There are Second Chances by Miguel Ortiz At 63, Miguel Ortiz had been the picture of health until he suffered two near-consecutive strokes. He flat-lined twice and, facing certain death, he received the last rites twice. With God’s help, he survived to become a born-again Christian. There are Second Chances is the story of Miguel’s recovery, his experiences with the supernatural, and his spiritual journey. Defying medical odds, Miguel survived to share this story.
Parental Sins is a family saga novel set in Puerto Rico and New York City during the mid-twentieth century. A portrait primarily of two marriages with many peripheral relationships and characters, it traces the lives of people living through great changes as they move from the land into town, from Puerto Rico to New York. The characters face problems from the world at large and from their own characters, often coming to the brick wall of what they see as fate. The ending is very satisfying as a mother accepts her fate and yet acts with heroic grace" -- Provided by publisher.
In the Bronx, on a street called Rogers Place, Mario Ortega grows up remembering his childhood in Puerto Rico. We follow him into early manhood as he weaves the cultural strands of the past with those of an urban present in New York City.
The death of Sharon Hobart launches Marco Navarro into an exploration of the recent past. Did she love him, or did she have an ulterior reason for befriending him? Was she connected to Allied Chemicals Corporation other than socially? Having emerged from that segment of society, her father a wealthy industrialist, did she try to extricate herself from that environment, or was her acting career just a ruse? Even if he must do the police work himself, Marco has to find out.
The Cuban writer Nicolás Guillén has traditionally been considered a poet of mestizaje, a term that, whilst denoting racial mixture, also refers to a homogenizing nationalist discourse that proclaims the harmonious nature of Cuban identity. Yet, many aspects of Guillén’s work enhance black Cuban and Afro-Cuban identities. Miguel Arnedo-Gómez explores this paradox in Guillén’s pre-Cuban Revolution writings placing them alongside contemporaneous intellectual discourses that feigned adherence to the homogenizing ideology whilst upholding black interests. On the basis of links with these and other 1930s Cuban discourses, Arnedo-Gómez shows Guillén’s work to contain a message of black unity aimed at the black middle classes. Furthermore, against a tendency to seek a single authorial consciousness—be it mulatto or based on a North American construction of blackness—Guillén’s prose and poetry are also characterized as a struggle for a viable identity in a socio-culturally heterogeneous society.
Arising in the heyday of the music recently made famous by the Buena Vista Social Club, afrocubanismo was an artistic and intellectual movement in Cuba in the 1920s and 1930s that tried to convey a national and racial identity. Through poetry, this movement was the first serious attempt on the part of mostly white Cuban intellectuals to produce a national literature that incorporated elements from the Afro-Cuban traditions of lower-class urban blacks. One of its main objectives was to project an image of Cuban identity as a harmonious process of fusion between black and white people and cultures. The notion of a unified nation without racial conflicts and the idea of a mulatto Cuban culture and identity continue to play a prominent role in the Cuban imagination. The first book-length treatment of the poetry of this movement, Writing Rumba: The Afrocubanista Movement in Poetry questions the assumption that the poetry did manage to symbolize racial reconciliation and unification. At the same time it reveals a process of literary transculturation by which the dominant literature of European origins was radically transformed through the incorporation of formal principles from Afro-Cuban dance and music forms. To make his case, Miguel Arnedo-G mez establishes the nature of the movement s connections to Cuban blacks during this time, analyzes the poetry's links with the represented cultures on the basis of anthropological and ethnographic research, and explores the thought of leading figures of the movement, tying their discourse to specific sociocultural factors in Cuba at the time. Relating the poetry to music and dance, he further illuminates the interplay of power and culture in a social context. Essential for understanding Cuban nationalism and race relations today, Writing Rumba will appeal to an interdisciplinary audience not only in regional, cultural, and anthropological fields but also in the fields of music, dance, and literature.
For many in Miami’s Cuban exile community, hating Fidel Castro is as natural as loving one’s children. This hatred, Miguel De La Torre suggests, has in fact taken on religious significance. In La Lucha for Cuba, De La Torre shows how Exilic Cubans, a once marginalized group, have risen to power and privilege—distinguishing themselves from other Hispanic communities in the United States—and how religion has figured in their ascension. Through the lens of religion and culture, his work also unmasks and explores intra-Hispanic structures of oppression operating among Cubans in Miami. Miami Cubans use a religious expression, la lucha, or "the struggle," to justify the power and privilege they have achieved. Within the context of la lucha, De La Torre explores the religious dichotomy created between the "children of light" (Exilic Cubans) and the "children of darkness" (Resident Cubans). Examining the recent saga of the Elián González custody battle, he shows how the cultural construction of la lucha has become a distinctly Miami-style spirituality that makes el exilio (exile) the basis for religious reflection, understanding, and practice—and that conflates political mobilization with spiritual meaning in an ongoing confrontation with evil.
The authors articulate the fundamental principles and perspectives with which Hispanics from different faith traditions do theology. They show who Latino/as are and how their various cultures have been shaped by historical movements such as colonialism and Christian mission."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Readers interested not only in music, but also in ethnic studies and popular culture, will appreciate the broad spectrum covered in Tejano Proud: Tex-Mex Music in the Twentieth Century."--BOOK JACKET.
English-Language Book. This book is an in-depth and analytical study of Lukumí Obí Divination. In addition, it is intended to serve as a practical guide for the young olorisha.
This book by Miguel De La Torre offers a fascinating guide to the history, beliefs, rituals, and culture of Santería — a religious tradition that, despite persecution, suppression, and its own secretive nature, has close to a million adherents in the United States alone. Santería is a religion with Afro-Cuban roots, rising out of the cultural clash between the Yoruba people of West Africa and the Spanish Catholics who brought them to the Americas as slaves. As a faith of the marginalized and persecuted, it gave oppressed men and women strength and the will to survive. With the exile of thousands of Cubans in the wake of Castro's revolution in 1959, Santería came to the United States, where it is gradually coming to be recognized as a legitimate faith tradition. Apart from vague suspicions that Santería's rituals include animal sacrifice and notions that it is a “syncretistic” form of Catholicism, most people in America's cultural and religious mainstream know very little about this rich faith tradition — in fact, many have never heard of it at all. De La Torre, who was reared in Santería, sets out in this book to provide a basic understanding of its inner workings. He clearly explains the particular worldview, myths, rituals, and practices of Santería, and he discusses what role the religion typically plays in the life of its practitioners as well as the cultural influence it continues to exert in Latin American communities today. In offering a balanced, informed survey of Santería from his unique “insider-outsider” perspective, De La Torre also provides insight into how Christianity and Santería can enter into dialogue — a dialogue that will challenge Christians to consider what this emerging faith tradition can teach them about their own. Enhanced with illustrations, tables, and a glossary, De La Torre's Santería sheds light on a religion all too often shrouded in mystery and misunderstanding.
Rondón tells the engaging story of salsa's roots in Puerto Rico, Cuba, Colombia, the Dominican Republic, and Venezuela, and of its emergence and development in the 1960s as a distinct musical movement in New York. Rondón presents salsa as a truly pan-Caribbean phenomenon, emerging in the migrations and interactions, the celebrations and conflicts that marked the region. Although salsa is rooted in urban culture, Rondón explains, it is also a commercial product produced and shaped by professional musicians, record producers, and the music industry. --from publisher description.
Recent years have seen a growing interest in undetermined and unqualified urban spaces. Understanding cities as spaces for encounter, conflict and otherness, this book argues that this indeterminacy is not marginal but a key characteristic of urban space, and degrees of liberty foster change, creativity, and political action. The urban void is a conceptual construct that aims to render a principle of absence apprehensible, and to describe how it intervenes in place-making in the city. Seville: Through the Urban Void build mostly upon Henri Lefebvre’s work using concepts drawn on the social sciences, in order to articulate a biographic narrative of the Alameda de Hércules in Seville, Spain, which stands both as an outstanding instance of urban space and a very influential urban type. During its long historical span the Alameda has undergone alternating periods of decline and development, revealing the relations between successive urban paradigms and ideas of nature, territory, and the people. For the first time its whole history is told in a single account, which adds new perspectives to its understanding, and brings forward formerly disregarded aspects. This book shows how its liminal nature, which stubbornly persists over time, creates the conditions for creative processes.
This book presents the first overview of the Toarcian Oceanic Anoxic Event in the southern Iberian paleomargin, in the western Tethys. The study of catastrophic events that affected the ecosystems in the past is of great interest, because it offers the possibility of establishing models that can be applied to current and future environmental changes. The book provides comprehensive information on the changes in marine ecosystems in connection with a global massive extinction, the Early Toarcian, and with the deposition of black shales, global warming and a disruption of the carbon cycle. In addition, the book describes the incidence of this event in this part of the Tethys close to the connection with the Protoatlantic, the Hispanic Corridor. Special attention is paid to sedimentological and ichnological aspects, fossil content (macroscopic and microscopic), and geochemistry. It also presents the facies changes related to fragmentation of the shelf and the evolution to hemipel agic troughs and swells in this paleomargin. Lastly, it characterizes this anoxic event in under-researched outcrops from southern Spain and compares the findings with those in well-known sections from northern and central Europe. This book offers a unique resource for all researchers interested in the Toarcian Oceanic Anoxic Event, but also in oceanic anoxic events that occurred during the Mesozoic in general, because of their similarity to recent climatic changes.
Writing about Troilo over a century after his birth and nearly fifty years after his death implies a certainty: the artist, who performed with him, in all but a few cases, no longer exist. That vast absence compels us to seek Troilo where he never left: the music. “Troilo: Biography of Argentina” is a music book, but also a precise and rigorous painting of a mobilized, vigorous and encompassing country where culture –and tango– were in the spotlight. It might well be read as a text that uncovers the keys of growth and decline of Argentina
This book describes the structuring grounds of Angola’s national army as well as their historical background. Likewise, it portrays the stages and aspects of the process of structuring. Given that the national army is a fact, this book also includes a reflection on its state of organization together with the identification of some aspects that may contribute to its further development. It is in this perspective that, in general, the parameters for the organization and development of the Angolan Armed Forces are highlighted.
The volume is conceived as a self-learning material as it includes the keys to most activities although it needs to be supported by the instructor in the classroom, trying to emphasise the written and oral communicative necessities of the international business world.
Science and Catholicism in Argentina (1750–1960) is the first comprehensive study on the relationship between science and religion in a Spanish-speaking country with a Catholic majority and a "Latin" pattern of secularisation. The text takes the reader from Jesuit missionary science in colonial times, through the conflict-ridden 19th century, to the Catholic revival of the 1930s in Argentina. The diverse interactions between science and religion revealed in this analysis can be organised in terms of their dynamic of secularisation. The indissoluble identification of science and the secular, which operated at rhetorical and institutional levels among the liberal elite and the socialists in the 19th century, lost part of its force with the emergence of Catholic scientists in the course of the 20th century. In agreement with current views that deny science the role as the driving force of secularisation, this historical study concludes that it was the process of secularisation that shaped the interplay between religion and science, not the other way around.
Matanzas--the name means literally "slaughters"--is the Cuban city nearest the United States. Known at the heyday of the nineteenth-century sugar boom as the "Athens of Cuba," it is renowned for its art, its music, and its rich African heritage. It is also the place where Latin American baseball began. Yet most Americans have never heard of it. Miguel Bretos's fascinating history of his hometown remedies this oversight. Though he came to the United States as a Pedro Pan child and has lived all over the world, his family is still closely tied to the city where they lived for generations. After forty years he returned to his homeland "with the longing of an exile, the anticipation of a child, the curiosity of a visitor, the resentment of a victim, and--hopefully--the objectivity of a scholar." Bretos unfolds the Matanzas story from the aboriginal Tainos to the coming of revolution with solid research, wit, clarity, and the kind of vivid detail that can come only from an insider. But he also deftly inserts Matanzas into a larger picture. More than local history, this original work is Cuban history from a local perspective.
This book brings together recent research by a group of specialists in history and sociology to provide a new reading of the late Franco dictatorship, especially in relation to its political culture. The authors focus on the election of local, trade union and national representatives, the work of the first Spanish sociologists, the struggle over administrative reform, the role of the media and the intellectuals, as well as the evolution of the dictatorships political class and its response to the regimes decline. Not only are the politics of the late dictatorship scrutinised, but also the mechanisms that were deployed to control the fast-changing society of the 1960s and 1970s. In examining the late Franco period, the contributors do not believe that it contained the seeds of Spains later democratisation, but maintain that certain sectorial regime initiatives -- electoral and political changes, an evolving discourse and an interest in political processes outside Spain -- made many Spaniards aware of the dictatorships contradictions and limitations, thereby encouraging its subsequent political and social evolution. This transformation is compared with the latter stages of the parallel dictatorship in Portugal. The great majority of Spaniards felt that the embrace of democratic freedoms and integration into the European Community was the only way forward during the Transition. But the shift from dictatorship to democracy from the 1960s onwards in Spain needs to be understood in relation to the multitude of political and social changes that took place -- despite the opposition of Franco and the bunker mentality of the regime. These changes manifested in a complex interaction between internal and external factors, which eventually resulted in the transformation of Spanish society itself.
These 13 short stories by 5 authors of the era include 4 tales by Miguel de Unamuno along with the works of Valle-Inclán, Blasco Ibánez, Baroja, and "Azorín" (José Martínez Ruiz).
The story of my life is simple. So simple and moving like the ones of any other Italian immigrant. But the great desire and will to outdo oneself is what makes the difference between one and other, and I feel I have the satisfaction of having achieved my aims. Neither because I have had some public recognition nor because I got over my fellows, but because I overcame myself. I will feel actually satisfied if I can make people understand that I overcame myself because this is how I feel like every morning and every night. And I still go on trying to do so day after day" (Miguel Bornaschella). "I met Miguel twenty years ago and he has always been good at re-telling anecdotes and stories. Most of them have been written here. Then I have pictured, no doubt, a very moving story. And as time went by, he trusted me to carry out this historical and personal account. He also gave me the chance to ask him again and once more, he gave me the necessary space to intrude on his privacy, his feelings and know much more than what was needed but all that my curiosity required to get a comprehensive view. Thanks to all this I have been able to picture before my eyes a story so moving that I am not sure my pen will be able to provide an accurate description" (Alberto Miramontes).
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.