In Portrait of a Young Painter, the distinguished historian Mary Kay Vaughan adopts a biographical approach to understanding the culture surrounding the Mexico City youth rebellion of the 1960s. Her chronicle of the life of painter Pepe Zúñiga counters a literature that portrays post-1940 Mexican history as a series of uprisings against state repression, injustice, and social neglect that culminated in the student protests of 1968. Rendering Zúñiga's coming of age on the margins of formal politics, Vaughan depicts midcentury Mexico City as a culture of growing prosperity, state largesse, and a vibrant, transnationally-informed public life that produced a multifaceted youth movement brimming with creativity and criticism of convention. In an analysis encompassing the mass media, schools, politics, family, sexuality, neighborhoods, and friendships, she subtly invokes theories of discourse, phenomenology, and affect to examine the formation of Zúñiga's persona in the decades leading up to 1968. By discussing the influences that shaped his worldview, she historicizes the process of subject formation and shows how doing so offers new perspectives on the events of 1968.
When Indian communities of Chiapas, Mexico, rose in armed rebellion in 1994, they spoke boldly of values, rights, identities, and expectations. Their language struck a chord for most Mexicans, for it was the cultural legacy of the Revolution of 1910. Of all the accomplishments of the Mexican Revolution, its cultural achievements were among its most important. The Revolution's cultural politics accounts in part for the relative political stability Mexico enjoyed from 1940 through 1993 and underlies much of the discourse accompanying the tumultuous transitions in that country today. To show the significance of this facet of the Revolution, Mary Kay Vaughan analyzes the educational effort of the state during the 1930s, locating it within the broader sweep of Mexican history to illustrate how the government sought to nationalize and modernize rural society. Vaughan focuses on activities in rural schools, where central state policy makers, teachers, and people of the countryside came together to forge a national culture. She examines the cultural politics of schooling in four rural societies in the states of Sonora and Puebla that are representative of the peasant societies in revolutionary Mexico, and she shows how the state's program of socialist education became an arena for intense negotiations over power, culture, knowledge, rights, and gender practices. The real cultural revolution, Vaughan observes, lay not in the state's efforts at socialist education but in the dialogue between state and society that took place around this program. In the 1930s, rural communities carved out a space to preserve their local identities while the state succeeded in nurturing a multi-ethnic nationalism based on its promise of social justice and development. Vaughan brings to her analysis a comparative understanding of peasant politics and educational history, extensive interviews, and a detailed examination of national, regional, and local archives to create an evocative and informative study of Mexican politics and society during modern Mexico's formative years. Cultural Politics in Revolution clearly shows that only by expanding the social arena in which culture was constructed and contested can we understand the Mexican Revolution's real achievements.
This indispensable text reader provides a broad-ranging and thoughtfully organized feminist introduction to the ongoing controversies of development in Latin America and the Caribbean. Designed for use in a variety of college courses, the volume collects an influential group of essays first published in Latin American Perspectives—a theoretical and scholarly journal focused on the political economy of capitalism, imperialism, and socialism in the Americas. The reader is organized into thematic sections that focus on work, politics, and culture, and each section includes substantive introductions that identify key issues, trends, and debates in the scholarly literature on women and gender in the region. Demonstrating the rich and multidisciplinary nature of Latin American studies, this collection of timely, empirical studies promotes critical thinking about women's place and power; about theory and research strategies; and about contemporary economic, political, and social conditions in Latin America and the Caribbean. Valuable as both a supplementary or primary text, Rereading Women makes a convincing claim for a materialist feminist analysis. It convincingly shows why women have become an increasingly important subject of research, acknowledges their gains and struggles over time, and explores the contributions that feminist theory has made toward the recognition of gender as a relevant—indeed essential—category for analyzing the political economy of development.
When Indian communities of Chiapas, Mexico, rose in armed rebellion in 1994, they spoke boldly of values, rights, identities, and expectations. Their language struck a chord for most Mexicans, for it was the cultural legacy of the Revolution of 1910. Of all the accomplishments of the Mexican Revolution, its cultural achievements were among its most important. The Revolution's cultural politics accounts in part for the relative political stability Mexico enjoyed from 1940 through 1993 and underlies much of the discourse accompanying the tumultuous transitions in that country today. To show the significance of this facet of the Revolution, Mary Kay Vaughan analyzes the educational effort of the state during the 1930s, locating it within the broader sweep of Mexican history to illustrate how the government sought to nationalize and modernize rural society. Vaughan focuses on activities in rural schools, where central state policy makers, teachers, and people of the countryside came together to forge a national culture. She examines the cultural politics of schooling in four rural societies in the states of Sonora and Puebla that are representative of the peasant societies in revolutionary Mexico, and she shows how the state's program of socialist education became an arena for intense negotiations over power, culture, knowledge, rights, and gender practices. The real cultural revolution, Vaughan observes, lay not in the state's efforts at socialist education but in the dialogue between state and society that took place around this program. In the 1930s, rural communities carved out a space to preserve their local identities while the state succeeded in nurturing a multi-ethnic nationalism based on its promise of social justice and development. Vaughan brings to her analysis a comparative understanding of peasant politics and educational history, extensive interviews, and a detailed examination of national, regional, and local archives to create an evocative and informative study of Mexican politics and society during modern Mexico's formative years. Cultural Politics in Revolution clearly shows that only by expanding the social arena in which culture was constructed and contested can we understand the Mexican Revolution's real achievements.
In Portrait of a Young Painter, the distinguished historian Mary Kay Vaughan adopts a biographical approach to understanding the culture surrounding the Mexico City youth rebellion of the 1960s. Her chronicle of the life of painter Pepe Zúñiga counters a literature that portrays post-1940 Mexican history as a series of uprisings against state repression, injustice, and social neglect that culminated in the student protests of 1968. Rendering Zúñiga's coming of age on the margins of formal politics, Vaughan depicts midcentury Mexico City as a culture of growing prosperity, state largesse, and a vibrant, transnationally-informed public life that produced a multifaceted youth movement brimming with creativity and criticism of convention. In an analysis encompassing the mass media, schools, politics, family, sexuality, neighborhoods, and friendships, she subtly invokes theories of discourse, phenomenology, and affect to examine the formation of Zúñiga's persona in the decades leading up to 1968. By discussing the influences that shaped his worldview, she historicizes the process of subject formation and shows how doing so offers new perspectives on the events of 1968.
Published by the Ruth Chandler Williamson Gallery, Scripps College in association with Getty Publications This richly illustrated exhibition catalogue features photographs by three Mexican women, each representing a different generation, who have explored and stretched notions of Mexican identity in works that range from the documentary to the poetic. Revolution and Ritual looks first at the images of Sara Castrejón (1888–1962), the woman photographer who most thoroughly captured the Mexican Revolution. The work of photographic luminary Graciela Iturbide (born 1942) sheds light on Mexico’s indigenous cultures. Finally, the self-portraits of Tatiana Parcero (born 1967) splice images of her body with cosmological maps and Aztec codices, echoing Mexico’s layered and contested history. By bringing their work into conversation, Revolution and Ritual invites readers to consider how Mexican photography has been transformed over the past century.
This is a study of the reciprocal relationship between Mexican muralism and the three major Mexican museums&—the Palace of Fine Arts, the National History Museum, and the National Anthropology Museum.
This new adaptation of the best-selling American text is contemporary, covering such current topics as non-traditional families; Comprehensive, with all material being deemed essential by reviewers, and Balanced, with excellent historical and theoretical coverage of Canadian families. Using the theme of choice, the text helps students learn with weblinks at end of each chapter, 'As We Make Choices' boxes, and 'A Closer Look At Diversity' sections.
First published in 1875 and read by more than eight million people, this nondenominational book has a 119-year history of healing and inspiration. To attract a new audience, this time-honored message of healing has a powerful new cover, easy-to-read page layout, and word index. Named one of "75 Books by Women Whose Words Have Changed the World".
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