Imagine a walking tour of stanzas and prose poems that give lyric voice to sight, public speech, and spectacle. In Exhibition Park, Roberto Tejada delivers a command performance in mixed genres that compel an array of literary styles. His poetry undertakes a wide range of subjects motivated by artworks from Latin America and the United States covering the colonial period to the present day. In serial poems, short sketches, guidebook parodies, painterly triptychs, translations, and other word-based dioramas, Tejada coins wonder with historical styles—baroque, classic, and experimental. As likened to a world's fair, the resulting voices intone global stories, the dream life of art, and first-person atmospheres both premodern and postindustrial. "Tejada's work is with dismantling borders and upsetting classifications... The result is a layered poetry that finds its form in dense stanzas composed of lines that frequently veer toward a kind of fractured prose&…"—Alan Gilbert in Another Future: Poetry and Modern Art in a Postmodern Twilight "You walk through his world as a voyeur, a traveler of mirrors, witnessing your own reflection in the masses of flesh, simultaneously aroused and disturbed at the same time. Tejada's work is an invitation, a window into another world, unabashedly erotic, and succinct."—Christine Lark Fox, Poetry Project Newsletter, about Mirrors for Gold
Poet Roberto Tejada uses lyrical poems to explore and give a voice to the troubles of global citizenship, US–Mexico relations, Latino identity, and the political emotion of queer sexualities. His collection provides a holistic ground-level view of pivotal world events from the mid 1990s to a more recent present. Tejada’s innovative work dramatically widens the scope of Latina/o literature, showing us exactly what it can accomplish. The poems move very much like a three-act play, in which the first act is one of origins; the second, a staging of desire; and the third, a symbiosis. These acts magnify one another when unified. Each poem within the collection positions itself within the avant-garde, in which the artful use of language aims to dazzle, surprise, and enliven. The poems dance by, preserving a tension between hurry and delay, momentum and stasis, and every line is like a newly launched firecracker, sending out startling patterns of spark and flare. Tejada’s exuberant language stretches the limits of selfhood and the way it is represented in poetry. He illuminates the tangled webs that are woven when identities are linked to sexuality, nationality, privilege, and temporality. The concerns and obsessions voiced here turn the construction of desire on its head, forcing us to ask ourselves what is worthy of our attentions.
Pushing the boundaries of Latinx literature and what constitutes a borderlands poetics. Throughout Roberto Tejada’s body of work, the renowned poet and celebrated critic has explored themes of Latinx culture, politics, history, language, and ecologies. In his latest collection, Why the Assembly Disbanded, he presents a unique contribution to Latinx letters that reflects on the relations between the United States and Latin America, especially their real and symbolic borderlands. Immersive, postmodern, and philosophical, Why the Assembly Disbanded provides an associative, critical Latinx aesthetic connecting the Mexico–United States borderlands to Latin America’s neo-baroque heritage. Migrants, settlers, tourists, and exiles moving across various hemispheric landscapes are featured in these exuberant, capacious, and self-reflexive poems. Tejada relates the ravages of white supremacy in our culture that, together with immigrant precarity, turn home into a place of foreboding and impending eviction, even as a dream-weather makes room at last for scenes of possibility and attainment in the account of human history. The sweeping futuristic vistas open on to narratives of colonial extraction, human displacement, abuses of capitalism, mass media spectacle, the antagonism of language and technical images in the sensorium of urban and digital life-worlds, and the relations of desire encouraged by pictures and words in the economy of attention. Los Angeles and Mexico City figure prominently in poems committed to voicing modes of formation and community in an intersectional reckoning of personhoods prompted in work by artists Betye Saar, Amiri Baraka, Connie Samaras, and Rubén Ortiz Torres. With language given to pageantry, tonal precision, and a hopeful lyric radiance that can accommodate ecstasy and justice, Roberto Tejada’s carnivalesque, borderland imagery pushes the boundaries of Latinx literature. World-building by way of reverie, speculation, and retro-futurist tableaux, and with vivid, sometimes violent particularity, his poems enact hallucinatory realities of the hemisphere: an imagination that triangulates history, lyricism, and art as social practice.
The author offers a comprehensive study of Mexican photography from the early twentieth century to today, demonstrating how images have shaped identities in Mexico, the United States, and in the borderlands where the two nations and cultures intersect-the shared image environment. Cross-cultural expisodes that are contradictory, especially in terms of cultural and sexual difference are discussed. Analyzing such topics as territory, sexuality, and social and ethnic relations in image making, the author traces the connective thread that photography has provided between Mexican and U.S. American intellectual and cultural production, and in doing so, defines both nations.==Back cover.
Poet Roberto Tejada uses lyrical poems to explore and give a voice to the troubles of global citizenship, US–Mexico relations, Latino identity, and the political emotion of queer sexualities. His collection provides a holistic ground-level view of pivotal world events from the mid 1990s to a more recent present. Tejada’s innovative work dramatically widens the scope of Latina/o literature, showing us exactly what it can accomplish. The poems move very much like a three-act play, in which the first act is one of origins; the second, a staging of desire; and the third, a symbiosis. These acts magnify one another when unified. Each poem within the collection positions itself within the avant-garde, in which the artful use of language aims to dazzle, surprise, and enliven. The poems dance by, preserving a tension between hurry and delay, momentum and stasis, and every line is like a newly launched firecracker, sending out startling patterns of spark and flare. Tejada’s exuberant language stretches the limits of selfhood and the way it is represented in poetry. He illuminates the tangled webs that are woven when identities are linked to sexuality, nationality, privilege, and temporality. The concerns and obsessions voiced here turn the construction of desire on its head, forcing us to ask ourselves what is worthy of our attentions.
Imagine a walking tour of stanzas and prose poems that give lyric voice to sight, public speech, and spectacle. In Exhibition Park, Roberto Tejada delivers a command performance in mixed genres that compel an array of literary styles. His poetry undertakes a wide range of subjects motivated by artworks from Latin America and the United States covering the colonial period to the present day. In serial poems, short sketches, guidebook parodies, painterly triptychs, translations, and other word-based dioramas, Tejada coins wonder with historical styles—baroque, classic, and experimental. As likened to a world's fair, the resulting voices intone global stories, the dream life of art, and first-person atmospheres both premodern and postindustrial. "Tejada's work is with dismantling borders and upsetting classifications... The result is a layered poetry that finds its form in dense stanzas composed of lines that frequently veer toward a kind of fractured prose&…"—Alan Gilbert in Another Future: Poetry and Modern Art in a Postmodern Twilight "You walk through his world as a voyeur, a traveler of mirrors, witnessing your own reflection in the masses of flesh, simultaneously aroused and disturbed at the same time. Tejada's work is an invitation, a window into another world, unabashedly erotic, and succinct."—Christine Lark Fox, Poetry Project Newsletter, about Mirrors for Gold
The author offers a comprehensive study of Mexican photography from the early twentieth century to today, demonstrating how images have shaped identities in Mexico, the United States, and in the borderlands where the two nations and cultures intersect-the shared image environment. Cross-cultural expisodes that are contradictory, especially in terms of cultural and sexual difference are discussed. Analyzing such topics as territory, sexuality, and social and ethnic relations in image making, the author traces the connective thread that photography has provided between Mexican and U.S. American intellectual and cultural production, and in doing so, defines both nations.==Back cover.
Pushing the boundaries of Latinx literature and what constitutes a borderlands poetics. Throughout Roberto Tejada’s body of work, the renowned poet and celebrated critic has explored themes of Latinx culture, politics, history, language, and ecologies. In his latest collection, Why the Assembly Disbanded, he presents a unique contribution to Latinx letters that reflects on the relations between the United States and Latin America, especially their real and symbolic borderlands. Immersive, postmodern, and philosophical, Why the Assembly Disbanded provides an associative, critical Latinx aesthetic connecting the Mexico–United States borderlands to Latin America’s neo-baroque heritage. Migrants, settlers, tourists, and exiles moving across various hemispheric landscapes are featured in these exuberant, capacious, and self-reflexive poems. Tejada relates the ravages of white supremacy in our culture that, together with immigrant precarity, turn home into a place of foreboding and impending eviction, even as a dream-weather makes room at last for scenes of possibility and attainment in the account of human history. The sweeping futuristic vistas open on to narratives of colonial extraction, human displacement, abuses of capitalism, mass media spectacle, the antagonism of language and technical images in the sensorium of urban and digital life-worlds, and the relations of desire encouraged by pictures and words in the economy of attention. Los Angeles and Mexico City figure prominently in poems committed to voicing modes of formation and community in an intersectional reckoning of personhoods prompted in work by artists Betye Saar, Amiri Baraka, Connie Samaras, and Rubén Ortiz Torres. With language given to pageantry, tonal precision, and a hopeful lyric radiance that can accommodate ecstasy and justice, Roberto Tejada’s carnivalesque, borderland imagery pushes the boundaries of Latinx literature. World-building by way of reverie, speculation, and retro-futurist tableaux, and with vivid, sometimes violent particularity, his poems enact hallucinatory realities of the hemisphere: an imagination that triangulates history, lyricism, and art as social practice.
This book explores the influence of opposing constitutional ideals during the "founding period" of constitutionalism in the Americas. Examining a range of countries including the United States, Argentina, Colombia, Chile, Ecuador, Mexico, Peru, and Venezuela, Roberto Gargarella outlines these views and traces their influence to the present day.
Using case studies drawn from Latin America, Africa, India and Eastern Europe, this volume examines the role of courts as a channel for social transformation for excluded sectors of society in contemporary democracies. With a focus on social rights litigation in post-authoritarian regimes or in the context of fragile state control, the authors assess the role of judicial processes in altering (or perpetuating) social and economic inequalities and power relations in society. Drawing on interdisciplinary expertise in the fields of law, political theory, and political science, the chapters address theoretical debates and present empirical case studies to examine recent trends in social rights litigation.
This book analyzes the crisis Mexico experienced in 1982 on the basis of the historical evolution of Mexico's political and economic structures. The author’s purpose in writing this book is to provide an interpretation of Mexico's current problems in order to analyze what must be done to solve some profound dilemmas and to restructure Mexican society. The main dilemma Mexico faces is its vanishing consensus.
This study of 200 years of Latin American constitutionalism (1810-2010) both presents a description and a critical analysis of what Latin Americans did with their Constitutions during those years.
This book provides a full, historical, economic, and political context through which to understand the actions of the people and government of Mexico, and it gives insights into how those actions impinge -- and might continue to impinge -- on the United States.
From the first amateur leagues of the 1860s to the exploits of Livan and Orlando "El Duque" Hernandez, here is the definitive history of baseball in Cuba. Roberto Gonzalez Echevarria expertly traces the arc of the game, intertwining its heroes and their stories with the politics, music, dance, and literature of the Cuban people. What emerges is more than a story of balls and strikes, but a richly detailed history of Cuba told from the unique cultural perch of the baseball diamond. Filling a void created by Cuba's rejection of bullfighting and Spanish hegemony, baseball quickly became a crucial stitch in the complex social fabric of the island. By the early 1940s Cuba had become major conduit in spreading the game throughout Latin America, and a proving ground for some of the greatest talent in all of baseball, where white major leaguers and Negro League players from the U.S. all competed on the same fields with the cream of Latin talent. Indeed, readers will be introduced to several black ballplayers of Afro-Cuban descent who played in the Major Leagues before Jackie Robinson broke the color barrier once and for all. Often dramatic, and always culturally resonant, Gonzalez Echevarria's narrative expertly lays open the paradox of fierce Cuban independence from the U.S. with Cuba's love for our national pastime. It shows how Fidel Castro cannily associated himself with the sport for patriotic p.r.--and reveals that his supposed baseball talent is purely mythical. Based on extensive primary research and a wealth of interviews, the colorful, often dramatic anecdotes and stories in this distinguished book comprise the most comprehensive history of Cuban baseball yet published and ultimately adds a vital lost chapter to the history of baseball in the U.S.
Marco Ferreri (1928-1997) was one of Italian cinema's boldest auteurs. A maverick personality, he worked with some of the most popular actors of the time (Marcello Mastroianni, Michel Piccoli, Catherine Deneuve, Gerard Depardieu, Ugo Tognazzi, Carroll Baker, Roberto Benigni, Isabelle Huppert, Christopher Lambert and others), and directed internationally acclaimed films. His filmography includes The Conjugal Bed (1963), The Ape Woman (1964), Dillinger Is Dead (1969), the scandalous La Grande Bouffe (1973), the absurdist western Don't Touch the White Woman! (1974), The Last Woman (1976), Bye Bye Monkey (1978) and the Charles Bukowski adaptation Tales of Ordinary Madness (1981). Ferreri's cinema dealt in highly original ways with contemporary issues: the crisis of marriage, relationships between sexes, consumerism, and political disillusionment. His films were controversial and confronted censorship issues, leading to Ferreri's fame as a master provocateur. This book examines Marco Ferreri's life and career, placing his work within the social and political context of postwar Italian culture, politics, and cinema. It includes a detailed production history and critical analysis of his films, with never-before-seen bits of information recovered from Italian ministerial archives and in-depth discussion of the director's unfilmed projects.
This book’s leading goal is to explain why some states in the Americas have been markedly more effective than others at forming stable democratic regimes. The six states analyzed are the United States, Mexico, Colombia, Venezuela, Costa Rica, and Guatemala. The study identifies the critical challenges each state encountered at different stages of its state-creation and regime- formation processes, from the colonial period to the present. In its concluding chapter, the study presents a series of time-related hypotheses designed to capture the different evolutionary processes and explain variances in success.
This book discusses basic and clinical aspects of selected topics in interstitial lung disease and the pathogenic mechanisms of pulmonary fibrosis. Topics include the pathogenesis of interstitial fibrosis from the initial injury to the excessive accumulation of collagens in lung parenchyma; detailed analysis of the role of fibroblasts, mast cells and growth factors in the induction of fibrogenesis; collagens, collagenases, and proteoglycans; and hypersensitivity, pneumonitis and asbestosis. Other topics include morphological aspects, including molecular biology techniques, imaging methods, functional respiratory tests, and pulmonary arterial hypertension; and sleep disorders in patients with ILD. This book provides important information for physicians, surgeons, pulmonary researchers, molecular pathologists, biomedical researchers and students, and others interested in interstitial lung disease.
Collects Marvel Divas #1-4. What happens when you take four of the Marvel Universe's most fabulous single girls and throw them together, adding liberal amounts of suds and drama? You get the sassiest, sexiest, soapiest series to come out of the House of Ideas since Millie the Model! Romance, action, ex-boyfriends, and a revelation that changes everything! Let your inner divas out with this one, you won't regret it!
In 1970s Italy, after the decline of the Spaghetti Western, crime films became the most popular, profitable and controversial genre. In a country plagued with violence, political tensions and armed struggle, these films managed to capture the anxiety and anger of the times in their tales of tough cops, ruthless criminals and urban paranoia. Recent years have seen renewed critical interest in the genre, thanks in part to such illustrious fans as Quentin Tarantino. This book examines all of the 220+ crime films produced in Italy between 1968 and 1980, the period when the genre first appeared and grew to its peak. Entries include a complete cast and crew list, home video releases, a plot summary and the author's own analysis. Excerpts from a variety of sources are included: academic texts, contemporary reviews, and interviews with filmmakers, scriptwriters and actors. There are many onset stills and film posters.
The relentless creaking, whistling, howling, and ultimately devouring power of the American jungles comes through in virtually every one of these poems. In the great tradition of Latin American poets who've striven to sensually and intelligently sing of the terrible passage to regeneration, Harrison (adept and hip to that tradition) adds a new element: memory buffer overrun of historical consciousness ... Could this be bio-conductivity's first run at poetry? --Rodrigo Toscano.
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