This book examines women's writings in relation to language, power, sexuality, and race in contemporary Cuba, analyzing the creation of alternative "matria" frameworks that enunciate a feminist/feminine perspective of the nationalist discourse. Camara-Betancourt discusses four Cuban writers: Ofelia Rodriguez Acosta, Lydia Cabrera, Maria Elena Cruz Varela, and Zoe Valdes.

For thousands of years, humans have built walls and assaulted them, admired walls and reviled them. Great Walls have appeared on nearly every continent, the handiwork of people from Persia, Rome, China, Central America, and beyond. They have accompanied the rise of cities, nations, and empires. And yet they rarely appear in our history books.

Spanning centuries and millennia, drawing on archaeological digs to evidence from Berlin and Hollywood, David Frye uncovers the story of walls and asks questions that are both intriguing and profound. Did walls make civilization possible? Can we live without them?

This is more than a tale of bricks and stone: Frye reveals the startling link between what we build and how we live, who we are and how we came to be. It is nothing less than the story of civilization.

For thousands of years, humans have built walls and assaulted them, admired walls and reviled them. Great Walls have appeared on nearly every continent, accompanying the rise of cities, nations, and empires.

In Walls, David Frye uncovers a story that is more than just bricks and stone: he reveals the startling link between what we build and how we live, who we are and how we came to be. It is nothing less than the story of civilization.

"An elegant, precise, and accessible modern-English rendering of the two best examples of the early modern picaresque genre: the paradigmatic Lazarillo de Tormes and Quevedo's mordant El Buscon . Frye's translations are triumphant, capturing the cadence of popular early modern speech while remaining faithful to the original texts; his notes illuminate the diverse contexts in which the texts were written. Frye gives careful attention throughout to the historical background that propelled these two parallel but different monuments of Golden Age Spanish literature." --Teofilo Ruiz, UCLA

David Frye's skillful translation and abridgment of Felipe Guaman Poma de Ayala's monumental First New Chronicle and Good Government (composed between 1600-1616) offers an unprecedented glimpse into pre-colonial Inca society and culture, the Spanish conquest of Peru (1532-1572), and life under the corrupt Spanish colonial administration. An Introduction provides essential historical and cultural background and discusses the author's literary and linguistic innovations. Maps, a glossary of terms, and seventy-five of Guaman Poma's ink drawings are also included.

Repeatedly imprisoned for his printed attacks on the Spanish administration, Mexican journalist and publisher JosA (c) JoaquA n FernA ndez de Lizardi attempted, in 1816, to make an end-run around government censors by disguising his invective as serial fiction. Lizardi's experiment in subterfuge quickly failed: Spanish officials shut down publication of the novel--the first to be published in Latin America--after the third installment, and within four years Lizardi was back in jail. The whole of The Mangy Parrot (El Periquillo Sarniento) went unpublished until after Lizardi's death--and a decade after Mexico had won its independence from Spain. Though never before published in its entirety in English, The Mangy Parrot has become a Mexican classic beloved by generations of Latin American readers. Now, in vibrant American idiom, translator David Frye captures the exuberance of Lizardi's tale-telling as the author follows his narrator and alter ego, Periquillo Sarniento, through a series of misadventures that exposes the ignorance and corruption plaguing Mexican society on the eve of the wars for independence. Raw descriptions of colonial street life, candid portraits of race and ethnicity, and barely camouflaged attacks on colonial authority fill this comic masterpiece of world literature--the Don Quixote of Latin America.

David Frye's abridgment of his 2003 translation of The Mangy Parrot captures all of the narrative drive, literary innovation, and biting social commentary that established Lizardi's comic masterpiece as the Don Quixote of Latin America.

David Frye's abridgment of his 2003 translation of The Mangy Parrot captures all of the narrative drive, literary innovation, and biting social commentary that established Lizardi's comic masterpiece as the Don Quixote of Latin America.

"An elegant, precise, and accessible modern-English rendering of the two best examples of the early modern picaresque genre: the paradigmatic Lazarillo de Tormes and Quevedo's mordant El Buscon . Frye's translations are triumphant, capturing the cadence of popular early modern speech while remaining faithful to the original texts; his notes illuminate the diverse contexts in which the texts were written. Frye gives careful attention throughout to the historical background that propelled these two parallel but different monuments of Golden Age Spanish literature." --Teofilo Ruiz, UCLA

David Frye's skillful translation and abridgment of Felipe Guaman Poma de Ayala's monumental First New Chronicle and Good Government (composed between 1600-1616) offers an unprecedented glimpse into pre-colonial Inca society and culture, the Spanish conquest of Peru (1532-1572), and life under the corrupt Spanish colonial administration. An Introduction provides essential historical and cultural background and discusses the author's literary and linguistic innovations. Maps, a glossary of terms, and seventy-five of Guaman Poma's ink drawings are also included.

First published in Spanish in 2010, Art beyond Itself is Nestor Garcia Canclini's deft assessment of contemporary art. The renowned cultural critic suggests that, ideally, art is the place of imminence, the place where we glimpse something just about to happen. Yet, as he demonstrates, defining contemporary art and its role in society is an ever more complicated endeavor. Museums, auction houses, artists, and major actors in economics, politics, and the media are increasingly chummy and interdependent. Art is expanding into urban development and the design and tourism industries. Art practices based on objects are displaced by practices based on contexts. Aesthetic distinctions dissolve as artworks are inserted into the media, urban spaces, digital networks, and social forums. Oppositional artists are adrift in a society without a clear story line. What, after all, counts as transgression in a world of diverse and fragmentary narratives? Seeking a new analytic framework for understanding contemporary art, Garcia Canclini is attentive to particular artworks; to artists including Francis Alys, Leon Ferrari, Teresa Margolles, Antoni Muntadas, and Gabriel Orozco; and to efforts to preserve, for art and artists, some degree of independence from religion, politics, the media, and the market.

angel Rama was one of twentieth-century Latin America's most distinguished men of letters. "Writing across Cultures" is his comprehensive analysis of the varied sources of Latin American literature. Originally published in 1982, the book links Rama's work on Spanish American modernism with his arguments about the innovative nature of regionalist literature, and it foregrounds his thinking about the close relationship between literary movements, such as modernism or regionalism, and global trends in social and economic development.

In "Writing across Cultures," Rama extends the Cuban anthropologist Fernando Ortiz's theory of transculturation far beyond Cuba, bringing it to bear on regional cultures across Latin America, where new cultural arrangements have been forming among indigenous, African, and European societies for the better part of five centuries. Rama applies this concept to the work of the Peruvian novelist, poet, and anthropologist Jose Maria Arguedas, whose writing drew on both Spanish and Quechua, Peru's two major languages and, by extension, cultures. Rama considered Arguedas's novel "Los rios profundos" ("Deep Rivers") to be the most accomplished example of narrative transculturation in Latin America. "Writing across Cultures" is the second of Rama's books to be translated into English.

An interesting blend of ethnography and history follows the town of Mexquitic, San Luis Potosâi, through more than two centuries. Focuses on how identity is negotiated through time, and the roles played by the Church, representatives of the State, and the local population as the community is transformed from a 'Republic de los Indios' to a mestizo town"--Handbook of Latin American Studies, v. 57.

Repeatedly imprisoned for his printed attacks on the Spanish administration, Mexican journalist and publisher JosA (c) JoaquA n FernA ndez de Lizardi attempted, in 1816, to make an end-run around government censors by disguising his invective as serial fiction. Lizardi's experiment in subterfuge quickly failed: Spanish officials shut down publication of the novel--the first to be published in Latin America--after the third installment, and within four years Lizardi was back in jail. The whole of The Mangy Parrot (El Periquillo Sarniento) went unpublished until after Lizardi's death--and a decade after Mexico had won its independence from Spain. Though never before published in its entirety in English, The Mangy Parrot has become a Mexican classic beloved by generations of Latin American readers. Now, in vibrant American idiom, translator David Frye captures the exuberance of Lizardi's tale-telling as the author follows his narrator and alter ego, Periquillo Sarniento, through a series of misadventures that exposes the ignorance and corruption plaguing Mexican society on the eve of the wars for independence. Raw descriptions of colonial street life, candid portraits of race and ethnicity, and barely camouflaged attacks on colonial authority fill this comic masterpiece of world literature--the Don Quixote of Latin America.

First published in Spanish in 2010, Art beyond Itself is Nestor Garcia Canclini's deft assessment of contemporary art. The renowned cultural critic suggests that, ideally, art is the place of imminence, the place where we glimpse something just about to happen. Yet, as he demonstrates, defining contemporary art and its role in society is an ever more complicated endeavor. Museums, auction houses, artists, and major actors in economics, politics, and the media are increasingly chummy and interdependent. Art is expanding into urban development and the design and tourism industries. Art practices based on objects are displaced by practices based on contexts. Aesthetic distinctions dissolve as artworks are inserted into the media, urban spaces, digital networks, and social forums. Oppositional artists are adrift in a society without a clear story line. What, after all, counts as transgression in a world of diverse and fragmentary narratives? Seeking a new analytic framework for understanding contemporary art, Garcia Canclini is attentive to particular artworks; to artists including Francis Alys, Leon Ferrari, Teresa Margolles, Antoni Muntadas, and Gabriel Orozco; and to efforts to preserve, for art and artists, some degree of independence from religion, politics, the media, and the market.

"Revolution in the Andes" is an in-depth history of the Tupac Amaru insurrection, the largest and most threatening indigenous challenge to Spanish rule in the Andean world after the Conquest. Between 1780 and 1782, insurgent armies were organized throughout the Andean region. Some of the oldest and most populous cities in this region--including Cusco, La Paz, Puno, and Oruro--were besieged, assaulted, or occupied. Huge swaths of the countryside fell under control of the rebel forces. While essentially an indigenous movement, the rebellion sometimes attracted mestizo and Creole support for ousting the Spanish and restoring rule of the Andes to the land's ancestral owners. Sergio Serulnikov chronicles the uprisings and the ensuing war between rebel forces and royalist armies, emphasizing that the insurrection was comprised of several regional movements with varied ideological outlooks, social makeup, leadership structures, and expectations of change.

"Embers of the Past" is a powerful critique of historicism and modernity. Javier Sanjines C. analyzes the conflict between the cultures and movements of indigenous peoples and attention to the modern nation-state in its contemporary Latin American manifestations. He contends that indigenous movements have introduced doubt into the linear course of modernity, reopening the gap between the symbolic and the real. Addressing this rupture, Sanjines argues that scholars must rethink their temporal categories. Toward that end, he engages with recent events in Latin America, particularly in Bolivia, and with Latin American intellectuals, as well as European thinkers disenchanted with modernity. Sanjines dissects the concepts of the homogeneous nation and linear time, and insists on the need to reclaim the indigenous subjectivities still labeled "premodern" and excluded from the production, distribution, and organization of knowledge.

"Revolution in the Andes" is an in-depth history of the Tupac Amaru insurrection, the largest and most threatening indigenous challenge to Spanish rule in the Andean world after the Conquest. Between 1780 and 1782, insurgent armies were organized throughout the Andean region. Some of the oldest and most populous cities in this region--including Cusco, La Paz, Puno, and Oruro--were besieged, assaulted, or occupied. Huge swaths of the countryside fell under control of the rebel forces. While essentially an indigenous movement, the rebellion sometimes attracted mestizo and Creole support for ousting the Spanish and restoring rule of the Andes to the land's ancestral owners. Sergio Serulnikov chronicles the uprisings and the ensuing war between rebel forces and royalist armies, emphasizing that the insurrection was comprised of several regional movements with varied ideological outlooks, social makeup, leadership structures, and expectations of change.