"Complements Museos de la ciudad de México (item #bi 97004130#). This particular guide not only covers museums but also commercial galleries and other art spaces, such as bookstores, frame shops, and restaurants in Mexico City, Monterrey, Guadalajara, and Oaxaca. First-hand cultural and entertainment guide for any visitor"--Handbook of Latin American Studies, v. 58.
Beginning with volume 41 (1979), the University of Texas Press became the publisher of the Handbook of Latin American Studies, the most comprehensive annual bibliography in the field. Compiled by the Hispanic Division of the Library of Congress and annotated by a corps of more than 130 specialists in various disciplines, the Handbook alternates from year to year between social sciences and humanities. The Handbook annotates works on Mexico, Central America, the Caribbean and the Guianas, Spanish South America, and Brazil, as well as materials covering Latin America as a whole. Most of the subsections are preceded by introductory essays that serve as biannual evaluations of the literature and research under way in specialized areas. The Handbook of Latin American Studies is the oldest continuing reference work in the field. Lawrence Boudon became the editor in 2000. The subject categories for Volume 58 are as follows: Electronic Resources for the Humanities Art History (including ethnohistory) Literature (including translations from the Spanish and Portuguese) Philosophy: Latin American Thought Music
Contains scholarly evaluations of books and book chapters as well as conference papers and articles published worldwide in the field of Latin American studies. Covers social sciences and the humanities in alternate years.
Music, Words and Nationalism: National Anthems and Songs in the Modern Era considers the concept of nationalism from 1780 to 2020 through anthems and national songs as symbolic and representative elements of the national identity of individuals, peoples, or collectivities. The volume shows that both the words and music of these works reveal a great deal about the defining features of a nation, its political and cultural history, and its self-perception. The book takes an interdisciplinary approach that provides a better understanding of the role of national anthems and songs in the expression of national identities and nationalistic goals. From this perspective, the relationship between hymns and political contexts, their own symbolic content (both literary and musical) and the role of specific hymns in the construction of national sentiments are surveyed.
With its unique aroma and heady buzz—the perfect accompaniment to even the spiciest tacos—tequila has won its way into drinkers’ hearts worldwide. There are few places on earth besides Mexico that have the climate and terrain to evolve the agave plant that makes tequila—and there are even fewer people who have the patience to wait the seven years or more that it takes “the tree of marvels” to grow. In this book, Ian Williams presents a lively history of this potent and popular drink. Beginning with pulque, the drink fermented by the Mayans, Olmecs, and Aztecs and reserved for pregnant women and priests—and their sacrifices—he traces how the Mexicans distilled tequila and mezcal (mescal) and began its heady surge into global popularity. From twenty-year añejos to giggle-inducing margaritas to the bravado—and regret—of that round of shots, he offers a history as gripping as the drink itself. Williams visits countless tequila producers, distributors, and connoisseurs to tell the story of how tequila started in the agave lands of Mexico, became an icon of youthful inebriation, and developed, today, into a truly artisanal product drawing the most discerning drinkers. Peppered throughout are illustrations that capture tequila’s Mexican heritage and commercial image. Including recipes for tequila-based cocktails, as well as advice on the buying, storing, tasting, and serving of tequila, this history will delight any beverage aficionado or anyone interested in the history of Mexico and its culinary riches.
What visitor to Mexico City, unaware of its pre-Hispanic history, could imagine that right under a Christian Church may still lie the remains of the sinister tzompantli, the Aztecs' altar of skulls? Professor Jorge Hardoy poses this question and many more in his comprehensive summary of the ancient cities where Latin America's peoples lived before the Spaniards arrived in the sixteenth century. Because Aztec Tenochtitlan, today Mexico City, and Inca Cuzco represent the culmination of the two most advanced civilizations encountered by the Spainsh conquistadors, the author explores these cities end-to-end. He also studies such older civic memorial centers as Teotichuacan, Tula, Monte Alban, Uxmal, Chichen Itza, Tikal, Palenque, Tiahuanaco, Chan Chan, Pachacamac, Machu Picchu, and lesser know sites, most virtually, if not totally, abandoned centuries before the Conquest. Such inclusive coverage makes for a lively discussion of some fifteen hundred years of urban life as immortalized in the architecture, art, and crafts of long vanished civilizations. There is an extensive bibliography, many photographs, maps, charts and city plans showing urban layouts of temples, which tell much about the life of the inhabitants. His book shows that while new findings come to light each year, so much buried history lies waiting to be found that archaology will always be an ever unfolding drama. This book was first published in 1973.
From the mid-1930s to the late 1950s, Mexican cinema became the most successful Latin American cinema and the leading Spanish-language film industry in the world. Many Cine de Oro (Golden Age cinema) films adhered to the dominant Hollywood model, but a small yet formidable filmmaking faction rejected Hollywood’s paradigm outright. Directors Fernando de Fuentes, Emilio Fernández, Luis Buñuel, Juan Bustillo Oro, Adolfo Best Maugard, and Julio Bracho sought to create a unique national cinema that, through the stories it told and the ways it told them, was wholly Mexican. The Classical Mexican Cinema traces the emergence and evolution of this Mexican cinematic aesthetic, a distinctive film form designed to express lo mexicano. Charles Ramírez Berg begins by locating the classical style’s pre-cinematic roots in the work of popular Mexican artist José Guadalupe Posada at the turn of the twentieth century. He also looks at the dawning of Mexican classicism in the poetics of Enrique Rosas’ El Automóvil Gris, the crowning achievement of Mexico’s silent filmmaking era and the film that set the stage for the Golden Age films. Berg then analyzes mature examples of classical Mexican filmmaking by the predominant Golden Age auteurs of three successive decades. Drawing on neoformalism and neoauteurism within a cultural studies framework, he brilliantly reveals how the poetics of Classical Mexican Cinema deviated from the formal norms of the Golden Age to express a uniquely Mexican sensibility thematically, stylistically, and ideologically.
