An analysis of the political and ecological consequences of charting the Amazon River basin in narrative fiction, Mapping the Amazon examines how widely read novels from twentieth-century South America attempted to map the region for readers. Authors such as Jos� Eustasio Rivera, R�mulo Gallegos, Mario Vargas Llosa, C�sar Calvo, M�rcio Souza, and M�rio de Andrade traveled to the Amazonian regions of their respective countries and encountered firsthand a forest divided and despoiled by the spatial logic of extractivism. Writing against that logic, they fill their novels with geographic, human, and ecological realities omitted from official accounts of the region. Though the plots unfold after the height of the Amazonian rubber boom (1850-1920), the authors construct landscapes marked by that first large-scale exploitation of Amazonian biodiversity. The material practices of rubber extraction repeat in the stories told about the removal of other plants, seeds, and mineral from the forest as well as its conversion into farmland. The counter-discursive impulse of each novel comes into dialogue with various modernizing projects that carve Amazonia into cultural and economic spaces: border commissions, extractive infrastructure, school geography manuals, Indigenous education programs, and touristic propaganda. Even the novel maps studied have blind spots, though, and Mapping the Amazon considers the legacy of such unintentional omissions today.
This concise book provides an accessible overview of the history of the telenovela in Latin America within a pan-Latino context, including the way the genre crosses borders between Latin America and the United States. Telenovelas, a distinct variety of soap operas originating in Latin America, take up key issues of race, class, sexual identity and violence, interweaving stories with melodramatic romance and quests for identity. June Carolyn Erlick examines the social implications of telenovela themes in the context of the evolution of television as an integral part of the modernization of Latin American countries.
For the ancient Maya, food was both sustenance and a tool for building a complex society. This collection, the first to focus exclusively on the social uses of food in Classic Maya culture, deploys a variety of theoretical approaches to examine the meaning of food beyond diet—ritual offerings and restrictions, medicinal preparations, and the role of nostalgia around food, among other topics. For instance, how did Maya feasts build community while also reinforcing social hierarchy? What psychoactive substances were the elite Maya drinking in their caves, and why? Which dogs were good for eating, and which breeds became companions? Why did even some non-elite Maya enjoy cacao, but rarely meat? Why was meat more available for urban Maya than for those closer to hunting grounds on the fringes of cities? How did the molcajete become a vital tool and symbol in Maya gastronomy? These chapters, written by some of the leading scholars in the field, showcase a variety of approaches and present new evidence from faunal remains, hieroglyphic texts, chemical analyses, and art. Thoughtful and revealing, Her Cup for Sweet Cacao unlocks a more comprehensive understanding of how food was instrumental to the development of ancient Maya culture.
LIFE LESSONSFINDING SPIRITUAL HARMONYYou are about to embark on a very emotional journey, Life's ups and downs the rollercoaster that many of us wish to get off and then those times that we wish we never got on in the first place, but life has a lot to offer even though there are times we have no understanding of why and why did it happen to me. This book is about getting in touch with your true inner self and feeling those emotions run wild realising who you really are and that we are human after all and that carrying emotional baggage will only bring you down in later years if not dealt with swiftly and put at rest. Life is a rollercoaster yes but most important life is for living and a will to live to love you should enjoy every moment till your very last breathe.Life presents the most beautiful situations, only if you allow them to be present in your life. To be closed is a selfish person; to be open allows others to appreciate who you are.
"The book provides a deeper understanding of modern art in the Brazilian context, moving the focus away from the self-declared avant-gardes and towards a broad panorama of modernizing tendencies throughout the period, 1890 to 1945. The backdrop of sertão, favelas, carnival and samba - often left out of accounts that restrict readings of modernism to erudite arenas like literature, fine art or architecture - are foregrounded in an attempt to situate artistic discourses within the social and political struggles of the period. Race, class and ideological conflict are given priority as tools for deconstructing complex debates, too often taken at face value or misread as merely reflexive of European phenomena. The anthropophagic movement (Antropofagia) rates special attention in teasing out the meanings of primitivism in the Brazilian context. The book examines a range of visual cultural materials including paintings, periodicals, graphics and photographs, revealing a hidden archive that calls into question the very essence of how modernism is usually perceived in Brazil. The enduring presence of archaism and violence behind an appearance of modernity reveals itself to be not an anomaly, but rather a product of the tensions inherent to the enduring oligarchical structures of Brazilian culture and society"--