. Valdez was born May 25, 1938 in Canjilon, New Mexico, the second of Amarante and Philomena Valdez' seven children. Juan's father took him out of school after the third grade to help with the raising of crops and tending of livestock necessary to support the family. After having been continuously denied grazing permits by the U. S. Forest Service it was necessary for Juan to sneak his family's cattle on and off the forest pastures on a daily basis. While in his mid-twenties Juan met Reies Lopez Tijerina, a charismatic former preacher who was traveling from village to village in Northern New Mexico speaking out about how the United States had stolen hundreds of thousands of acres of grant lands that were supposed to have been protected by the Treaty of Guadalupe Hidalgo. Juan was the first of eight members of Tijerina's Alianza to enter the Rio Arriba County courthouse on June 5, 1967 in a failed attempt to arrest the local district attorney, Alfonso Sanchez. Ironically, the judge in the courthouse that day was J. M. Scarborough, the father of Mike Scarborough who would wind up assisting Juan in the telling of his family history. Trespassers On Our Own Land is the history of the Valdez family from the time Spain granted Juan Bautista Valdez, Juan's great, great, great-grandfather an interest in a land grant located around the present village of Canones, New Mexico. Mike Scarborough grew up in Espanola, sixty miles south of where Juan grew up. After having spent eight years in the United States Air Force, Mike returned to New Mexico, attended college and law school, and practiced law in the area for twenty-five years. Some years ago he was asked by his good friend, Juan Valdez, to help write Juan's family history. Mike recently completed a five year study of Juan's family history and the period during the late 1800s and early 1900s when the United States government chose to claim ownership of million of acres of then existing land grants and to deny the settlers who had lived on them for over eighty years their legitimate right to use the land. Trespassers on Our Own Land is the result of his research.
This beginning guitar method is written for aspiring classical or flamenco guitarists who want to learn how to read music up to the intermediate level. Music from the Spanish tradition such as Romanza, Pica-Pica, El Vito, Café de las Chinitas, Perfidía, La Virgen de la Macarena and flamenco music of Juan Serrano provides a technical and musical foundation that improves facility in playing scales, arpeggios, tremelo, and rasgueado.Tablature is not included as the one of the primary aims of this book is to improve note reading and the comprehension of the fundamental elements of music. Performances of all musical examples are available online that includes one performance at tempo for each of the more than 230 musical examples. Short repertoire pieces from Gaspar Sanz, Dionisio Aguado, Fernando Sor, Mauro Guiliani, Ferdinand Carulli, and Mateo Carcassi are included at the end of the book and are repertoire studies that will prepare guitarists for further study in classical and/or flamenco guitar.
A new, sweeping narrative history of American news media that puts race at the center of the story From the earliest colonial newspapers to the Internet age, America’s racial divisions have played a central role in the creation of the country’s media system, just as the media has contributed to—and every so often, combated—racial oppression. News for All the People reveals how racial segregation distorted the information Americans received from the mainstream media. It unearths numerous examples of how publishers and broadcasters actually fomented racial violence and discrimination through their coverage. And it chronicles the influence federal media policies exerted in such conflicts. It depicts the struggle of Black, Latino, Asian, and Native American journalists who fought to create a vibrant yet little-known alternative, democratic press, and then, beginning in the 1970s, forced open the doors of the major media companies. Written in an exciting, story-driven style and replete with memorable portraits of journalists, both famous and obscure, News for All the People weaves back and forth between the corporate and government leaders who built our segregated media system—such as Herbert Hoover, whose Federal Radio Commission eagerly awarded a license to a notorious Ku Klux Klan organization in the nation’s capital—and those who rebelled against that system. Based on years of original archival research and up-to-the-minute reporting and written by two veteran journalists and leading advocates for a more inclusive and democratic media system, News for All the People should become the standard history of American media.
Badmen, Bandits, and Folk Heroes is a comparative study of the literary and cinematic representation of Mexican American masculine identity from early twentieth-century adventure stories and movie Westerns through contemporary self-representations by Chicano/a writers and filmmakers. In this deeply compelling book, Juan J. Alonzo proposes a reconsideration of the early stereotypical depictions of Mexicans in fiction and film: rather than viewing stereotypes as unrelentingly negative, Alonzo presents them as part of a complex apparatus of identification and disavowal. Furthermore, Alonzo reassesses Chicano/a self-representation in literature and film, and argues that the Chicano/a expression of identity is characterized less by essentialism than by an acknowldgement of the contingent status of present-day identity formations. Alonzo opens his provocative study with a fresh look at the adventure stories of Stephen Crane and the silent Western movies of D. W. Griffith. He also investigates the conflation of the greaser, the bandit, and the Mexican revolutionary into one villainous figure in early Western movies and, more broadly, traces the development of the badman in Westerns. He newly interrogates the writings of Américo Paredes regarding the makeup of Mexican masculinity, and productively trains his analytic eye on the recent films of Jim Mendiola and the contemporary poetry of Evangelina Vigil. Throughout Badmen, Bandits, and Folk Heroes, Alonzo convincingly demonstrates how fiction and films that formerly appeared one-dimensional in their treatment of Mexicans and Mexican Americans actually offer surprisingly multifarious and ambivalent representations. At the same time, his valuation of indeterminacy, contingency, and hybridity in contemporary cultural production creates new possibilities for understanding identity formation.
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