Producing the Pacific offers the reader an interdisciplinary reading of the maps, narratives and rituals related to the three Spanish voyages to the South Pacific that took place between 1567 and 1606. These journeys were led by Álvaro de Mendaña, Pedro Fernández de Quirós and Isabel Barreto, the first woman ever to become admiral of and command a fleet. Mercedes Maroto Camino presents a cultural analysis of these journeys and takes issue with some established notions about the value of the past and the way it is always rewritten from the perspective of the present. She highlights the social, political and cultural environment in which maps and narratives circulate, suggesting that their significance is always subject to negotiation and transformation. The tapestry created by the interpretation of maps, narratives and rituals affords a view not only of the minds of the first men and women who traversed the Pacific but also of how they saw the ocean, its islands and their peoples. Producing the Pacific should, therefore, be of relevance to those interested in history, voyages, colonialism, cartography, anthropology and cultural studies. The study of these cultural products contributes to an interpretive history of colonialism at the same time that it challenges the beliefs and assumptions that underscore our understanding of that history.
Practising Places offers an original insight into the culture of early modern Spain in so far as the various fields explored here are seldom juxtaposed. Literary texts, urban views and paintings are analysed side by side in a hybrid cultural interpretation that is as cartographic as it is architectural, historical or literary. This book presents a “thick” description which focuses on the first picaresque novel, Lazarillo de Tormes, the autobiographical writing of Teresa of Avila, and the urban views of Spanish towns drafted or painted by Joris Hoefnagel, Anton Van den Wyngaerde and El Greco. These works embody and challenge the sense of grandeur and subsequent notion of crisis, which inhere in the period. In this way, they simultaneously highlight and question the centralism and social control of the absolutist Habsburg rules, illustrating the claim that space is as much a social product as a social producer.
Subject Stages argues that the discourses and practices of marital legislation, litigation, and theatrics informed each other in early modern Spain in ways that still have a critical bearing on contemporary events in Spain, such as the legalization of divorce in 1978 and of same-sex marriage in 2005.
Producing the Pacific offers the reader an interdisciplinary reading of the maps, narratives and rituals related to the three Spanish voyages to the South Pacific that took place between 1567 and 1606. These journeys were led by Álvaro de Mendaña, Pedro Fernández de Quirós and Isabel Barreto, the first woman ever to become admiral of and command a fleet. Mercedes Maroto Camino presents a cultural analysis of these journeys and takes issue with some established notions about the value of the past and the way it is always rewritten from the perspective of the present. She highlights the social, political and cultural environment in which maps and narratives circulate, suggesting that their significance is always subject to negotiation and transformation. The tapestry created by the interpretation of maps, narratives and rituals affords a view not only of the minds of the first men and women who traversed the Pacific but also of how they saw the ocean, its islands and their peoples. Producing the Pacific should, therefore, be of relevance to those interested in history, voyages, colonialism, cartography, anthropology and cultural studies. The study of these cultural products contributes to an interpretive history of colonialism at the same time that it challenges the beliefs and assumptions that underscore our understanding of that history.
Practising Places offers an original insight into the culture of early modern Spain in so far as the various fields explored here are seldom juxtaposed. Literary texts, urban views and paintings are analysed side by side in a hybrid cultural interpretation that is as cartographic as it is architectural, historical or literary. This book presents a thick description which focuses on the first picaresque novel, Lazarillo de Tormes, the autobiographical writing of Teresa of Avila, and the urban views of Spanish towns drafted or painted by Joris Hoefnagel, Anton Van den Wyngaerde and El Greco. These works embody and challenge the sense of grandeur and subsequent notion of crisis, which inhere in the period. In this way, they simultaneously highlight and question the centralism and social control of the absolutist Habsburg rulers, illustrating the claim that space is as much a social product as a social producer. Mercedes Maroto Camino is a Senior Lecturer at the University of Auckland, where she specialises in the early modern period. She has published widely in the areas of women's writing, history of cartography, colonialism and the comedia. have appeared in journals such as Hispanic Review, Revista Canadiense de Estudios Hispanicos, Cartographica, Parergon, Spenser Studies, Forum for Modern Language Studies and Bulletin of the Comediantes. El Greco (1541-1614). View and Plan of Toledo. Photograph by J. Lacoste (c. 1910). Fototeca del Patrimonio Historico. Archivo Ruiz Vernacci. IPHE. Ministerio de Educacion y Cultura. Espana.
This book investigates cinematic representations of the murder of European Jews and civilian opposition to Nazi occupation from the war up until the twenty-first century. The study exposes a chronology of the conflict’s memorialization whose geo-political alignments are demarcated by vectors of time and space—or ‘chronotopes’, using Mikhail Bakhtin’s term. Camino shows such chronotopes to be first defined by the main allies; the USA, USSR and UK; and then subsequently expanding from the geographical and political centres of the occupation; France, the USSR and Poland. Films from Western and Eastern Europe and the USA are treated as primary and secondary sources of the conflict. These sources contribute to a sentient or emotional history that privileges affect and construct what Michel Foucault labels biopolitics. These cinematic narratives, which are often based on memoirs of resistance fighters like Joseph Kessel or Holocaust survivors such as Primo Levi and Wanda Jakubowska, evoke the past in what Marianne Hirsch has described as ‘post-memory’.
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