Tracks the emergence and vicissitudes of attitudes to wrongdoing in Spain from the 19th century through the decades before the Civil War. The international contributors to this volume explore the rich diversity of cultures and representations of wrongdoing in Spain through the 19th century and the decades up to the Civil War. Their line of enquiry is predicated on the belief that cultural constructions of wrongdoing are far from simple reflections of historical or social realities, and that they reveal not a line of historical development, but rather variation and movement. Voices and discourses arise in response to the social phenomena associated with wrongdoing. They set out to persuade, to shock, to entice, and in so doing provide complex windows on to social aspiration and desire. The book's three sections (Realities, Representations, and Reactions) offer distinct points of focus, and move between areas where control is paramount and on the agenda from above and those where the subtleties of emotional response take pride of place. Alison Sinclair was Professor of Modern Spanish Literature and Intellectual History at the University of Cambridge until retirement in 2014. Samuel Llano is a Lecturer in Spanish Cultural Studies at the Universityof Manchester.

As public and private sectors become stakeholders, nation-states become corporations, interests become strategic objectives, and identities become brands, branding emerges as a key feature of the pervasiveness of market logic in today's world. Branding Latin America: Strategies, Aims, Resistance offers a sustained critical analysis of these transformations, which see identities deliberately (re)defined according to the principle of competition and strategically (re)oriented towards the market. Through context-sensitive case studies that foreground a specific, under examined set of practices and concepts, this volume draws particular attention not only to the reconfigurations of citizenship, identity, and culture according to an insidious logic of market competitiveness, but also to the ways in which different actors resist, survive, and even thrive in such a context. In so doing, it illuminates the ambivalent relationships between the local, national, and global; the individual and collective; the public and private; and the economic, political, and cultural landscapes that characterize contemporary Latin America and the wider world.

When all that was solid melted into air... For decades, intellectuals from Benjamin to Bourdieu, Berman to Foucault, have been in thrall to this vision of the mid-nineteenth century. It shaped and underpinned their most influential thoughts, its legacy insinuated into institutionalized theories of culture. In this new book, that vision implodes, as if in a cultural supernova, its exceptionalism and limitations exposed. The story of modernity fades before a spectacle of linkages, stretching from and into the depths of history, the breadths of place. And, in a parallel substitution, the vast territories of the former Spanish Empire's thread through the narrative, rather than lurking on the peripheries, no longer just the fallen founders of modernity. Instead of modernity goes to the very heart of comparative cultural study: the question of what happens when intimate, dynamic connections are made over place and time, what it is to feel at home amid the lavish diversity of culture. This ambitious interdisciplinary book reconsiders foundational figures of the modern western canon, from Darwin to Cameron, Baudelaire to Whistler. It weaves together brain images from France, preserved insects from the Americas, glass in London, poetry from Argentina, paintings from Spain. Flaubert, Whitman, and Nietzsche find themselves with Hostos from Puerto Rico and Gorriti from Argentina. The flotsam and jetsam of history - optical toys from Madrid - sit with Melville and Marx. The book ranges over theoretical fields: trauma and sexuality studies, theories of visuality, the philosophy of sacrifice and intimacy, the thought of Wittgenstein. Instead of modernity is an adventure in the practice of comparative writing: resonances join suggestively over place and time, the textures of words, phrases and images combine to form moods. This book will be of interest to anyone concerned with the question of modernity and with the fate of cultural theory and comparison. -- .

The nineteenth-century Hispanic world was shattered to its core by war, civil war, and revolution. At the same time, it confronted a new period of European and North-American expansion and development. In these essays, authors explore major, dynamic ways that people in Spain envisaged how they would adapt and change, or simply continue as they were. Each chapter title begins with the words "How to...", and examines the ways in which Spaniards conceived or undertook major activities that shaped their lives. These range from telling the time to being a man. Adaptability, paradox, and inconsistency come to the fore in many of the essays. We find before us a human quest for opportunity and survival in a complex and changing world. This wide-ranging book contains chapters by leading scholars from the United States, United Kingdom, and Spain. -- .

Cultural modernity has been defined as a focus on the means of representation themselves. The crucial moment is usually located in France, with the emergence of Edouard Manet, but cultural historians often speak of a plurality of modernities. This study in cultural history explores how a radical turn to cultural modernity occurred in the Spain of the 1850s and early 1860s. The book investigates the key painter Eugenio Lucas Velazquez, and his continual, playful, art historical pastiche. Unlike the treatment of pastiche in Manet and his successors, Lucas's paintings refuse any assertion of a unique artistic identity or modern manner, thus challenging many theorizations of modernity. This highly interdisciplinary book focuses on the interaction between Lucas and his dynamic context. In exploring the potentially irresolvable nature of many of the dilemmas facing intellectuals of the time, it argues that cultural modernity is a plural series of problems resistant to closed description. The book includes twenty-five illustrations, eight of which are in color.