The Origin And Legacy Of Mexican Art Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of The Origin And Legacy Of Mexican Art book. This book definitely worth reading, it is an incredibly well-written.
2016 Victoria Urbano Critical Monograph Book Prize, presented by the International Association of Hispanic Feminine Literature and Culture Winner of the 2018 Katherine Singer Kovacs Prize presented by the Modern Language Association Honorable Mention, 2018 Elli Kongas-Maranda Professional Award presented by the Women's Studies Section of the American Folklore Society Analyzes cultural materials that grapple with gender and blackness to revise traditional interpretations of Mexicanness. México’s Nobodies examines two key figures in Mexican history that have remained anonymous despite their proliferation in the arts: the soldadera and the figure of the mulata. B. Christine Arce unravels the stunning paradox evident in the simultaneous erasure (in official circles) and ongoing fascination (in the popular imagination) with the nameless people who both define and fall outside of traditional norms of national identity. The book traces the legacy of these extraordinary figures in popular histories and legends, the Inquisition, ballads such as “La Adelita” and “La Cucaracha,” iconic performers like Toña la Negra, and musical genres such as the son jarocho and danzón. This study is the first of its kind to draw attention to art’s crucial role in bearing witness to the rich heritage of blacks and women in contemporary México.
The Power and Politics of Art in Postrevolutionary Mexico by Stephanie J. Smith Pdf
Stephanie J. Smith brings Mexican politics and art together, chronicling the turbulent relations between radical artists and the postrevolutionary Mexican state. The revolution opened space for new political ideas, but by the late 1920s many government officials argued that consolidating the nation required coercive measures toward dissenters. While artists and intellectuals, some of them professed Communists, sought free expression in matters both artistic and political, Smith reveals how they simultaneously learned the fine art of negotiation with the increasingly authoritarian government in order to secure clout and financial patronage. But the government, Smith shows, also had reason to accommodate artists, and a surprising and volatile interdependence grew between the artists and the politicians. Involving well-known artists such as Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros, as well as some less well known, including Tina Modotti, Leopoldo Mendez, and Aurora Reyes, politicians began to appropriate the artists' nationalistic visual images as weapons in a national propaganda war. High-stakes negotiating and co-opting took place between the two camps as they sparred over the production of generally accepted notions and representations of the revolution's legacy—and what it meant to be authentically Mexican.
Truth and Vision in Katherine Anne Porter's Fiction by Darlene Harbour Unrue Pdf
My stories are fragments of a larger plan, Katherine Anne Porter once wrote. And on another occasion she praised a critic who perceived that all her work, from the very beginning, was part of an "unbroken progression, all related." In Truth and Vision in Katherine Anne Porter's Fiction, Darlene Unrue examines the encompassing themes that underlie Porter's shorter fiction and that combined to create the haunting events of her complex metaphorical novel, Ship of Fools. Porter believed that men and women are compelled toward discovering the truth about their existence, but that the nature of our world makes those truths difficult to discern. In her writing, Unrue finds, Porter explored not only this basic human need to confront the truth, but also the bewilderment and suffering that are so often the results of failing to fulfill that need. Often in Porter's fiction the movement toward truth is obstructed by the hollow beliefs and illusions that abound in the world--by the seductions of ideology and dogmatic religion, by romantic love or the vision of a golden past. Clinging to such illusions, using them to lend a false coherence to their lives, Porter's characters are led away from the hard realization that truth requires accepting the existence of the unknowable at the center of life, and that what is knowable lies within themselves. Drawing on essays, reviews, letters, and notes, as well as on the intricate fabric of the fiction, this study traces Porter's pursuit of the truth through the creation of a body of fiction in which, from fragments of life, she could assemble an honest vision of the world.
Olmec Art at Dumbarton Oaks by Karl A. Taube,Dumbarton Oaks Pdf
Olmec Art at Dumbarton Oaks presents the Olmec portion of the Robert Woods Bliss Collection of Pre-Columbian Art. It illustrates all thirty-nine Olmec art objects in color plates and includes many complementary and comparative black-and-white illustrations and drawings. The body of Pre-Columbian art that Robert Bliss carefully assembled over a half-century between 1912 and 1963, amplified only slightly since his death, is a remarkably significant collection. In addition to their aesthetic quality and artistic significance, the objects hold much information regarding the social worlds and religious and symbolic views of the people who made and used them before the arrival of Europeans in the New World. This volume is the second in a series of catalogues that will treat objects in the Bliss Pre-Columbian Collection. The majority of the Olmec objects in the collection are made of jade, the most precious material for the peoples of ancient Mesoamerica from early times through the sixteenth century. Various items such as masks, statuettes, jewelry, and replicas of weapons and tools were used for ceremonial purposes and served as offerings. Karl Taube brings his expertise on the lifeways and beliefs of ancient Mesoamerican peoples to his study of the Olmec objects in teh Bliss collection. His understanding of jade covers a broad range of knowledge from chemical compositions to geological sources to craft technology to the symbolic power of the green stone. Throughout the book the author emphasizes the role of jade as a powerful symbol of water, fertility, and particularly, of the maize plant which was the fundamental source of life and sustenance for the Olmec. The shiny green of the stone was analogous to the green growth of maize. This fundamental concept was elaborated in specific religious beliefs, many of which were continued and elaborated by later Mesoamerican peoples, such as the Maya. Karl Taube employs his substantial knowledge of Pre-Columbian cultures to explore and explicate Olmec symbolism in this catalogue.
The Legacy of Mesoamerica by Robert M. Carmack,Janine L. Gasco,Gary H. Gossen Pdf
The Legacy of Mesoamerica: History and Culture of a Native American Civilization summarizes and integrates information on the origins, historical development, and current situations of the indigenous peoples of Mesoamerica. It describes their contributions from the development of Mesoamerican Civilization through 20th century and their influence in the world community. For courses on Mesoamerica (Middle America) taught in departments of anthropology, history, and Latin American Studies.
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Tribal and the Cultural Legacy of Streetwear by G. James Daichendt Pdf
Tribal Streetwear is lifestyle streetwear brand that seeks to represent a variety of southern California sub-cultures that includes graffiti, street art, skateboarding, surfing, tattoos, hip hop, breakdancing, punk, lowriders, and custom culture. Based in San Diego, California, Tribal has strong Chicano roots in its aesthetic and spans the globe with retail stores on several continents. The text presents a series of articles, essays, and personal reflections that explore the various dimensions of Tribal Streetwear, and how the impact of their designs continues to balance the precarious act of being relevant and responsible with their resources. The book is divided into four sections. Section 1 features essays that set a context for the text. This includes a history of Tribal and where it fits within the history of streetwear, a personal narrative of the founding of Tribal, and lastly an essay on the uniqueness of southern California aesthetics and the fascination with this southern California inspired fashion. Section 2 is a series of interviews with notable artists, musicians, and cultural tastemakers that have contributed toward street culture and Tribal. These include Mr. Cartoon (tattoo artist), RISK (graffiti artist), PERSUE (street artists), Mike Giant (tattoo artist), Dyse One (graffiti artist), Craig Craig Stecyk III (skateboard culture), Bob Hurley (surf culture), and the Beastie Boys (hip hop). Section 3 includes a series of invited and peer-reviewed academic articles on distinct subjects within the street culture genre that further dive into the inputs and influences of Tribal Streetwear. They include breakdancing, surfing, skateboarding, graffiti, street art, tattooing, music (hip-hop/punk), lowriders, custom culture, and Chicano Studies. Section 4 is a series of photo essays that capture the three decades of Tribal Streetwear and serves as a visual history of the brand and the evolution of its graphics.