How did Latin Americans represent their own countries as modern? Through a comparative analysis of Argentina, Uruguay and Chile, the book investigates four themes that were central to definitions of Latin American modernity at the turn of the twentieth century: race, the autochthonous, education, and aesthetics.
The beloved story of the Christmas star that guided worshipers to the new-bornChrist child has been re-interpreted by Marcus Pfister, creator of the award-winning bestseller The Rainbow Fish. Full color throughout including five holographic foils that draw children into the story.
Winner, Association for Latin American Art Book Award, 2010 The Maya of Mexico and Central America have performed ritual dances for more than two millennia. Dance is still an essential component of religious experience today, serving as a medium for communication with the supernatural. During the Late Classic period (AD 600-900), dance assumed additional importance in Maya royal courts through an association with feasting and gift exchange. These performances allowed rulers to forge political alliances and demonstrate their control of trade in luxury goods. The aesthetic values embodied in these performances were closely tied to Maya social structure, expressing notions of gender, rank, and status. Dance was thus not simply entertainment, but was fundamental to ancient Maya notions of social, religious, and political identity. Using an innovative interdisciplinary approach, Matthew Looper examines several types of data relevant to ancient Maya dance, including hieroglyphic texts, pictorial images in diverse media, and architecture. A series of case studies illustrates the application of various analytical methodologies and offers interpretations of the form, meaning, and social significance of dance performance. Although the nuances of movement in Maya dances are impossible to recover, Looper demonstrates that a wealth of other data survives which allows a detailed consideration of many aspects of performance. To Be Like Gods thus provides the first comprehensive interpretation of the role of dance in ancient Maya society and also serves as a model for comparative research in the archaeology of performance.
These essays emerge from different crucial and complex conflicts: from the memory of a bishop, Bartolome de las Casas, urging the pope of his time to cleanse the church of complicity with violence, oppression, and slavery; from the lament and defiance of so many Middle Eastern women, victims of male domination and too many wars; from the voices bursting out from the colonial margins that dare to question and transgress the norms and laws imposed by colonizers and conquerors; from the emerging and diverse theological disruptions of traditional orthodoxies and rigid dogmatisms; from the denial of human rights to immigrant communities, living in the shadows of opulent societies; from the use of the sacred Hebrew Scriptures to displace and dispossess the indigenous peoples of Palestine. The essays belong to different intellectual genres and conceptual crossroads and are thus illustrative of the dialogic imagination that the Russian intellectual Mikhail Bakhtin considered basic to any serious intellectual enterprise. They are also the literary sediment of years of sharing lectures, dialogues, and debates in several academic institutions in the United States, Mexico, Argentina, Chile, Costa Rica, Malaysia, Switzerland, Germany, and Palestine.