Maria De Los Angeles A Chronicle Of Work 2010 2013

María Izquierdo (1902–1955) and Frida Kahlo (1907–1954) were the first two Mexican women artists to achieve international recognition. During the height of the Mexican muralist movement, they established successful careers as easel painters and created work that has become an integral part of Mexican modernism. Although the iconic Kahlo is now more famous, the two artists had comparable reputations during their lives. Both were regularly included in major exhibitions of Mexican art, and they were invariably the only women chosen for the most important professional activities and honors. In a deeply informed study that prioritizes critical analysis over biographical interpretation, Nancy Deffebach places Kahlo's and Izquierdo's oeuvres in their cultural context, examining the ways in which the artists participated in the national and artistic discourses of postrevolutionary Mexico. Through iconographic analysis of paintings and themes within each artist's oeuvre, Deffebach discusses how the artists engaged intellectually with the issues and ideas of their era, especially Mexican national identity and the role of women in society. In a time when Mexican artistic and national discourses associated the nation with masculinity, Izquierdo and Kahlo created images of women that deconstructed gender roles, critiqued the status quo, and presented more empowering alternatives for women. Deffebach demonstrates that, paradoxically, Kahlo and Izquierdo became the most successful Mexican women artists of the modernist period while most directly challenging the prevailing ideas about gender and what constitutes important art.

Why Walls Won't Work is a sweeping account of life along the United States-Mexico border zone, tracing the border's history of cultural interaction since the earliest Mesoamerican times to the present day. As soon as Mexicans, American settlers, and indigenous peoples came into contact along the Rio Grande in the mid-nineteenth century, new forms of interaction and affiliation evolved. By the late-twentieth century, the border states were among the fastest-growing regions in both countries. But as Michael Dear warns, this vibrant zone of economic, cultural and social connectivity is today threatened by highly restrictive American immigration and security policies as well as violence along the border. The U.S. border-industrial complex and the emerging Mexican narco-state are undermining the very existence of the "third nation" occupying the space between Mexico and the U.S. Through a series of evocative portraits of contemporary border communities, Dear reveals how the promise and potential of this "in-between" nation still endures and is worth protecting. Now with a new chapter updating this story and suggesting what should be done about the challenges confronting the cross-border zone, Why Walls Won't Work represents a major intellectual intervention into one of the most hotly-contested political issues of our era.

Media and the Ecological Crisis is a collaborative work of interdisciplinary writers engaged in mapping, understanding and addressing the complex contribution of media to the current ecological crisis. The book is informed by a fusion of scholarly, practitioner, and activist interests to inform, educate, and advocate for real, environmentally sound changes in design, policy, industrial, and consumer practices. Aligned with an emerging area of scholarship devoted to identifying and analysing the material physical links of media technologies, cultural production, and environment, it contributes to the project of greening media studies by raising awareness of media technology’s concrete environmental effects.

"In Planet Taco, Jeffrey Pilcher traces the historical origins and evolution of Mexico's national cuisine, explores its incarnation as a Mexican American fast-food, shows how surfers became global pioneers of Mexican food, and how Corona beer conquered the world. Pilcher is particularly enlightening on what the history of Mexican food reveals about the uneasy relationship between globalization and authenticity. The burritos and taco shells that many people think of as Mexican were actually created in the United States. But Pilcher argues that the contemporary struggle between globalization and national sovereignty to determine the authenticity of Mexican food goes back hundreds of years. During the nineteenth century, Mexicans searching for a national cuisine were torn between nostalgic "Creole" Hispanic dishes of the past and French haute cuisine, the global food of the day. Indigenous foods were scorned as unfit for civilized tables. Only when Mexican American dishes were appropriated by the fast food industry and carried around the world did Mexican elites rediscover the foods of the ancient Maya and Aztecs and embrace the indigenous roots of their national cuisine"--

This first major retrospective of Amalia Mesa-Bains unearths her significant contributions to Chicanx/Latinx art and feminism. Best known for her pioneering altar installations, Amalia Mesa-Bains is one of the most innovative feminist and Latinx artists of her generation. In her forty-year career as an artist, activist, educator, and scholar, she has explored the experiences, spiritual practices, and histories of Mexican American women and addressed the colonial erasure and recovery of Mexican, African American, and Indigenous Californians. Appropriately called an "archaeological" practice, Mesa-Bains's art creates sacred spaces imbued with cultural memory, leading viewers on a magical journey of discovery through what might otherwise be lost to existing canons of history. Amalia Mesa-Bains: The Archaeology of Memory is the exhibition catalog accompanying the first major retrospective of her work, bringing her installations from the 1970s to the present together for the first time. Featuring an essay by the artist and an interview with her, the book also brings together top-tier scholars who explore the ecofeminism, migrant histories, spirituality, and politics of erasure that ground her interdisciplinary practice. As a whole, the book cements Mesa-Bains's place as a trailblazing artist within the history of art. Published in association with the Berkeley Art Museum and Pacific Film Archive. Exhibition dates: Berkeley Art Museum and Pacific Film Archive. February 4-July 23, 2023

Scholars have long highlighted the links between translating and (re)writing, increasingly blurring the line between translations and so-called 'original' works. Less emphasis has been placed on the work of writers who translate, and the ways in which they conceptualize, or even fictionalize, the task of translation. This book fills that gap and thus will be of interest to scholars in linguistics, translation studies and literary studies. Scrutinizing translation through a new lens, Judith Woodsworth reveals the sometimes problematic relations between author and translator, along with the evolution of the translator's voice and visibility. The book investigates the uses (and abuses) of translation at the hands of George Bernard Shaw, Gertrude Stein and Paul Auster, prominent writers who bring into play assorted fictions as they tell their stories of translations. Each case is interesting in itself because of the new material analysed and the conclusions reached. Translation is seen not only as an exercise and fruitful starting point, it is also a way of paying tribute, repaying a debt and cementing a friendship. Taken together, the case studies point the way to a teleology of translation and raise the question: what is translation for? Shaw, Stein and Auster adopt an authorial posture that distinguishes them from other translators. They stretch the boundaries of the translation proper, their words spilling over into the liminal space of the text; in some cases they hijack the act of translation to serve their own ends. Through their tales of loss, counterfeit and hard labour, they cast an occasionally bleak glance at what it means to be a translator. Yet they also pay homage to translation and provide fresh insights that continue to manifest themselves in current works of literature. By engaging with translation as a literary act in its own right, these eminent writers confer greater prestige on what has traditionally been viewed as a subservient art.

While providing a rock-solid foundation of sociology, Introduction to Sociology: Canadian Version, by renowned sociologists George Ritzer and Neil Guppy, illuminates traditional sociological concepts and theories, as well as some of today’s most compelling social phenomena: Globalization, consumer culture, and the Internet. Ritzer and Guppy bring students into the conversation by bridging the divide between the outside world and the classroom. The international version of the book by Ritzer has been redesigned with an explicitly Canadian core. The result is this compelling Canadian version featuring George Ritzer’s distinctive voice and style blended with Neil Guppy’s definitive views on Canadian sociology—highlighting the place of Canada in a globalizing world.