One of the most spectacular and miraculous shows on earth took place in 1531 in a quiet town of Mexico City, Mexico. And my trip to this miraculous site of Our Lady of Guadalupe in Mexico was, in itself, a great miracle! After I prayed to Our Lady’s picture that was given to me by a customer when I was working as a cashier, a great miracle took place. That very minute after I prayed to Our Lady of Guadalupe’s photo, my sister called me to tell me that she was paying for my trip! And that miraculous photo that I prayed to is none other than the cover of my book! After several trip cancellations, one of which involved a scammer impersonating a priest, I was able to go and visit the famous and miraculous site of the mother of God, Our Lady of Guadalupe in Mexico. I lost three thousand dollars to of that impersonating, scamming priest. After the itinerary was paid and done, that impersonating priest just disappeared. No tour to Mexico took place. I just laughed about the whole thing. My sister and her husband, my brother-in-law, were also scammed. They traveled in January 2018 to Mexico using another travel agency. Meanwhile, I told myself that that was the end of my dream to go to Mexico to visit Our Lady of Guadalupe. This Mexico trip was again cancelled after my sister had paid the whole itinerary due to not having enough people to join the tour. It was moved to November instead of May 2018. It was as if God was directing this trip. It was because this time, I was able to convince my best friend, whom I have not seen for three years, to join me in this pilgrimage tour. And she did! It was another miracle of Our Lady of Guadalupe from the prime Creator! “All is well that ends well,” the English poet Shakespeare had said. The rose and the tilma and the mother of God are all unexplainable mysteries. Roses that gathered in wintertime in deep snows, the cactus or aloe vera fibers that made up the tilma or mantle or cloak, and the painting that puzzled and baffled the scientists and experts are the highlights of this book. An ophthalmologist from Japan who stood atop the chair to examine the eyes of the mother of God had fainted and fallen from where he was standing. When asked why, the eye specialist said that the eyes of the Madonna seemed to move and were alive. The portrait that no other scientists or painters could explain and that had baffled many for many centuries had not tarnished even after more than five hundred years. And know that the roses that were gathered during wintertime where no roses had ever thrived and that had been placed on the tilma or cloak made from the cactus or aloe vera plant by the person who saw this heavenly vision had produced a very miraculous and beautiful painting that millions of people visit every day of each year. The author was one of them. The word Mexico itself means “the center of the moon.” Little did anyone foretell that this “center of the moon” country would see a lady from the sky standing on a half-moon in December 9, 1531. This painting from heaven is on display at the main altar of the newly built church in the shape of a cone, just like its famous mountain situated in Mexico. This book is a product of so many miracles you would not want to miss. You will find out in this book how several stems of red roses had produced a heavenly painting no one can explain. You are so blessed to have this precious book, which is as precious as you are and maybe even more, my dear readers. The mother of God has a mission for me and for you, and that is to propagate love to all through her miraculous painting from heaven. In The Rose and the Tilma, Nuestra Signora Maria de Guadalupe invites all of you to her heart, mind, and soul.
In the Fall of 1857, some 120 California-bound emigrants were killed in lonely Mountain Meadows in southern Utah; only eighteen young children were spared. The men on the ground after the bloody deed took an oath that they would never mention the event again, either in public or in private. The leaders of the Mormon church also counseled silence. The first report, soon after the massacre, described it as an Indian onslaught at which a few white men were present, only one of whom, John D. Lee, was actually named. With admirable scholarship, Mrs. Brooks has traced the background of conflict, analyzed the emotional climate at the time, pointed up the social and military organization in Utah, and revealed the forces which culminated in the great tragedy at Mountain Meadows. The result is a near-classic treatment which neither smears nor clears the participants as individuals. It portrays an atmosphere of war hysteria, whipped up by recitals of past persecutions and the vision of an approaching "army" coming to drive the Mormons from their homes.
Examines the experiences of Latina and Latino prisoners in New York maximum security prisons, offering a realistic interpretation of the relationship that exists between prisoners, the state, and the civil society within which prisons operate.
Haunted by representations of black women that resist the reality of the body's vulnerability, Kimberly Juanita Brown traces slavery's afterlife in black women's literary and visual cultural productions. Brown draws on black feminist theory, visual culture studies, literary criticism, and critical race theory to explore contemporary visual and literary representations of black women's bodies that embrace and foreground the body's vulnerability and slavery's inherent violence. She shows how writers such as Gayl Jones, Toni Morrison, Audre Lorde, and Jamaica Kincaid, along with visual artists Carrie Mae Weems and María Magdalena Campos-Pons, highlight the scarred and broken bodies of black women by repeating, passing down, and making visible the residues of slavery's existence and cruelty. Their work not only provides a corrective to those who refuse to acknowledge that vulnerability, but empowers black women to create their own subjectivities. In The Repeating Body, Brown returns black women to the center of discourses of slavery, thereby providing the means with which to more fully understand slavery's history and its penetrating reach into modern American life.
This collection of interviews demonstrates that U.S. Latinas/os of South American background have contributed pioneering work to U.S. Latina/o literature and culture in the twenty-first century. In conversation with twelve significant authors of South American descent in the United States, Juanita Heredia reveals that, through their transnational experiences, they have developed multicultural identities throughout different regions and cities across the country. However, these authors' works also exemplify a return to their heritage in South America through memory and travel, often showing that they maintain strong cultural and literary ties across national borders. As such, they have created a new chapter in trans-American history by finding new ways of imagining South America from their formation and influences in the U.S.
Transnational Latina Narratives is the first critical study of its kind to examine twenty-first-century Latina narratives by female authors of diverse Latin American heritages based in the U.S. Heredia s comparative perspective on gender, race and migrations between Latin America and the U.S. demonstrates the changing national landscape that needs to accommodate an ever-growing Latino/a presence. This book draws on the work of Denise Chávez, Sandra Cisneros, Marta Moreno Vega, Angie Cruz, and Marie Arana, as well as a diverse blend of popular culture. Heredia s thought-provoking insights seek to empower the representation of women who are transnational ambassadors in modern trans-American literature.
This book investigates how western anthropological trends, development discourse and transnational activism came to create and define the global indigenous movement. Using Bolivia as a case study, the author demonstrates through a historical research, how international ideas of what it means and does not mean to be indigenous have played out at the national level. Tracing these trends from pre-revolutionary Bolivia, the Inter-American indigenismo in the 1940s up to Evo Morales’ downfall, the book reflects on Bolivia’s national-level policy discourse and constitutional changes, but also asks to what extent these principles have been transmitted to the country’s grassroots organisations and movements such as “Indianismo”, “Katarismo”, “CSUTCB” and “CIDOB”. Overall, the book argues that indigeneity can only be adequately understood, as a longue durée anthropological, political, and legal construction, crafted within broader geopolitical contexts. Within this context, the classical dichotomy between “indigenous” and “whites” should be challenged, in favour of a more nuanced understanding of plural indigeneities. This book will be of interest to researchers from across the fields of global studies, political anthropology, history of anthropology, international development, socio-legal studies, Latin American history, and indigenous studies.
The voice is the most important instrument in Mexican Ranchera (Mariachi) music because the bulk of its repertoire is sung. However, no book on vocal care and production, voice history, diction, technique, graded song lists, and warm-ups for Mariachi singers has been available until now. Dr. Juanita Ulloa has designed The Mariachi Voice to create a bridge between the voice and Mariachi fields, and to extend the reach of training and advocacy for Mariachi vocal training to academic programs, voice studios, and individual singers. Her Operachi style evolved out of her own training, touring, recording, and training of others as a specialist in Mexican and Latin American song. In The Mariachi Voice, Dr. Ulloa shares vocal technique and pedagogy, introducing the female Mariachi fach. She highlights important differences in training the female voice for healthy Ranchera singing while still honoring the style and introduces Mexican Spanish Lyric Diction with International Phonetic Alphabet (IPA). Professor John Nix of University of Texas, San Antonio contributes an article on vocal production and care. Readers will develop cultural sensitivity towards this almost 200-year-old tradition. The Ranchera vocal history chapter explores the crossover classical vocal training of ranchera singer-actors in charro movie musicals, many tracing back to legendary Mexico City based voice teacher José Pierson. It is a wake-up call to raising the standards and accessibility of vocal training. The Mariachi Voice is sure to enrich those who take pride in sharing these songs and their singers as important symbols of Mexico's identity worldwide"--
Political science literature on clientelism has tended to focus primarily on the role of parties and brokers, leaving the demand side of clientelism - the choices of potential clients - relatively unexplored. This paper proposes a formal framework shedding light on the demand side of clientelism. We conceptualize clientelistic choice as one between engaging in clientelism, on the one hand, and supporting a redistributive platform, on the other. This approach allows us to draw insights from the social psychology literature on mobilization and the economics literature on redistribution preferences. Our framework nests the standard model of clientelistic choice, with factors such as poverty and ideological stance, but also includes other factors such as perceptions of political efficacy and values regarding the legitimacy of existing inequalities. We start with a simple static model that allows us to study the role of these factors in a simple, unified way. Our framework is well suited to address issues relatively unexplored in the literature, including the role of clients in the persistence of clientelism and the reasons clientelism persists or is eliminated. Most importantly, we address how clientelism gets transformed from a "traditional" type of clientelism, embedded in legitimized social relations, to a "modern" type, such as vote buying. To address these issues, we study a dynamic extension of the model where efficacy and legitimacy perceptions are endogenized and the degree of informational connectivity in the community is incorporated. In our model, efficacy and legitimation perceptions reinforce each other because efficacy perceptions lead people to expect high and sustained inequality which is then legitimized in order to protect self-esteem."--Page 1.
One of the most spectacular and miraculous shows on earth took place in 1531 in a quiet town of Mexico City, Mexico. And my trip to this miraculous site of Our Lady of Guadalupe in Mexico was, in itself, a great miracle! After I prayed to Our Lady’s picture that was given to me by a customer when I was working as a cashier, a great miracle took place. That very minute after I prayed to Our Lady of Guadalupe’s photo, my sister called me to tell me that she was paying for my trip! And that miraculous photo that I prayed to is none other than the cover of my book! After several trip cancellations, one of which involved a scammer impersonating a priest, I was able to go and visit the famous and miraculous site of the mother of God, Our Lady of Guadalupe in Mexico. I lost three thousand dollars to of that impersonating, scamming priest. After the itinerary was paid and done, that impersonating priest just disappeared. No tour to Mexico took place. I just laughed about the whole thing. My sister and her husband, my brother-in-law, were also scammed. They traveled in January 2018 to Mexico using another travel agency. Meanwhile, I told myself that that was the end of my dream to go to Mexico to visit Our Lady of Guadalupe. This Mexico trip was again cancelled after my sister had paid the whole itinerary due to not having enough people to join the tour. It was moved to November instead of May 2018. It was as if God was directing this trip. It was because this time, I was able to convince my best friend, whom I have not seen for three years, to join me in this pilgrimage tour. And she did! It was another miracle of Our Lady of Guadalupe from the prime Creator! “All is well that ends well,” the English poet Shakespeare had said. The rose and the tilma and the mother of God are all unexplainable mysteries. Roses that gathered in wintertime in deep snows, the cactus or aloe vera fibers that made up the tilma or mantle or cloak, and the painting that puzzled and baffled the scientists and experts are the highlights of this book. An ophthalmologist from Japan who stood atop the chair to examine the eyes of the mother of God had fainted and fallen from where he was standing. When asked why, the eye specialist said that the eyes of the Madonna seemed to move and were alive. The portrait that no other scientists or painters could explain and that had baffled many for many centuries had not tarnished even after more than five hundred years. And know that the roses that were gathered during wintertime where no roses had ever thrived and that had been placed on the tilma or cloak made from the cactus or aloe vera plant by the person who saw this heavenly vision had produced a very miraculous and beautiful painting that millions of people visit every day of each year. The author was one of them. The word Mexico itself means “the center of the moon.” Little did anyone foretell that this “center of the moon” country would see a lady from the sky standing on a half-moon in December 9, 1531. This painting from heaven is on display at the main altar of the newly built church in the shape of a cone, just like its famous mountain situated in Mexico. This book is a product of so many miracles you would not want to miss. You will find out in this book how several stems of red roses had produced a heavenly painting no one can explain. You are so blessed to have this precious book, which is as precious as you are and maybe even more, my dear readers. The mother of God has a mission for me and for you, and that is to propagate love to all through her miraculous painting from heaven. In The Rose and the Tilma, Nuestra Signora Maria de Guadalupe invites all of you to her heart, mind, and soul.
Luza is afraid and distraught. She has left her family behind in Cuba and has arrived in Homestead, Florida where she has just heard the news that her and her brother will be separated. She's one of the 14,000+ unaccompanied Cuban children who were shipped to the U.S. via the Pedro Pan program of the early 1960's. Castro had declared himself the leader of the Communist party in Cuba and everything had changed. Luza's mother had made the decision to send Luza and her brother to the U.S. to shield them from the Marxist-Leninist indoctrination as well as to avoid them from being sent to the war zone in Angola. A year later Luza was placed in a foster home in Albuquerque N.M. where she starts her spiritual journey with an Isleta Pueblo shaman named Milgracias. These two unlikely companions build a bond that lasts a lifetime. What follows is a journey through the tumultuous 60's.
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